Synfig User's Manual (PDFDrive)

Synfig: User’s Manual
Turned to PDF by: Joking Reaper

This document is a transformation from the User’s Manual presented
in the official wiki page of Synfig (http://wiki.synfig.org/Category:
Manual), as it was presented on the date July 07, 2016. There is no guaran-
tee with this book. It can be incomplete, outdated, or with errors. It is the
responsibility of the reader the use he gives to this book, and it’s contents.
Almost all the links presented in this book take to pages that are already
printed somewhere in this book, however, it is also the responsibility of the
reader to notice if there is a link in this book that takes you to a web
page that has not been printed in the book. To be sure, notice the table of
contents and use it asa guide to understand the subjects presented, and the
pages printed here.
The present version of Synfig is 1.0.2, however, there is no guarantee

that the contents of this book are updated to this version.
Category:Manual - Synfig Animation Studio http://wiki.synfig.org/Category:Manual
Help
Category:Manual
From Synfig Studio :: Documentation
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Introduction
Overview
Diving In
Getting Started
Animation Basics
Adding Layers
Creating Shapes
Animating Shapes
Basic Bone Tutorial
Interface
Quick Overview
Interface
Artwork Import
Import external files
GIMP Import
Quinema: pixelar animation tools
Import Image Layer
Image Sequence Import
SVG Import
Artwork Construction
Spline Tool
Outline Layer
Region Layer
Color Editor
Draw Tool
Brush Tool
Width Tool
Group Layer
Switch Group Layer
Children Lock
Gradient Tool
Gradient Editor
Blend Method
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Masking
Sets
Guides
Grid
Data Linking
Linking
Library Panel
Export
Convert
Sewing Splines
Link to Spline
ValueNodes
Reusing Exported Value Nodes
Switching Scenes
Advanced ...
Slideshows
Duplicate Layer
Brushes
Plugins
Audio Synchronisation
Animation
Keyframe
Time Track Panel
Waypoint
Reuse Animations
Editing Lock Keyframes
Onion Skin
Following a Spline
Z-Depth
Time Loop Layer
Rescale Animations
Time Offset Parameter
Animation Techniques
Morphing
Cut-out
Output
Preview
Render options
Render Dialog
SVG export
Configuring Synfig
Preferences Dialog
Unit System
Image_Dimensions
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Canvas Properties
Environment Variables
Appendix
Synfig Studio vs Synfig
Synfig CLI syntax
Doc:Build Instructions
How Do I...
FAQ
Window_Manager_Hints (merge to FAQ?)
Keyboard Shortcuts
Mouse Shortcuts
Examples
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Pages in category "Manual"

The following 54 pages are in this category, out of 54 total.
Doc:Adding Layers
Anatomy of a Synfig Animation
Doc:Animation Basics
Doc:Audio Synchronisation
Doc:Basic Bone Tutorial

Doc:Basic Masking
Doc:Brushes
Dev:Build Instructions
Doc:Creating Shapes
Doc:Cut-out Animation
Doc:Cut-out Animation using Group Transformation Widget
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Doc:Examples
Doc:Examples/ro
Doc:Getting Started
Doc:Gimp2synfig
Doc:Grid
Doc:Grid/ro
Doc:Guides
Doc:Guides/fr
Doc:Guides/ro
Doc:Guides/ru
Doc:How Do I
Doc:Interface
Dev:Linux-plugins
Doc:ListImporter
Introduction/it
Doc:Overview/it
Dev:MSYS2 Build
Doc:Overview
Doc:Overview/de
Doc:Overview/es
Doc:Overview/fi
Doc:Overview/fr
Doc:Overview/id
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Doc:Overview/ja
Doc:Overview/pl
Doc:Overview/pt
Doc:Overview/ro
Doc:Overview/ru
Doc:Overview/sr
Doc:Overview/zh-cn
Doc:Plugins
Doc:Point to one object
Doc:Preview
Doc:Quick Overview
Doc:Quinema
Doc:Realistic Fire Animation

Doc:Realistic Rain Animation
Doc:Rescale Animations
Doc:Reuse Animations
Doc:Svg2synfig
Doc:Synfig CLI Syntax
Doc:Synfig Studio vs Synfig
Doc:Tiling object
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Content of this Synfig Studio Documentation Wiki is available under the
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terms of Creative Commons Attribution-Share Alike 3.0 license. By

contributing here you agree that the same license will be applied to your
writing. If you do not want your writing to be edited mercilessly and
redistributed at will, then do not submit it to this wiki. You are also
promising us that you wrote this yourself, or copied it from a public domain
or similar free resource. Do not submit copyrighted work without
permission!
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Overview - Synfig Animation Studio http://wiki.synfig.org/Doc:Overview
Overview
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As you probably know, animation is the rapid display of a sequence of images in

order to create an illusion of movement. Traditionally 2D animation is created by
drawing each displayed image individually. Those images are called "frames" and
thus such method called "frame-by-frame animation". To create good illusion of
movement you need to draw many frames, that's why his method requires a lot of
time and resources.
A traditional frame-by-frame animation, taken from : http://flipily.com
Synfig Studio is open-source 2D vector animation software. It is designed to

produce film-quality animation with fewer people and resources.
Synfig Studio is built to eliminate the need to draw each frame individually. There
are two techniques for that:
Morphing animation
Cutout animation
Morphing
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Morphing is a technique that takes two images and creates a

smooth transition between them. In the process of morphing, one
shape is deformed into another and this transformation is usually
defined by control points. In Synfig Studio images are
constructed from vector shapes and the morphing is done
automatically. That allows us to create animation by drawing only Morphing
key positions at relatively wide time intervals. You need only draw animation of
a few frames as needed to create a basic sense of motion for the a rose, by
scene, and Synfig Studio will create the in-between frames. Rore
Cutout animation
Cutout animation is created by splitting objects into parts and
applying some simple transformations to them (like translation,
rotation or scale) at different moments of time. Synfig Studio uses
those values to interpolate the motion for in-between frames.
Cutout animation can be produced from bitmap images or vector
graphics.
Cutout
animation in
Synfig's
tutorials Synthesis and other functionalities
In both cases the role of Synfig Studio is to fill the gaps between the drawn
frames (also called "keyframes") and produce smooth and fluid animation. This
process is called "tweening".
Although Synfig Studio is not directly intended to draw animation frame-by-frame,

it can be used to bring your hand-drawn frame-by-frame animation to the
film-quality level by converting bitmap data of each frame into vector format. This
process is called "tracing" and usually done by hand by constructing vector
shapes on top of bitmap image. In the process of construction you can apply a lot
of fascinating effects built into Synfig Studio to achieve a professional look for
your animations.
Whether you do frame-by frame animation or not, Synfig Studio gives you flexible
control over the repeated data, such as colors, outline characteristics, textures,
images and many more - even animation trajectories and their sets (actions).
Reusing repeated data is achieved via linking. This is a power of Synfig Studio,
which is especially important for big animation projects.
Among the plain linking pieces of artwork data you can also define relations
between them using a set of functions. That allows to create automatic animation
based on the defined laws and bring whole animation process to the new level.
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Parabolic shot in Synfig's

tutorials
All those features of Synfig Studio are covered in detail in the chapters of this
manual.
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Categories: Manual NewTerminology
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permission!
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Getting Started - Synfig Animation Studio http://wiki.synfig.org/Doc:Getting_Started
Getting Started
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Contents
User interface
1 User interface
The screenshot below displays Synfig Studio's window layout: 2 Under the hood
3 First steps
4 Linking
5 Color selection
6 Digging deeper
Default interface layout of Synfig Studio
Synfig Studio main interface components are:
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Toolbox — is the main Synfig Studio window. It contains tools and more to create and edit your artwork.
Canvas — displays your artwork and animation.
Panels — contain tools and information about certain elements of your project. Some panels will allow you
to modify those elements.
Note
Synfig Studio can be reset to its default window arrangement (as shown in
the screenshot). In the "File" menu select "Window → Workspace → Default".
The center of the window is the Canvas Window. A new Canvas Window appears each time Synfig Studio starts.
The window represents the Root Canvas, not that it means much to you at the moment, but that's OK — we're
just trying to show you around. In the upper left corner of the Canvas Window, you'll see a button with a caret.
If you click on this caret button, the canvas window menu will pop up. If you right-click in the canvas area and
there is no Layer under the mouse position, this menu will also appear. So now you know where the most
important canvas menu is. Good.
The other part of the window (one on the bottom, and one to the right) are customizable dock dialogs. Each
dock dialog contains a set of panels, arranged horizontally or vertically. Some panels share the same space
inside the dock dialog and you can switch between them by clicking on their tabs. You can rearrange the
contents of dock dialogs as you wish by dragging the panel tab to where you want it. You can even create a new
dock dialog by dragging a tab out of its dock dialog.
If you accidentally close a panel (by dragging it out of the dock dialog, and closing the new dock dialog that gets
created), no worries. Simply go to the Toolbox, select "File → Panels" in menu right there and then click on the
name of the panel you need.
The most important panels are:
Layers Panel — shows you the hierarchy of the layer of your working canvas. It also allows you to
manipulate these layers.
Parameters Panel — shows you the parameters of the layer currently selected. When multiple layers are
selected, only the parameters that the selected layers have in common are displayed.
Tool Options Panel — shows you any options specific to the currently selected tool.
Navigator — shows a thumbnail image of what the currently selected canvas looks like. You can also zoom
in and move the focus around with this panel.
History Panel — shows you the history stack for the current composition. You can also edit the actions in
history.
There are also many other panels in Synfig Studio. If you have no idea what a panel does, simply hold your
mouse over its icon and a tooltip will pop up describing its function.
Under the hood

Synfig Studio, like most every other competent graphics program, breaks down individual elements of a canvas
into layers. However, it differs from other programs in two major ways:
1. An individual layer in Synfig usually represents a single "Primitive". I.e. a single region, an outline of a
region, an imported image, etc... This allows you to have a great deal of flexibility and control. It is not
uncommon for a composition to have hundreds of layers (organized into a hierarchy for the artist's sanity
of course).
2. A layer can not only add information on top of the image below it, it can also distort and/or modify it in
some other way. In this sense, Synfig's Layers act much like filters do in Adobe Photoshop or GIMP. For
example, we have a Blur Layer, Radial Blur Layer, Spherize Layer, Color Correct Layer, Bevel Layer, etc...
Each layer has a set of parameters which determine how it behaves. When you click on a layer (either in the
Canvas Window, or in the illustrated Layers Panel), you will see its parameters in the Parameters Panel.
First steps
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Let's create something fun so that we can play with it!
First, go over to the toolbox and click on the Circle Tool (if you don't
know which one it is, just mouse over them until you find the one with
the tooltip that says "Circle Tool").
When you click on the Circle Tool, you should notice that the Tool
Options Panel changed. But we'll get to that later.
With the Circle Tool selected, you can now create circles in the Canvas
Window. This works as you might expect — click on the canvas, drag to
change length of the radius, and release the mouse button when you are
done. Go ahead and create two circles (or more, if you fancy). If you
accidentally release the mouse button before dragging, you end up
creating a circle with 0 radius and it is effectively invisible! No need to
worry, you can easily fix this. In the Parameters Panel, you can change
the parameters of the selected object. If you just made a 0 radius circle,
it should be the current selected object. You can change its radius to
Layers Panel
some value other than 0, say 10, and manipulate it to your liking with the
handles later.
Note
Some users might experience the following problem: when you click and
drag on the canvas using the Circle Tool, either nothing seems to happen or
you end up making insanely huge circles. To fix this go to "File → Input
Devices" and disable all the devices you can find there. If you have an
extended input device that you want to use, such as a pressure-sensitive
pen, then enable it in this screen. After this change Synfig will work as
expected.
Now go back to the toolbox and click on the Transform Tool (the button with the arrow on it). After you do this,
click on one of your circles. You will see a "bounding box" (which is kind of useless at this point in time, but we
digress), a green dot at the center, and a cyan dot on the radius. Those dots are called "handles". If you want to
modify the circle, grab a handle and drag it around. Easy!
You can select a Layer by clicking on it. If you want to select more than one layer, hold down Ctrl key while you
are clicking — this works in both the Canvas Window and the Layers Panel. Try it!
You can also select multiple handles. You can do this in several ways. First, you can hold down Ctrl and
individually click the handles that you want selected, but this can be tedious. However, there is a much faster
method — just create a selection box by clicking the mouse and dragging it over the handles that you want.
Go ahead, select two circles and select all of their handles. With several handles selected, moving one handle
will move all of them.
Note
Synfig Studio has an autorecovery feature. If it crashes, even if the current
file has not been saved, you will not lose more than 5 minutes of work. At
restart it will automatically prompt to recover the unsaved changes.
Unfortunately history isn't recovered yet.
The rotate and scale tools work much like the Transform Tool, except in the case where you have multiple
handles selected. It is much easier just to try, than read about it. Select a few circles, select all of their handles,
and try using the rotate and scale tools.
Note that tools manipulating with handles have options associated with them. If a particular tool isn't doing
what you want, take a look at the Tool Options Panel to see available options.
Linking
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Now let's try linking. Suppose we always want these two circles to be the same size. Select two circles, and
then select both of their radius handles (the cyan dots).
To select multiple handles, either drag a rectangle around them, or select the first one, then hold the Ctrl key
while selecting the rest. Once you have the two radius handles selected, right click on either of them and a
menu will pop up. Select "Link". Boom. The parameters are linked together. You can prove it to yourself by
selecting just one of the circles and changing its radius — the other one will change as well. Neat stuff, eh? This
is how outlines are attached to their regions — but we're getting ahead of to the chapter.
Linking is a fundamental concept in Synfig. You can create links not only for handles, but also between
parameters as well by selecting multiple layers, right clicking on the parameter in the Parameters panel, and
selecting "Link".
Color selection
Let's say you want one of the circles to be a different color. If you look in the toolbox below the tools, you'll see
the outline/fill color selector, the outline width selector, and some other stuff like the default blend method and
gradient. The outline/fill color widget works exactly as you might expect — you can click on the fill color, and a
modest color chooser will appear. Now you can change the color pretty easily.
But sometimes you just want to click on a color and go. This is where the palette editor tab comes in.
Click on the Palette Editor panel tab and have a look — it's the one with the palette-ish looking icon. Clicking on
colors with the left mouse button will immediately change the default outline color and clicking with the middle
mouse button will change fill color.
That's all great, but we still haven't changed the color of the circle. There are three ways to do this. The first is
to click on the "Fill Tool" from the toolbox, and then click on the circle in the Canvas Window. Boom. Circle
changes color. This works with more than just circles. Also, you can select the circle layer you want to modify,
go to the Parameters panel, right-click on the Color parameter and select "Apply Fill Color" or "Apply Outline Color"
at you preference. Or simply double-click on the "Color" parameter - a color selector dialog will show up, and you
can just tweak away.
Try playing around with the circles for a bit. Muck around with the parameters, and see what happens. To get
you started, try out to set the Feather Parameter to 5.
Digging deeper
Of course, so far you just found out how to use the basic features of Synfig Studio but not how you animate a
drawing. This is covered in the next section.
You can download an archive which contains the project used for wiki illustration File:Interface.sfg
You can download the project used for the illustration of the illustration File:Spline-DotMan.sifz
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domain or similar free resource. Do not submit copyrighted work without permission!
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Animation Basics - Synfig Animation Studio http://wiki.synfig.org/Doc:Animation_Basics
Animation Basics
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Introduction
Contents
Creating an animation in Synfig Studio is really easy. It basically means to change a drawing —
you just need to create the first stage and last stage of a change, and Synfig takes care of the 1 Introduction
steps in between. 2 Setting up the workspace
3 Adding movement
Let's look at a simple example. Consider a moving light like the one at the front of the Knight
4 The s's and f's: Understanding the Timeline
Rider car. Drop the realism, you get a circle moving from left to right and back. In other words,
5 The Keyframes Panel
you need to create three 'steps' or 'stages':
6 Rendering your animation
1. The circle is on the left. 7 Conclusion
2. The circle is on the right.
3. The circle is back on the left.
Setting up the workspace

Let's do it. Start Synfig Studio. A new file is created at the start automatically . Click the caret menu (between the horizontal and vertical rules, in
the top left hand corner of the canvas), then select "Canvas → Properties" or select "Canvas → Properties" from the menu. The Canvas Properties Dialog
will appear.
Give a name and description for your canvas, then click "Apply" (don't click "OK" yet — we're not quite done with the Properties dialog). Go to the
"Time" tab and make sure to edit "End Time". Change "5s" to "2s" — that will make our animation 2 seconds long.
Good to know : Synfig and time representation

Synfig Studio can display the time in various formats (Timestamp). You can configure the Timestamp
in Preferences. If the endtime is not displayed in seconds then go to "Edit → Preferences → Misc" and
change the Timestamp into: (HHh MMm SSs) FFf. More about the Timestamp and its settings can be
found here.
Canvas Properties Dialog
Now click "OK", select the Rectangle Tool and create a simple black rectangle that will serve as our background. It's not necessary to make it cover
the whole canvas.
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Now we need a circle. Change the fill color to red, select the Circle Tool and create a circle. It doesn't matter if it's not perfect: You can edit it.
Select the Transform Tool and click the circle. It will go into an editing mode which is easy to detect by the small green dot in the middle and the
white rectangle around it. You can move the circle by grabbing it on its green dot (the Origin) in the middle.
These are the first steps to draw an object and to move it, but not an animation yet, you may say. Indeed. Let's have a look how this works.
Adding movement
In the beginning, you entered a value of 2 seconds in the Properties dialog. Because the length of your animation is non-zero, your canvas window
(the one where you draw) has a grey time slider at the bottom, the Timebar. You can click on it, and a small orange indicator will appear indicating
your position in time. Try clicking in several places on the time slider and notice that the entry field on the left of the time slider is changing its
values to something like "12f", "1s 15f", etc. You can set your position on the time slider by changing values in that field. For example, if you enter
"1s" and press ↵ Enter , the orange indicator will move in the middle of the time slider, and entering "2s" will move it to the end of the time slider.
Note
At 2s the orange indicator won't be visible. That's because "2s" is at the far right boundary of the
time slider, putting the indicator out of view.
You may notice that nothing changes on the canvas at this point. Return to "0s" and switch to Animate Editing Mode by clicking the green man
button to the right of the gray time slider. The canvas will display a red outline; it reminds you that changes to your objects now affect your
animation at the time shown in the time slider.
In animate editing mode, every change to your objects parameters creates a waypoint that associates the changes with the current time. As you
will see, Synfig can create smooth intermediate changes between waypoints, and you can even choose the way in which the intermediate changes
take place. You will probably find it helpful to associate some or all of your waypoints with keyframes.
Previously, three "steps" or "stages" were mentioned. These are represented by keyframes. (Just in case you're familiar with video encoding: No,
it's not the same!) A keyframe is an image in time where something important happens with your objects.
Default keyframe at 0f
When creating a new project, a default "keyframe" is already set at 0f. If for any reason you do not have
this default keyframe, go to the Keyframes Panel — click on the little tab with the small key icon in
the bottom window — to edit keyframes. Now press the small button with the "plus" sign and you
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should get a new entry in the list displaying "0f, 0f, (JMP)".
Keyframes Panel and Time Track Panel
Now, go to the "1s" mark in the time slider. The small orange indicator should move there. Then add another keyframe by clicking the small plus
sign. Repeat the process with the time slider indicator set to "2s" (it's at the end of your animation). You should now have three keyframes in the
list.
The s's and f's: Understanding the Timeline

By now, you may have figured out what those mysterious "1s 10f"-type marks represent. They indicate a specific point on the timeline, expressing a
location in terms of seconds (s) and frames (f).
By default each second is divided into 24 frames, much like a meter on a measuring tape is divided into 100 centimeters. The frame markings begin
at zero (0) and go up to 24, whereupon a new second is entered and the framecount returns to zero.
For example, when five whole seconds and three frames have passed, using this timeline notation would be "5s 3f".
The Keyframes Panel

The Keyframes Panel is rather easy to understand. It displays "Time" which is basically the start time, "Length" which is self-explanatory, "Jump" which
we'll cover next, and "Description" which is, again, self-explanatory.
You might be wondering about the entries called "(JMP)". In fact, these are links just like web links: click them, and the indicator in your time slider
will jump to the correct time.
You can use this to edit your image for a given moment in time. For instance, you can now jump to the first second "1s", and move the red circle to
the right. There! You made your first movement, your first animation with Synfig!
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Canvas Window, Keyframes Panel and Time Track Panel
Wondering where the animation is? Just click to an arbitrary position on the time slider: You will note that the red circle is in a new position, one
that you didn't specify! So what happened? Synfig figured out what you would like to do, namely move the circle, and drew all the images between
these states. Each image will later make a frame in your animation and the circle will appear to be moving.
Note that you don't need to go to the last keyframe at "2s" and move your circle back to the left. Keyframes make Synfig remember the image
states at particular times. That's why when we modified the circle's position at "1s", it stayed on the left at "2s" (as well as at "0s"). If you switch
back to the Parameters Panel, and look at the Time Track Panel you will see that three orange diamonds (or green dots depending on the default
interpolation) appeared on the right of the "Origin" parameter. Those are called Waypoints, and they represent times at which object's parameters,
like location or color, are instructed to take on specified new values.
Parameters Panel and Time Track Panel with green Waypoints
Rendering your animation

Before you can see your animation, you need to render your work. There are two ways to do so: using the Synfig Studio (what you have been using
so far) or the command-line program called "synfig".
Let's try the first way. Leave the Animate Editing Mode by clicking on the red man icon in the timeline editing widget, and save your file; for
instance under the name "BasicKnightRider.sifz". Then go to menu in the Canvas Window (Canvas Menu Caret button in the upper left corner) and
select "File → Render" or click on the render icon. Change the filename to "BasicKnightRider.gif" in the same location where you saved
"BasicKnightRider.sifz" and choose "gif" target format instead of "Auto", then click "Render". Depending on your processor speed it should take a few
moments, but finally the image window status bar (located on the bottom of the window) should say "File rendered successfully".
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The Render Icon
Render Settings
Note
The "magick++" target (if it is available) produces much better gif files than the "gif" target because
it can optimize the palette for the image.
Open BasicKnightRider.gif in Firefox or another application that is able to show animated gif's. However, Firefox will replay the GIF all the time
which makes your short animation a rather long one. If you're now seeing a red circle moving from the left to the right and back, congratulations!
You just made your first animation!
Note
You can also preview your animation. Press the "caret" menu button in the upper left corner of the
Canvas Window and choose "File → Preview".
If you would rather use the command line instead of the menu to render your animation, then open a terminal (on Windows, go to "Start → Run", type
"cmd" and press ↵ Enter ), change to the directory you saved the file in, and type something like this:
synfig -t gif BasicKnightRider.sifz
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A few messages appear that don't matter right now. Depending on your processor speed it should take a few moments, but finally a line like this
will appear:
BasicKnightRider.sifz ==> BasicKnightRider.gif: DONE
Then you are done and can view your animated gif using Firefox or another program as mentioned above and it should look like this.
Rendered Animation
Conclusion
Of course, the position of an object is not the only thing you can change with Synfig Studio. Other possibilities include its size, its outline, its color,
etc. Synfig comes with several example files that should let you dig deeper into the possibilities.
Now, let's continue with the next manual chapter: Adding Layers
You can download the project used : File:BasicKnightRider.sifz
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Categories: Manual Tutorials Tutorials Basic Updated NewTerminology
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Adding Layers - Synfig Animation Studio http://wiki.synfig.org/Doc:Adding_Layers
Adding Layers
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Introduction
Contents
In the previous tutorial, you made your first simple animation by
changing the attributes of primitive objects, such as: position, color, 1 Introduction
and size. These simple types, however, are seldom sufficient to create 2 Combining layers
advanced characters and objects. To do so, Synfig uses layers. They 3 Using locality
are similar to layers used in other drawing applications in that they 4 Using layers to modify other layers
are used to separate different elements of an image. 5 Digging further...
However, Synfig's layers have following important specific:
1. Every object or element gets its own layer.

2. You can organize layers into hierarchical groups.
3. You can use upper layers to change the behavior (or look) of underlying layers. Those are called filter layers
or effect layers.
As you will see, layers are an extremely important aspect of Synfig, much more so than most graphics programs.
Understanding the concept of layers is an important part in understanding how Synfig works.
Combining layers
So let's look at a simple example of how we can combine two layers to create a gradient effect on a rectangle.
Create a new file with 0 duration. There's no need to bother with a timeline at this point. Next, create a simple
rectangle with the Rectangle Tool.
Pick the Gradient Tool from the Toolbox (Composite Blend Method), press the left mouse button on the canvas,
drag to change the gradient direction and release the button when you are done. You should note that another
layer was added in the Layers Panel called Gradient. This is nothing special.
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Note
If you see no gradient but just a plain color, that means that you probably just
clicked on the canvas without dragging your mouse. To fix that pick the
Transform Tool, click into the canvas to activate the gradient's handles. You
need to grab the one you see and move it a bit until a gradient appears.
You now have a gradient, but it is not what you wanted: it spreads across the whole canvas. The goal was to have
a gradient in the rectangle. So, let's fix this now.
In the Layers Panel, select both the gradient and the rectangle layer. Then, right-click and select "Group Layer" from
the menu. The view of your Layers Panel should change now, showing a small box called Group with a "+" in front.
By clicking on the "+" you can expand the group layer to see its contents, your previous two layers: the gradient
and the rectangle.
You can treat this layer like any other layer — move it around, duplicate it, copy and paste it. If you want to
change the name of it to something more descriptive, just select the layer in the layer tab and click on its label.
Then you just edit it in place. You can do this for ANY layer, and are strongly encouraged to do so.
Using locality
However, there is still a problem: the gradient still covers the whole canvas although we wanted it to be restricted
on the rectangle. To do so, activate the gradient layer in the Layers Panel. Now go to the Parameters Panel (by
default it resides in the bottom window), and search for the attribute called Blend Method. Double-click the entry
and select Onto from the drop-down menu.
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The gradient should now be restricted to the rectangle. Congratulations! You just made your first effect by
interacting layers with Synfig.
The gradient is restricted to the rectangle. You will found more informations about the various
"Blend Method" in the Blend Method Parameter documentation.
If only for the additional organization, grouping layers dramatically improves the ease of use of Synfig Studio. But
lots of programs can do this. The concept of scope as just demonstrated sets Synfig apart from other programs
with layer hierarchies. The key point is that a layer, inside it's own group, will only modify the data contained by
all the layers and groups below it. In other words, if you were to throw a Blur Layer on top of the layers inside
the group layer we created, it would just blur them — anything under the group layer would not be blurred! Let's
try it.
Using layers to modify other layers

Make sure you have the group layer selected and create two red circles. They will appear on top of the group
layer. Select the group layer and use the "Raise Layer" button in the Layers Panel to place it on top of the circles.
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Now our group layer (with rectangle and gradient) is in front of those two circles.
Expand the group layer to show its contents, and select the top layer inside of it (should be the gradient layer).
This is where we want to insert the new layer. Create another circle filled with a black color. The black circle
layer will be created over the gradient layer inside the group layer.
Now, right click on the black circle layer in the layers panel and a popup menu will appear. The first item in that
popup is "New Layer". Inside of the "New Layer" menu, you'll see several categories of layers you could create, but
what we want is a blur, so go to the blurs category and select the "Blur" layer (so that would be "New
Layer → Blurs → Blur").
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It blurred! Has the blend method for newly created blur is "Straight" (if the default blend method in the Toolbox is
set to "By Layer Default") it blurred all around the outside edge of the contents of the group layer. You can change
the default blend method for new layers from the New Layer Defaults section of the Toolbox.
Note
In the Synfig version before "0.62.02" , the blend method for newly created
blur layers was defaulted to "Composite", that cause the outside edge of the
contents of the group layer is still sharp. What we want is a blend method of
"Straight". Just select the blur layer, and change the Blend Method to "Straight"
in the Parameters Panel.
Ok, now we have all of the contents of the group layer blurred, but everything under it is sharp! This is because
the effect of the Blur Layer over the underlying layers is limited to the scope of the group layer because the blur
layer is inside it.
You can download the File:Doc Adding Layers.sif used for this example
Digging further...
If you care to look into Synfig's main menu under "Layer → New Layer" you will note quite a lot of different
possibilities for making layers. Several of them sound rather unusual, like "Transform → Rotate" for example. You can
use this to add new attributes to your objects. And just like other, basic attributes in the previous animation
tutorial, you can change them to be different on certain keyframes. Synfig will take care of interpolating the steps
in between.
For example, you could create a shape and add a Rotate Layer over it. Combine this with the lesson learned in the
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last tutorial and you will obtain a rotating effect. This technique is used for the creation of Cut-out Animation.
Let's continue digging further on shapes creation.
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Creating Shapes - Synfig Animation Studio http://wiki.synfig.org/Doc:Creating_Shapes
Creating Shapes
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Introduction
Contents
Basic primitives such as circles or rectangles,
that we have learn to work with previously, are 1 Introduction
all great but they are pretty much geometrically 2 Spline Tool
inflexible. What about creating more complex 3 Editing Splines
shapes? To do this, we use the Spline Tool. 4 Using tablet to draw shapes
5 Other ways to create Splines
Spline Tool
In Synfig, the construct for describing shapes is called a Spline. This is roughly
analogous to a "path" in other programs, except that it is strictly a cubic hermite
spline (https://en.wikipedia.org/wiki/Cubic_Hermite_spline).
Before we start with the Spline tutorial, let's look at some additional notes on how
Synfig works. When you click on the Spline Tool, you will see that the handles from
your currently selected object (if there was one) will disappear, but the layer(s) will
still remain selected in the Layers Panel. This is normal. Anything you create with the
Spline Tool will be inserted above the currently selected layer. Keep in mind that if
you want to insert a shape somewhere, you should select where you want to insert it
before you go into the Spline Tool — changing the selection afterward will
automatically swap you back to the Transform Tool.
Now, go ahead and click on the "Reset Colors" button in the lower left corner of the
FG/BG color widget in the toolbox. This will reset us back to the default black and
white. Also, set the line width to something nice and thick — 10pt should do the trick.
After you switched to Spline Tool, take a look at the Tool Options Panel. Make sure
that only "Create Region", "Create Outline" and "Link Origins" are checked.
Clicking with your mouse in the canvas will place vertices. While you are placing a
vertex, you can drag out its tangent by dragging the mouse. Do this over and over,
and you construct a Spline.
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Keep in mind, however, that during this construction, there is

nothing stopping you from just moving it if you don't like
where you placed a vertex or a tangent. Honest! If you want
to remove a vertex, right click on it and select "Delete Vertex".
Want to split the tangents? Right click on the tangent and hit
"Split Tangents". Want to loop the Spline? Right click on the
first vertex and select "Loop Spline".
When you are finished placing vertices, you must exit

construction mode in order to actually create the Spline
layer(s); there are 2 ways to do this:
1. Switch to another tool. Reset Colors button in

2. Press the "Create" button at the bottom of the Tool the Toolbox
Options Panel (it's the icon that looks like a gear).
For now, just go ahead and switch to the Transform Tool, because we are done with
the Spline Tool.
Editing Splines
Ok, we now have a nice pretty white region with a thick black outline. Since we
checked "Create Region" and "Create Outline" in previous steps, you'll notice that there
are two layers that we have created — the Outline and the Region in the Layers
Panel. Despite the fact that they are two separate layers, their vertices parameter has
already been linked — so you can select either one and move its handles around and
the other one will also change.
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If you want to manipulate the vertices after you have created the layers, it is very
easy to do so. Just click on one of the layers and have at it. If you want to remove a
vertex, right click on it and hit "Remove Item (smart)". Want to insert a point somewhere?
Right click on the segment where you want to insert something and hit "Insert item
(smart)".
This may appear to be leading to a mess of layers. And yes, if you aren't using the
software properly, that is exactly what you will get. But there is a way to make this
more sane. As mentioned in the previous tutorial, you can group layers into hierarchy.
One quick thing to mention before I finish up. You can change the width of an outline
at each vertex. You do this by selecting the outline layer (NOTE: you must select the
Outline Layer, the Region Layer has no width data) and tweaking with the width
handles. By default, these are masked. To show them, press Alt 5 or click "Toggle
width handles" button at the top of the canvas window (the fifth one from the left).
Repeat to hide them again. You can also see other things to mask via the Canvas
Menu Caret: "View → Show/Hide Handles".
Using tablet to draw shapes

If you have a graphic tablet (http://en.wikipedia.org/wiki/Graphics_tablet) you can use
Draw Tool to create Splines.
Synfig Studio supports pressure sensitivity, but you need to configure it first. Go to
"File → Input Devices..." from toolbox menu. In the "Input" dialog find your tablet's
stylus device and set its "Mode" to "Screen". Click "Save" and then "Close".
Now grab your stylus, create a new file and click on the Draw Tool button in the
toolbox. Set the default line width value to be big enough — say, 15pt — otherwise
you will not notice any pressure sensitivity effect. Choose brown as the default fill
color.
Note
Steps above should be done with the stylus of your tablet,
not the mouse. Synfig Studio remembers settings for each
input device independently. That's why if you set those
options with your mouse device they will not have any
effect when you switch to stylus.
In the Tool Options Panel, make sure that you have the same options as shown on the
screenshot below.
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Now let's draw some thing like a curvy mountain background. Start drawing a line
from the left border to the middle of the canvas. Try to vary your stylus pressure
while you are drawing. Stop near the center of the canvas. This is your first line.
Notice the new outline layer created in the Layers Panel.
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Point your stylus at the last handle of your new Spline and continue drawing to the
right border of the canvas. When you finish, look at the Layers Panel again. There's
still only one outline layer. Synfig Studio is smart enough to figure out that you don't
need a new outline layer and properly extends the last one. You can extend the Spline
from both ends, but if you start drawing from any other place of the canvas a new
outline layer will be created. Though your first line will remain selected and nothing
stops you from extending it later.
Back to our artwork. In the Tool Panel hit the button with the bucket icon to fill the
outline we just created. A region layer will appear at the top of the layer we are
working with. Select the outline layer and press the "Raise Layer" button in the layers
panel to put the outline layer on top of the region.
Extend a line from both sides down to the corners of the canvas to make the fill
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appear at the bottom. Great.
Go ahead and add a few more lines on top of the filled area to give it a mountain-like
look. If brown handles are in your way, you can hide them by clicking the "Toggle vertex
handles" button at the top of the canvas window (the second one from the left).
Draw tool is great for drawing complex shapes, but you end up with a bunch of
handles, which are hard to manipulate with the Transform Tool in the way we
described above. There are two solutions here.
First, you can increase the "Smooth" value in the Tool Options Dialog while using Draw
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Tool. That will reduce the count of vertices produced at drawing time, but will make
your shape less detailed.
Second, you can use Smooth Move Tool to deform an existing shape. Go for it and
click the Smooth Move Tool button in the toolbox. The trick about this tool is that it
affects selected handles only. Press and hold your left mouse button in an empty
place of the canvas. Drag to create a selection box. Release the mouse button when
you are done. Or just hit Ctrl A to select all handles. Now you can deform the
selected segments of Spline. You can change the size of the influence area by
tweaking "Radius" in the Tool Options Panel.
What about outline width? There is a Width Tool for that purpose. It is designed for
increasing or decreasing the width of a line much like you would with a pencil on
paper. Click the Width Tool button in the toolbox, move your stylus over the line you
want to change, press and move the cursor back and forth along the line, like you are
scratching something. The width of the outline will be increased at the places where
you moved the cursor. If you want to decrease the width, just hold "Ctrl" while
scratching. Easy!
If you don't want width handles to be displayed, during usage of the Width Tool, just
turn them off by pressing the "Toggle width handles" button at the top of the canvas
window.
Other ways to create Splines

Is that all? Not yet. You can use Circle, Rectangle, Star and Polygon tools to create
Splines too. Just check the "Create Outline" and "Create Region" options in the Tool
Options Panel when using those tools.
Creating geometric primitive as Spline gives you a better control over it's shape and
look. For example, if you want a deformed star, then you can use the Star Tool to
create it as outline and region Splines and then use the Transform Tool to deform it.
Now you are ready for the last tutorial in this section. Hang on!
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Content of this Synfig Studio Documentation Wiki is available under the terms of
Creative Commons Attribution-Share Alike 3.0 license. By contributing here you
agree that the same license will be applied to your writing. If you do not want
your writing to be edited mercilessly and redistributed at will, then do not
submit it to this wiki. You are also promising us that you wrote this yourself, or
copied it from a public domain or similar free resource. Do not submit
copyrighted work without permission!
8 of 8 07/07/2016 08:38 PM
Animating Shapes - Synfig Animation Studio http://wiki.synfig.org/Doc:Flower_Animation
Animating Shapes
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Basic settings
Contents
In the previous tutorial, you have learned to create shapes with the
Spline Tool, in this tutorial we will learn how to create a simple 1 Basic settings
animation of a growing flower using Splines. 2 Animate the stem
3 Adding the petals
Start Synfig Studio — a new animation will be created. If you already
4 Hiding the petals
have Synfig Studio started, select "File → New" in the toolbox.
5 What's next
First, we need to create a gradient for a background. Click on the
outline and fill colors in the Toolbox to select the colors our
gradient will have. You can also directly edit the gradient by
clicking the gradient line in the toolbox.
Select the Gradient Tool and drag your cursor vertically across the
canvas to fill it with the gradient.
Next, select the Spline Tool and in the Tool Options Panel, make
sure that only "Create Region Spline" is checked. In the toolbox, set
the fill color to green. Draw a kind of triangle with the Spline tool. To close the shape after
drawing the 3 vertices, right click on the first vertex and choose "Loop Spline".
Now that the trace of the form is closed, you can generate the proper form by selecting another
tool or by pressing the button with the gear icon at the bottom of the Tool Options Panel.
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This will be the base of the stem. You can tweak the tangent handles (red dots) a bit to make a
rounder triangle. With the Transform Tool, right-click on each vertex and select "Split Tangents",
so the tangent handles of each vertex can be moved separately. We're done with the basic
settings.
Animate the stem

In the Canvas Menu, select the caret menu icon in the upper left hand corner, where the rulers
2 of 10 07/07/2016 08:38 PM
intersect, and then select "Edit → Properties". Go to the "Time" tab, set the "End time" to "6s" and
click OK button.
Click at the beginning of the timetrack ("0f"), then, in the Keyframes Panel (the one with a key
icon) click the button with a "+" icon (add a new keyframe). Keyframes allow us to settle down
the scene; i.e. on a keyframe, every element of the scene will have all its properties
remembered. Click again on the timetrack, at "4s 12f" (ie 4.5s at 24 fps). Press the green man at
the bottom right of the canvas (or whatever icon you have there, depending on your icon theme)
to switch to the Animate Editing Mode (the man is now red).
With the Transform Tool, select the green sprout, and move the upper vertex up to make a stem.
You can play with the vertex handles to bend the shape a bit if you want.
While you are still at "4s 12f", right-click on the stem border, close to the top, and choose "Insert
Item (smart)". Do the same on the other side of the stem. Right click on those new points and
choose "Split Tangents". Then try to make a shape that looks like the one on the image, to create
the flower bud.
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Now if you click on "2s" (for example), you'll see that the shape of the bud is slightly visible,
even if the sprout is rather small, and even if the bud handles are invisible.
Let's say we want the bud to appear only at 3s 12f, and be full size at 4s 12f.
Click on "3s 12f" on the timetrack. Now take a look at the "Parameters" and "Timetrack" panels at the
bottom. You'll see that each parameter in the Parameters Panel matches a row in the Time
Track Panel. The last parameter is the vertices list. Click on the small arrow on the left to unfold
the list. You should see something like this:
Each brown diamond (or waypoint) stands for a recorded value (here the vertices positions
were recorded at 0f with the keyframe, and at 4s when we moved some vertices or vertices
handles). The two vertices we added to make the bud are marked with green and red vertical
line on their 0s and 4s waypoints. Right-click on them in the parameters list, and select "Mark
Activepoint as Off".
The panel should now look like this, the grayed part being the part where the bud vertices have
no effect on the stem.
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For example if you click on "2s" or even "3s" now, the bud shape is not visible. It starts to appear
only a little after 3s 12f.
However, the shape of the stem may not look very nice during its growth between 0 and 4s.
Make sure you're still in Animate Edit Mode, and tweak the shape at various moments in time,
to get something you like.
The animation of the stem is now finished, but it still lacks the petals. You can watch a preview
of your animation: Go to "File → Preview", validate, wait for the preview to be generated, and
watch.
Note
Previews are often pixelated and blurry, but the final render will
be clean-cut. Higher quality previews are obtainable by using
higher values for 'Zoom' and 'Frames per second' in the preview
dialog window.
Adding the petals

Now leave the "Animate Editing Mode" by clicking on the red circle at the right bottom of the
canvas.
Change the fill color to pink, and create a petal with the Spline Tool. You'll notice that the green
handle that allows easy movement of a shape is at the center of the canvas. Select all the
vertices of the petal with Ctrl A and move them close to the green handle (with the Transform
Tool), as shown.
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Then drag the green handle very close to the top of the bud. Hit Ctrl A again to select all
vertices of the petal and tweak it a bit with Rotate Tool. Also, in the Layers Panel select the
petal layer and put it under the stem layer. Click on the petal to select it, then ctrl-click on the
stem. Both objects should be selected.
Now click on the vertex at the top of the stem and ctrl-click on the green handle of the petal
(both should appear in a lighter color, as they are selected). Then right-click on the stem top
vertex, and select "Link". The petal will move a bit as the green handle is snapped on the stem
vertex.
Now that there's a link between the petal and the top of the stem, when the top of the stem
moves, the petal will follow the move. (And if the green handle of the petal moves, the top of the
stem will move, but we don't want to do that here.)
On the Layers Panel, select the newly created Petal layer and duplicate it (with the third button,
on the bottom of the Layers Panel). On the canvas, press Ctrl A to select all the vertices of the
duplicated petal, and move them a little, so the petals are no longer overlaid. (Don't move the
green handle, just the orange ones). Repeat the process several time, to get something looking
like this image.
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Note that the duplicated petals are also linked to the stem. If you go back to the first keyframe,
you'll see that the petals are visible. We don't want that. We want the petals to appear and
bloom almost at the end of the growth.
Hiding the petals

Let's say we want the petals to appear a little after 4 seconds in the animation, and be full size
at 5 seconds, instead of being visible and full size all the time.
Switch to "Animate Editing Mode" again by clicking on the green circle at the bottom right of the
canvas. But if we will go to "4s" and modify them, then they also change at "5s". Because the
shape/position of the petals is not fixated at this moment of time by any waypoints or keyframes.
That means that we need a keyframe at "5s". On the timetrack, click to place the cursor at 5
seconds. On the Keyframes Panel, click on "+" to add a new keyframe.
Now click on "4s", and on the Layers Panel, select all the petals layers (with ctrl+click), then
press Ctrl A to select all the petals vertices. Scale them down with the Scale Tool, and move
them, so they are hidden by the stem, as shown.
From 4s to 5s, the petals will now appear and bloom. But notice that we have a keyframe at 0s
which also remembers petals shape. That makes the problem — the petals are still visible from
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the first keyframe to the 4s keyframe. We could either make the petals tiny and hidden tweaking
their size on every frame from 0s to 4s, or we could make them invisible on this interval.
Let's choose the second solution. To make things easier, we are going to group the petal layers
into an Group Layer. With all the petal layers selected, right-click on them on the Layers Panel
and select "Group". You can rename the layers to make things more understandable.
Select the "Petals" Group Layer and jump to the first keyframe. In the Parameters Panel, set the
"Amount" value to "0". The petals are now invisible on that keyframe. Note that two waypoints
were added in front of the "Amount" parameter, one at 0s and the other at 5s. Drag the 5s
waypoint to 4s, so that the opacity of the petals will be 1 at 4s.
There is still one problem left: from 0s to 4s, the opacity of the petals slowly increases, making
the petals visible when they shouldn't. To solve this, we will change the Amount interpolation
method. Right click on the Amount waypoint at 0f, and select "Edit". A new dialog will appear, in
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which you can choose the In and Out interpolation. Set the Out Interpolation to "Constant".
Tip
You can also change waypoint Out interpolation by right-clicking
on it and selecting "Out → Constant".
This means that after that waypoint, the Amount value will remain constant, until another
waypoint is encountered. So from 0f to 4s the Amount value will be equal to 0, and at 4s it will
suddenly changed to 1, and make the petals visible, as expected. Alternatively, we could have
achieved the same effect by setting the In Interpolation of the waypoint at 4s to "Constant".
Notice how (half of) the waypoint changes from a green circle (meaning smooth animation of
the amount parameter) to a red step (meaning that the amount parameter is suddenly stepped).
Now you're done. The stem grows for 4.5 seconds and then stays still the last 1.5 seconds. The
petals are hidden until 4 seconds, and then grow quickly between 4 and 5 seconds, and stay still
the last 1 second too.
Click on "File → Render" to render your animation. Select any format you want, and ensure that
"Use current frame" option is unchecked (otherwise, one frame only will be rendered).
You can download the project File:FlowerTutorial.sifz used for the screenshots.
What's next
Synfig Studio have a Skeleton animation system, in the next step you will learn how to setup a
basic skeleton.
9 of 10 07/07/2016 08:38 PM
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Categories: Tutorials Tutorials Intermediate Data Linking NewTerminology

Content of this Synfig Studio Documentation Wiki is available under the terms of Creative
Commons Attribution-Share Alike 3.0 license. By contributing here you agree that the
same license will be applied to your writing. If you do not want your writing to be edited
mercilessly and redistributed at will, then do not submit it to this wiki. You are also
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10 of 10 07/07/2016 08:38 PM
Basic Bone Tutorial - Synfig Animation Studio http://wiki.synfig.org/Doc:Basic_Bone_Tutorial
Basic Bone Tutorial

Language:
English • français
Contents
1 Introduction
2 Prepare the joints
3 Adding the bones
4 Attaching the bones
5 Tip for making a crosshair
6 Projet file
7 Next Steps
Introduction
In this tutorial we are going to rig an arm with fixed joints using the Skeleton Layer and three bones. The arm consists of three
parts: the upperArm, the lowerArm and the hand. (pic.1) Each part is grouped in its own layer and the three groups are again
grouped in a layer that is called arm (pic.2).
PICTURE 2: The layers
PICTURE 1: Three parts of

the arm
Prepare the joints
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Before we start rigging the arm we have to prepare it to make sure that the joints properly
rotate.
In picture 1 we can see that the lower side of the upper arm is straight and does not have an
outline, while the upper part of the lower arm has an outline that is curved. The bottom part of
the lower arm does not have an outline and is also straight. The joint of the hand is also curved
with an outline.
To make sure that the joint parts of the arm rotate correctly, we made them with the help of a
couple of crosshairs (picture 3). In picture 4 and picture 5 we can see how the horizontal
crosshair line matches the straight line of the bottom of the upper arm and at the same time the
outline of the circle of the crosshair matches the top curved outline of the lower arm.
The same principle is applied to the hand and the bottom part of the lower arm. The crosshairs
also mark the centre of the rotation point that will later be used when placing the bones. Before
placing the bones we can align the Group Transformation Widget (press control and move the
left corner handle of the Group Transformation Widget to move it.) of the lowerArm group and
the hand group with the crosshairs of the elbow and the wrist to check if the joints rotate
correctly.
Don’t forget to bring the arm into its original position by pressing undo. (Don’t worry if the hand
does not rotate with the elbow when you check the elbow joint by using the Group
Transformation Widget.)
PICTURE 3: Joints
PICTURE 4: Joints align

PICTURE 5: Joints align
Adding the bones
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PICTURE 6: Adding
bone
Now it’s time to add a Skeleton Layer that will provide the bones we need to rig the arm.
Right-click on any layer in the Layers Panel and choose "<New Layer> → <Other> → <Skeleton>". A new Skeleton Layer (pic. 7) will
appear in the Layers Panel alongside with a small bone in the canvas (pic.6). Put the Skeleton Layer above the arm group if it is
not already there. The green handle of the bone is the origin of the bone and is used to move the bone in place and is also its
centre of rotation. The blue handle is used to rotate the bone. The orange handle determines the lenght of the bone is used to
stretch the bone and its contents. The first bone is the parent bone and should be moved toward the shoulder and stretched so
that it almost reaches the outlines of the first crosshair of the elbow. Right-click on any of the handles of the parent bone and
select "Create Child Bone". Move the green origin point of the child bone so that it matches the crosshair of the elbow and stretch it
until it almost reaches the crosshair of the wrist. Right click on any of the handles of the child bone and create another child
bone. Move the green origin point of the second child bone so that it matches the crosshair of the wrist (pic.8). Stretch the bone
until it reaches the end of the fingers.
PICTURE 7: Adding skeleton layer
PICTURE 8: Green origin point hand
Attaching the bones

Now that the Skeleton Layer is in place we have to attach the bones to the parts of the arm. In the Layers Panel click on the
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upperArm group, right-click and "Select All Child Layers". Then press Ctrl A in the canvas window.
With everything in the upperArm group highlighted, Ctrl -click on any bone in the canvas window
and right-click on any of the handles of the parent bone and click "Link to Bone". The upperArm
group is now linked to the parent bone. Go the Layers Panel again and select the lowerArm group.
Right-click and "Select All Child Layers". Press Ctrl A in the canvas window and Ctrl -click on one of
the bones. Then right-click on any of the handles of the first child bone and select "Link to bone".
The lowerArm group is now linked to the second child bone. In the Layers Panel select all the
child layers of the hand group and press Ctrl A in the canvas window. Ctrl -click on any bone and
then right-click on any of the handles of the second child bone and select "Link to bone" (pic.8) The
hand is now linked to the second child bone and the entire skeleton is now linked to the arm.
PICTURE 8: Attaching hand

to second child bone.
Tip for making a crosshair

Making a crosshair in Synfig is easy. Draw a circle. Draw the outlines of a square and align them with the circle. Draw an X
using the corners of the square as a reference. Delete the square. Group the circle and the X. Rotate 45 degrees using the Group
Transformation Widget.
PICTURE 9: Drawing a crosshair.
Projet file
The sif file containing the parts of this tutorial can be found here
Next Steps
This is the end of the introductory tutorials. From here you can take a look at the Interface page, or continue reading or doing
the rest of Tutorials. The Manual gives you a list of the available articles to read for a more complete understanding of Synfig.
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Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Basic_Bone_Tutorial&oldid=21271"
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Categories: Manual Tutorials Tutorials Basic

Content of this Synfig Studio Documentation Wiki is available under the terms of Creative Commons Attribution-Share Alike
3.0 license. By contributing here you agree that the same license will be applied to your writing. If you do not want your
writing to be edited mercilessly and redistributed at will, then do not submit it to this wiki. You are also promising us that
you wrote this yourself, or copied it from a public domain or similar free resource. Do not submit copyrighted work without
permission!
5 of 5 07/07/2016 08:38 PM
Quick Overview - Synfig Animation Studio http://wiki.synfig.org/Doc:Quick_Overview
Quick Overview
Language:
English • español • français • italiano • română • русский
Need to be updated with 1.0 series interface
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Quick Overview - Synfig Animation Studio http://wiki.synfig.org/Doc:Quick_Overview
File:Quick-overview-doc-sifz.zip : project to generate images of this page.
Language:
Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Quick_Overview&oldid=20838"
Categories: Manual Interface NewTerminology

Commons Attribution-Share Alike 3.0 license. By contributing here you agree that the same
license will be applied to your writing. If you do not want your writing to be edited
mercilessly and redistributed at will, then do not submit it to this wiki. You are also promising
us that you wrote this yourself, or copied it from a public domain or similar free resource. Do
not submit copyrighted work without permission!
2 of 2 07/07/2016 08:39 PM
Interface - Synfig Animation Studio http://wiki.synfig.org/Doc:Interface
Interface
Language:
English • español • français • italiano • română
Synfig Studio start in one window, and dock a

number of individual panels into that window. The
default layout of user interface is divided in three Contents
parts : the toolbox, the canvas and the other
panels. 1 The Toolbox window
2 The Canvas window
2.1 Show/Hide Menu Bar
3 The other panels
3.1 The Navigator, Tool Options and Layers Panel
3.2 The Parameter and Time Track Panel
SynfigStudio - User Interface
This page tries to give you a short introduction to the different elements you will find after opening synfig.
The Toolbox window
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The Toolbox
The Toolbox Panel is a major piece of Synfig : even if you have several open projects, there will only be one
Toolbox.
The toolbox is separated into two areas:
The upper palette contains the tools which allow you to create and manipulate objects. In synfig we will
talk of layers, as each object lies in its own layer. You can find a detailed description of each tool here.
The lowest palette contains the default settings for new layers: fore- and background colors, Brush Size
and Current Gradient. You can find a detailed description of each default settings here.
The Canvas window
The Canvas
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Once you have opened a file or created a new project you'll see the Canvas Window. This is where you'll create
your animation!
In addition of set of menus at the top of the screen, or the top of the drawing window, Synfig has a caret: the
little black triangle in the upper left corner of the canvas. Beneath are all the menus you would expect and that
allow you to access most of Synfig's features.
The area with the grey check-board pattern is your working area in which you can create elements/layers and
manipulate them.
The timeline that you can see in the picture here only appears when you have defined a non-zero duration in the
properties of your project. To the left you can see the number of the current frame and on the right side buttons
to lock/unlock the keyframes and to switch the animation status. The Animation Basics Tutorial gives a good
introduction on how to work with this buttons.
In the picture above there are three elements on the canvas, the black curve - called Spline - is selected. The
little orange and brown dots along the spline control the curve and are called handles. Also you can see the
Group Transformation Widget of the selected Group Layer.
Show/Hide Menu Bar
With the menu entry "<Display> → Show Menu Bar" you can hide the menu bar. To show again the menu bar use the
same entry from the Canvas Menu Caret.
The other panels

The Navigator, Tool Options and Layers Panel
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Navigator and Layers

Panel
To the right side, three areas, each of which can show different panels: in this picture the Navigator Panel, the
Tool Options Panel and the Layers Panel are active.
You can access detailed descriptions of the other panels here.
The Parameter and Time Track Panel
Parameters and Time Track panels
Finally, at the bottom you can see the Parameters Panel, where you can find detailed parameters and settings
for the active element like colour, width, opacity, location and so on. To the right is the Time Track Panel that
allows you to create and modify Waypoints.
Language:
English • español • français • italiano • română
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Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Interface&oldid=21275"
Categories: Manual Interface Tutorials Tutorials Basic NewTerminology

5 of 5 07/07/2016 08:39 PM
Canvas File Menu - Synfig Animation Studio http://wiki.synfig.org/Canvas_File_Menu#Import
Canvas File Menu

Language:
English
The File menu has the following options:
Contents
New
1 New
2 Open
Open 3 Open Recent
4 Save
5 Save as
Open Recent 6 Save all
7 Revert
8 CVS - revision control system
Save 9 Import
9.1 Image files supported
Save - Saves the current project. 9.2 Sound files supported
10 Render
".sifz" save a compressed project file. 11 Preview
".sfg" will embed images, audio, etc 12 Close
compressed into a zip container. 13 Quit
If you use ".sif" then the files tend to
get pretty large. The best thing to do is
not to use any '.' in the path at all, and then synfig will append .sifz (if it's
new enough) or .sif (otherwise).
See also Synfig file formats.
Save as
Save As - Saves the current project under a different name.
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Again, use .sif, .sifz or .sfg for synfig save files, or use a path without any '.'
characters to get the default (compressed if supported).
Save all
Revert
Revert - Opens the version saved on disk. This will overwrite any unsaved
changes.
CVS - revision control system

CVS Add
CVS Update
CVS Commit
CVS Revert
Import
Import - Imports an external file.
Depending on the file type you import, the appropriate layer is created and added
to the Layers Panel:
Import Image Layer grouped in a Switch Group Layer for any image file.
Sound Layer for any sound file.
Image files supported

The images are imported with its dimension unless you have
"<Edit> → <Preferences> → <Misc.> → Scale New imported images to fit canvas" checked.
The supported file formats include :
PNG
PNG with alpha
GIF
JPEG
BMP
XCF (though layers are not supported, for multi-layer .xcf file see
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Gimp2synfig extension )
PSD (though layers are not supported, for multi-layer convert it to xcf using
Gimp (http://www.gimp.org) and then use Gimp2synfig extension)
TGA
PPM
EXR
SVG (using the Inkscape "SIF exporter" extension is the recommended way)
LST (to import an image sequence)
Sound files supported

OGG
WAV
MP3
...
The full list of supported file formats depend on MLT framework

(http://www.mltframework.org/) (Media Loving Toolkit)
Render
Render - Open the Render options dialog to export the project.
Preview
Preview - Render out a Preview of the current project.
Close
Close - Close the current project.
Quit
Quit - Close all opened project and quit synfigstudio.
Language:
English
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Retrieved from "http://wiki.synfig.org/index.php?title=Canvas_File_Menu&

oldid=21417"
Category: NewTerminology

permission!
4 of 4 07/07/2016 08:41 PM
Doc:Gimp2synfig - Synfig Animation Studio http://wiki.synfig.org/Doc:Gimp2synfig
Doc:Gimp2synfig
Language:
Introduction Contents
To simplify the work of animating my cartoon about a mouse, a plug-in for the GIMP
1 Introduction
(http://gimp.org/) raster editor has been written, to allow the direct exporting of multi-
2 Installation
layered images to corresponding layers of the 2D animation package Synfig.
3 Usage
4 License
Installation
You can download the synfigexport plugin here (https://github.com/d-j-a-y/Gimp2Synfig/releases/latest).
To make it work, Gimp must support Python (http://python.org), and the most recent version of Python must be
installed on your computer.
From Gnu/Linux operating system like, to install this plug-in, simply put the file in "~/.gimp-*/plug-ins/" and make
it executable "chmod u+x synfigexport.py", then restart gimp.
The plug-in registers itself in the GIMP Export File dialog box "<File> → Export".
Usage
Firstly, from Gimp, save your image.
Open the Export (or "Export As") dialog box, select "Synfig Studio" has file type (.sifz), choose a destination
folder and a name, and exports gimp document to synfig's canvas and png images.
There are export options you can choose.
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Here is the result:
Initial Gimp image Imported into Synfig
License
Author: IL'dar AKHmetgaleev aka AkhIL - blog akhil : original work (http://blog.akhil.ru/) Contributor : d.j.a.y
Gimp2Synfig : updated fork (https://github.com/d-j-a-y/Gimp2Synfig)
This program is licensed under Creative Commons Attribution 3.0 Unported License. Distribution and updating
of the code is appreciated.
Language:
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Categories: Manual Tutorials Tutorials Intermediate ImportArt NewTerminology

2 of 3 07/07/2016 08:41 PM
3 of 3 07/07/2016 08:41 PM
Quinema: pixelar animation tools - Synfig Animati... http://wiki.synfig.org/Doc:Quinema
Quinema: pixelar animation tools

Language:
English • español
It is a group of applications that allows to

clean, compose and paint images pixelares to
matter them in Synfig Studio. Contents
Work with images pixelares in animation is a 1 Add Shadown
task complicated the images has to be 2 Build a Project Synfig Studio
cleaned so that they do not have "noise", 3 License
afterwards be painted and have bottoms with
transparency, all this does easier using
quinema, a group applications for linea of commando that helps us to edit the
images to matter them in Synfig Studio.
More info (https://github.com/4232/quinema/wiki/README.en)
Add Shadown
It adds shadows and generates a xcf editable in layers.
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quinema-sombra -p 1,1 j01.png sj01.png
Build a Project Synfig Studio

make a project
cd directory
quinema-synfig . > toma.sif
License
Author: Ernesto Bazzano (Bazza) - Blog (http://4232.cf)
Release AGPLV3+
Language:
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Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Quinema&

oldid=22077"
Categories: NewTerminology Manual ImportArt

permission!
3 of 3 07/07/2016 08:41 PM
Import Image Layer - Synfig Animation Studio http://wiki.synfig.org/Import_Image_Layer
Import Image Layer

Language:
English
About Import Image

Layer Contents
1 About Import Image Layer
1.1 Size of imported images
2 Parameters of the Import Image Layers
2.1 Top-Left
FIXME!!! 2.2 Bottom-Right
2.3 Filename
A short description of the layer 2.4 Time Offset
can be found here: Layer
Size of imported images
A global option in the Setup Dialog scale the image to the Canvas size.
Parameters of the Import Image Layers

Parameters of the Import image layers are:
Name Value Type

Z Depth 0.000000 real
Amount 1.000000 real
Blend Method Composite integer
Top-Left -0.500000pt,0.500000pt vector
Bottom-Right 0.500000pt,-0.500000pt vector
Interpolation Linear(Static) integer
Gamma Adjustment 1.000000 real
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Import Image Layer - Synfig Animation Studio http://wiki.synfig.org/Import_Image_Layer
Filename string
Time Offset 0f time
Top-Left
Image top left corner coordinate.
Bottom-Right
Image bottom right corner coordinate.
Filename
File to import
Time Offset
Time offset used for image sequence import
Language:
English
Retrieved from "http://wiki.synfig.org/index.php?title=Import_Image_Layer&

oldid=21414"
Categories: Layers ImportArt NewTerminology

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ListImporter - Synfig Animation Studio http://wiki.synfig.org/Doc:ListImporter
ListImporter
Language:
Important for lst file creation

The list importer is quite sensitive and may fail to
import if the .lst file contains extra space caracters or
non unix line terminator.
See Synfig forum thread (http://www.synfig.org/forums/viewtopic.php?f=12&t=4364) for more info.
General informations
The list importer allows you to import a text file containing a list of still images
and have it be treated as a single animated layer.
To use it, simply create a text file with the filename of each still frame listed
per-line. Save this text file with the extension lst(That is LST in lowercase). Import
it into Synfig like you would any other image.
The default framerate is 15 frames per second. If you would like to use a different
frame-rate, add a line to the file like this:
FPS 24
Now the frame-rate will be 24 frames per second.
Since svn r1540 the list importer allows also import Papagayo
(http://www.lostmarble.com/papagayo/index.shtml) output lipsync voice files.
As well as Papagayo only export the phonemes it is assumed by default that the
image file is a jpeg image with "jpg" extension. This means that the standard
phonemes image files must be called like this:
AI.jpg
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E.jpg
etc.jpg
FV.jpg
L.jpg
MBP.jpg
O.jpg
rest.jpg
U.jpg
WQ.jpg
If you want to change the type of image file just insert a valid extension before the
phonemes. It should be done manually as well as the FPS thing.
This is how a valid "lst" file from papagayo looks after inserting the FPS and the
change to other image file type:
MohoSwitch1
FPS 24
png
4 O
7 L
10 AI
13 rest
22 rest
23 MBP
26 E
29 etc
31 AI
33 MBP
35 O
37 etc
39 E
41 etc
43 E
45 etc
47 E
49 rest
It says: "Hola, me llamo Genete"
In this case it has been changed to png.
Allowed image types are:
jpg (default)
png,
ppm
tiff
gif
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Automate, use scripts!

File:Convert-movie-to-png-seq.sh : Nautilus (Gnome file manager) script
which creates a png-sequence from a given movie file and creates a list-file
which you can then import into Synfig. By rylleman , Synfig forum thread
(http://synfig.org/forums/viewtopic.php?f=2&t=470&start=0&
st=0&sk=t&sd=a) for more info,
Listail - List File Generator (https://github.com/andeon/listail) : Listail create
a list of images to 'lst' file, consisting of a frame rate followed by a list of
images to display. listail (https://github.com/andeon/listail) by Anderson
Prado (AndeOn).
Language:
Retrieved from "http://wiki.synfig.org/index.php?title=Doc:ListImporter&

oldid=21973"
Categories: Manual ImportArt NewTerminology

permission!
3 of 3 07/07/2016 08:41 PM
SVG Import - Synfig Animation Studio http://wiki.synfig.org/Doc:Svg2synfig
SVG Import
Language:
Inkscape Contents
SIF
1 Inkscape SIF exporter extension
exporter 1.1 Usage
2 Import SVG directly in Synfig Studio
3 Other options
3.1 Option 1
3.1.1 Objective
3.1.2 Prerequisites
3.1.2.1 Optional Prerequites for Windows
3.1.3 Transforming an SVG into a Synfig File
3.1.3.1 Windows Batch File
3.1.3.2 Command line
3.1.4 Result
3.1.5 Limitations
3.1.6 svg2synfig.xsl
3.2 Option 2
3.2.1 Installation
3.2.2 Usage
extension
The Inkscape (https://inkscape.org) extension converts SVG files to Synfig Studio
(.sif) format and it is a recommended way.
Since Inkscape 0.91 the extension is shipped with the official Inkscape
installation and can be found from - "<File> → <Save as> → Animation synfig (.sif)".
If you want to manually install it, you can found it at Scripts & Tools
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(http://www.synfig.org/cms/en/download/tools/) download section.
Usage
svg2sif adds a "Synfig Animation (*.sif)" option to Inkscape's "Save As" dialog.
I you want to group objects, put all the objects to group on their own layer in
inkscape. This way, they end up in a Group Layer once in the sif format.
If your SVG document contains clones or non-paths (text, rectangles, etc.) the
extension will quickly open another Inkscape window to convert these elements to
paths. This may take a while. The file is not saved until the status bar reads
"Document Saved."
If you save frequently, you can speed up the process by selecting

"<Extensions> → Synfig → Prepare for Export" from the Inkscape menu. This will convert
everything in the current document to paths (but may make it harder to edit).
Source : github/svg2sif/README.md (https://github.com/nikitakit/svg2sif

/blob/master/README.md)
Import SVG directly in Synfig Studio

Since version 0.91 of Inkscape (linux and windows) it is unnecessary to
use additional extension, Inkscape includes the registration under the
extension SIF .
From previous Synfig versions there is an option to import SVG from

"<File> → Import" menu. This seems to work better than the options described
below, however there may be problems importing some SVG elements correctly.
See this topic (http://synfig.org/forums/viewtopic.php?f=12&t=2728) in forums
for some hints.
First import may fail, try to import same file for two times.
0.62.02 is reported to work better in Ubuntu than version 0.63.00.
Other options
The following are outdated options or special options for experts.
Option 1
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This uses an XSLT 2.0 stylesheet to transform SVG XML to Synfig XML.
Objective
Turn an SVG image into a Synfig file for import. First posted in the forums:
http://synfig.org/forums/viewtopic.php?t=30
Prerequisites
1. Make sure a Java runtime environment is installed.

2. Get a recent version of the SAXON XSLT processor for Java from
http://saxon.sourceforge.net/. Recommended version: Saxon-SA 9.0
(saxonsa9-0-0-2j.zip).
3. Extract the SAXON package to a folder of your choice. As an example we're
going to use d:\saxon in the following. The folder will contain several JAR
files.
4. Create the file d:\saxon\svg2synfig.xsl with the content provided at the
bottom of this document ([[#svg2synfig.xsl|]]).
Optional Prerequites for Windows
If you don't want to use the command line, create a batch file d:\saxon
\svg2synfig.bat with this content:
@java -jar %0\..\saxon9.jar -xsl:%0\..\svg2synfig.xsl %1 > %0\..\synfig.sif

@pause
Transforming an SVG into a Synfig File
Windows Batch File
1. Just drop the SVG file onto svg2synfig.bat.
Command line
1. Change directory to d:\saxon.

2. Enter the following command (replace your_input.svg by the path of the SVG
file):
java -jar saxon9.jar -xsl:svg2synfig.xsl your_input.svg > synfig.sif
Result
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If the conversion has been successful, the result will be written to the file d:\saxon
\synfig.sif. You can open this file in Synfig.
Limitations
Doesn't seem to work with SaxonB (FOSS version)

Compressed SVG (svgz) must be uncompressed first.
Only SVG path objects are supported. Try converting all objects to paths.
Only a subset of path elements is supported. Try to modify all path nodes to
have split tangents, and all path segments to be curves.
Sophisticated coloring (e. g. gradients) is not supported.
Only basic transformations are supported.
Fill and outline on the same object is not supported.
svg2synfig.xsl
<xsl:stylesheet version="2.0" exclude-result-prefixes="#all"

xmlns:xsl="http://www.w3.org/1999/XSL/Transform"
xmlns:svg="http://www.w3.org/2000/svg"
xmlns:xs="http://www.w3.org/2001/XMLSchema"
xmlns:math="http://exslt.org/math">
<xsl:output method="xml" indent="yes" encoding="UTF-8"/>
<xsl:template match="/">
<xsl:apply-templates/>
</xsl:template>
<xsl:template match="svg:svg">
<xsl:variable name="width" select="math:units_to_px(@width)"/>
<xsl:variable name="height" select="math:units_to_px(@height)"/>
<xsl:variable name="has_view_box" select="matches(@viewBox, '(\d+\s){3}\d+')"/>
<canvas version="0.2" id="{@id}"
width="{if ($has_view_box) then replace(@viewBox, '(\d+)\s(\d+)\s(\d+)\s(\d+)', '$3'
height="{if ($has_view_box) then replace(@viewBox, '(\d+)\s(\d+)\s(\d+)\s(\d+)', '$4
view-box="{if ($has_view_box) then @viewBox else concat('0 0 ', $width, ' ', $height
<xsl:apply-templates select="svg:g|svg:svg|svg:path"/>
</canvas>
</xsl:template>
<xsl:template match="svg:g">
<layer type="PasteCanvas" active="true" version="0.1" desc="{@id}">
<param name="canvas">
<canvas>
<xsl:apply-templates/>
</canvas>
</param>
</layer>
</xsl:template>
<xsl:template match="svg:path">
<xsl:variable name="style">
<xsl:for-each select="ancestor-or-self::*">
<xsl:sort select="position()" data-type="number" order="descending"/>
<xsl:value-of select="concat(@style, ';fill:', @fill, ';stroke:', @stroke, ';stroke-
</xsl:for-each>
</xsl:variable>
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<xsl:variable name="self" select="."/>

<xsl:variable name="is_fill" select="not(matches(replace($style, 'fill:[^n;][ô].*', ''), 'fill:none
<xsl:analyze-string select="@d" regex="m[^z]+(z|$)" flags="i">
<xsl:matching-substring>
<layer type="{if ($is_fill) then 'region' else 'outline'}" version="0.1" desc="
<xsl:call-template name="style-to-color">
<xsl:with-param name="style" select="replace(replace($style, ':none.
</xsl:call-template>
<xsl:if test="not ($is_fill)">
<xsl:call-template name="style-to-width">
<xsl:with-param name="style" select="replace($style, '.*stro
</xsl:if>
<param name="bline">
<bline type="bline_point" loop="{matches(., 'z', 'i')}">
<xsl:call-template name="path-to-bline">
<xsl:with-param name="path" select="."/>
<xsl:with-param name="node" select="$self" tunnel="y
</bline>
</param>
</layer>
</xsl:matching-substring>
</xsl:analyze-string>
</xsl:template>
<xsl:template name="path-to-bline">
<xsl:param name="path"/>
<xsl:variable name="stripped" select="replace(replace(translate($path, ',', ' '), '(\d)-', '$1 -'),
<xsl:variable name="closed" select="if (matches($stripped, 'z', 'i')) then $stripped else replace($s
<xsl:variable name="tmp" select="replace($closed, '([-\d.]+\s[-\d.]+)l([-\d.]+\s[-\d.]+)', '$1c$1 $2
<xsl:variable name="curve" select="replace($tmp, '([-\d.]+\s[-\d.]+)l([-\d.]+\s[-\d.]+)', '$1c$1 $2
<xsl:analyze-string select="$curve" regex="\s([-\d.]+\s[-\d.]+)\s[-\d.]+\s[-\d.]+z" flags="i">
<xsl:analyze-string select="concat(regex-group(1), $curve)" regex="([-\d.]+)\s([-\d.
<xsl:call-template name="node-to-bline-point">
<xsl:with-param name="c1_x" select="regex-group(1)"/>
<xsl:with-param name="c1_y" select="regex-group(2)"/>
<xsl:with-param name="x" select="regex-group(3)"/>
<xsl:with-param name="y" select="regex-group(4)"/>
<xsl:with-param name="c2_x" select="regex-group(5)"/>
<xsl:with-param name="c2_y" select="regex-group(6)"/>
</xsl:template>
<xsl:template name="node-to-bline-point">
<xsl:param name="x"/>
<xsl:param name="y"/>
<xsl:param name="c1_x"/>
<xsl:param name="c1_y"/>
<xsl:param name="c2_x"/>
<xsl:param name="c2_y"/>
<xsl:param name="node" tunnel="yes"/>
<xsl:variable name="transform">
<xsl:for-each select="$node/ancestor-or-self::*/@transform">
<xsl:value-of select="."/>
</xsl:for-each>
</xsl:variable>
<xsl:variable name="t" select="math:resolve_transform($transform)"/>
<xsl:variable name="transformed_x" select="$t[5] + $t[1] * xs:float($x) + $t[3] * xs:float($y)"/>
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<xsl:variable name="transformed_y" select="$t[6] + $t[2] * xs:float($x) + $t[4] * xs:float($y)"/>

<xsl:variable name="transformed_c1_x" select="$t[5] + $t[1] * xs:float($c1_x) + $t[3] * xs:float($c1
<xsl:variable name="transformed_c1_y" select="$t[6]+ $t[2] * xs:float($c1_x) + $t[4] * xs:float($c1_
<xsl:variable name="transformed_c2_x" select="$t[5] + $t[1] * xs:float($c2_x) + $t[3] * xs:float($c2
<xsl:variable name="transformed_c2_y" select="$t[6]+ $t[2] * xs:float($c2_x) + $t[4] * xs:float($c2_
<entry>
<composite type="bline_point">
<point>
<vector>
<x><xsl:value-of select="$transformed_x"/></x>
<y><xsl:value-of select="$transformed_y"/></y>
</vector>
</point>
<width>
<real value="1"/>
</width>
<origin>
<real value="0.5"/>
</origin>
<split>
<bool value="true"/>
</split>
<t1>
<xsl:call-template name="vector-pair-to-radial">
<xsl:with-param name="origin-x" select="$transformed_c1_x"/>
<xsl:with-param name="origin-y" select="$transformed_c1_y"/>
<xsl:with-param name="x" select="$transformed_x"/>
<xsl:with-param name="y" select="$transformed_y"/>
</t1>
<t2>
<xsl:call-template name="vector-pair-to-radial">
<xsl:with-param name="origin-x" select="$transformed_x"/>
<xsl:with-param name="origin-y" select="$transformed_y"/>
<xsl:with-param name="x" select="$transformed_c2_x"/>
<xsl:with-param name="y" select="$transformed_c2_y"/>
</t2>
</composite>
</entry>
</xsl:template>
<xsl:template name="vector-pair-to-radial">
<xsl:param name="x"/>
<xsl:param name="y"/>
<xsl:param name="origin-x"/>
<xsl:param name="origin-y"/>
<xsl:variable name="dx" select="xs:float($x) - xs:float($origin-x)"/>
<xsl:variable name="dy" select="xs:float($y) - xs:float($origin-y)"/>
<xsl:variable name="d" select="math:sqrt($dx * $dx + $dy * $dy)"/>
<xsl:variable name="angle" select="math:atan2($dy, $dx)"/>
<radial_composite type="vector">
<radius>
<real value="{$d * 3}"/>
</radius>
<theta>
<angle value="{$angle * 57.295779513082320876798154814105}"/>
</theta>
</radial_composite>
</xsl:template>
<xsl:template name="style-to-width">
<xsl:param name="style"/>
<xsl:if test="matches($style, '^\d')">
<param name="width">
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<real value="{math:units_to_px($style)}"/>
</param>
</xsl:if>
</xsl:template>
<xsl:template name="style-to-color">
<xsl:param name="style"/>
<xsl:if test="matches($style, '#')">
<xsl:analyze-string select="concat($style, ';')" regex="#([\da-f]{{2}})([\da-f]{{2}})([\da-f
<param name="color">
<color>
<r><xsl:value-of select="math:hex_to_color(regex-group(1))"/
<g><xsl:value-of select="math:hex_to_color(regex-group(2))"/
<b><xsl:value-of select="math:hex_to_color(regex-group(3))"/
<a><xsl:value-of select="if (matches($style, 'fill-opacity:'
</color>
</param>
</xsl:if>
<xsl:if test="matches($style, 'rgb')">
<xsl:analyze-string select="concat($style, ';')" regex="rgb[(\s]+([-\d.]+)[,\s]+([-\d.]+)[,\
<color>
<r><xsl:value-of select="math:power(xs:float(regex-group(1))
<g><xsl:value-of select="math:power(xs:float(regex-group(2))
<b><xsl:value-of select="math:power(xs:float(regex-group(3))
<a>1</a>
</color>
</param>
</xsl:if>
<xsl:if test="matches($style, 'url')">
<color><r>0.5</r><g>0.5</g><b>0.5</b><a>0.5</a> </color>
</param>
</xsl:if>
</xsl:template>
<xsl:function name="math:resolve_transform">
<xsl:param name="transform"/>
<xsl:variable name="stripped" select="replace(replace($transform, 'translate\(', 'X(1,0,0,1,
<xsl:analyze-string select="concat('X(1,0,0,1,0,0)', $stripped)" regex="(.*)X\((-?[\d.]+),(-
<xsl:non-matching-substring>
<xsl:sequence select="(1,0,0,1,0,0)"/>
</xsl:non-matching-substring>
<xsl:variable name="a2" select="xs:float(regex-group(8))"/>
<xsl:variable name="b2" select="xs:float(regex-group(9))"/>
<xsl:variable name="c2" select="xs:float(regex-group(10))"/>
<xsl:variable name="d2" select="xs:float(regex-group(11))"/>
<xsl:variable name="e2" select="xs:float(regex-group(12))"/>
<xsl:variable name="f2" select="xs:float(regex-group(13))"/>
<xsl:variable name="a1" select="xs:float(regex-group(2))"/>
<xsl:variable name="b1" select="xs:float(regex-group(3))"/>
<xsl:variable name="c1" select="xs:float(regex-group(4))"/>
<xsl:variable name="d1" select="xs:float(regex-group(5))"/>
<xsl:variable name="e1" select="xs:float(regex-group(6))"/>
<xsl:variable name="f1" select="xs:float(regex-group(7))"/>
<xsl:variable name="p" select="($a1*$a2+$c1*$b2,$b1*$a2+$d1*$b2,$a1*$c2+$c1*
<xsl:variable name="remainder" select="replace(regex-group(1), 'X\(1,0,0,1,0
<xsl:choose>
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<xsl:when test="matches($remainder, 'X')">

<xsl:variable name="recursion" select="concat($remainder, 'X
<xsl:sequence select="math:resolve_transform($recursion)"/>
</xsl:when>
<xsl:otherwise>
<xsl:sequence select="$p"/>
</xsl:otherwise>
</xsl:choose>
</xsl:function>
<xsl:function name="math:hex_to_color" as="xs:float">

<xsl:param name="hex"/>
<xsl:value-of select="math:power(xs:float(string-length(substring-before('0123456789abcdef', substri
</xsl:function>
<xsl:function name="math:units_to_px" as="xs:float">

<xsl:param name="size"/>
<xsl:analyze-string select="$size" regex="^([-\d.]+)([a-z%]*)$">
<xsl:variable name="factor">
<xsl:choose>
<xsl:when test="regex-group(2) = 'pt'">1.25</xsl:when>
<xsl:when test="regex-group(2) = 'em'">16</xsl:when>
<xsl:when test="regex-group(2) = 'mm'">3.54</xsl:when>
<xsl:when test="regex-group(2) = 'pc'">15</xsl:when>
<xsl:when test="regex-group(2) = 'cm'">35.43</xsl:when>
<xsl:when test="regex-group(2) = 'in'">90</xsl:when>
<xsl:otherwise>1</xsl:otherwise>
</xsl:choose>
</xsl:variable>
<xsl:value-of select="xs:float($factor) * xs:float(regex-group(1))"/>
</xsl:function>
</xsl:stylesheet>
Option 2
This is a C program by akagogo that uses libxml to convert SVG to Synfig format.
http://none.carlos.googlepages.com/svgtosif.zip
Installation
Just make the usual ./configure && make && sudo make install
Usage
The SVG files needs to be inside a folder called data. You have to run the
command from the parent directory, but just using the name file as the command
argument. So if:
You are in folder "/example" you have to create a folder called "/example
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/data" and put the file "file.svg" there.

Now you execute svgtosif file.svg when you got "/example" as your current
working directory.
As you can see, this is really not to friendly. To quickly fix the problem, use the
following bash script:
#!/bin/bash
mkdir data
cp "$1" data/
/usr/local/bin/svgtosif "$1"
NAME=ècho "$1" | cut -d "." -f 1`
cp "data/$NAME.sif" .
rm data/*
rmdir data
echo "Conversion complete!"
Put those lines in a file named "svg2sif" (name it as you want, but avoid using
"svgtosif") and put it in a PATH directory (suggest /usr/bin). Then:
chmod +x /usr/bin/svg2sif
Thats all. Now use:
svg2sif <file.svg>
and you will get a .sif file in the same folder you are working in.
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Categories: Manual ImportArt NewTerminology
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Spline Tool - Synfig Animation Studio http://wiki.synfig.org/Spline_Tool
Spline Tool
Language:
English • Deutsch • español • français • italiano • română • русский
ALT-B
Contents
1 Introduction
Introduction 2 Usage
2.1 It is easy to use this tool
Splines are the most used object in any 2.2 To finish the Spline
normal animation done with Synfig, and 3 Options
the Spline Tool allows you to create them. 4 Other sources of information
Usage
The "Spline Tool" button ( Alt B ) puts you in a create Spline mode. To leave that
mode just select another tool from the toolbox.
It is easy to use this tool
Single click creates new vertices. "Tangent" value is set to (0,0) and the vertex
becomes a sharp corner.
Click and drag creates new vertices and allows the modification of the
tangent value at that vertex. Extending the tangent smooths the corners.
Each new vertex is attached to the previous by a "Bézier spline" defined by the
vertices's position and it's tangents.
The Spline is created sequentially; One vertex follows another.
The end point of the previous Spline arc guides the next arc created until you
close it. The next created Spline will be independent of the previously
created Spline.
You can tweak the newly created vertices by clicking on handles and
dragging them.
You can also right click on a vertex handle or a tangent handle and it will
provide a context menu:
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For tangent handles: Command:Split tangents will split the tangent so

that you can independently modify the arch of an end point of a bézier
curve. Command:Merge tangents will merge the independent tangents
so that you can align the arches of the end points of two connecting
bézier curves.
For vertex handles: Command:Loop Spline or Command:UnLoop Spline
(depending on if it is already looped or not) allows you to close or open
the spline. Command:Delete vertex allows you to delete the vertex.
You can also right click in the middle of a bézier curve. Command:Insert
vertex allows insertion of a vertex (and set its tangents intelligently
according to the neighboring vertices' values) where you clicked.
To finish the Spline
1. Select other tool.

2. Or click on the gear button of the Tool Options Panel.
To clear out the working Spline, press the Esc button.
Options
This tool has the following options:
Name : The name of the Spline that you

will create is set by the text input box. In
this case it is "NewSpline007". This input
text will parse the end of the string if any
integer number is found, increasing that
number for the next time you create other
Spline. If not number is found it adds a
three digit number for the next Spline
created.
Layer Type : Whether create Region
and/or Outline, Advanced Outline, Plant
and Curve Gradient layers.
Blend Method : The blending method
used to composite on the layers below.
Opacity : Sets the Amount Parameter for
new layers. Defaults to 1.00 (Completely
opaque).
Brush Size : Sets the size of the line for
Outline Layer and/or Advanced Outline
Layer.
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Feather : There you set the feather parameter of the Region or Outline
Layer created.
Link Origin : If enabled it links the Origin Parameter for the Plant, Region
or Outline if two of them (or all them) are checked.
Auto Export : If checked it automatically exports the Vertices parameter
(that's a Spline type parameter)
Other sources of information

See this video tutorial to see it in action.
Read Creating Shapes which talks a little about the Spline tool.
Read Dev:Spline_Bline about tangent internals computation.
Read Dev:Bline_Speed which explains about variations in the Amount parameter

of Splines.
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3 of 3 07/07/2016 08:42 PM
Outline Layer - Synfig Animation Studio http://wiki.synfig.org/Outline_Layer
Outline Layer
Language:
Contents
1 About Outline Layers
About Outline Layers 2 Parameters of Outline Layers
3 Specific parameters for Outline Layers
Outline Layers are use to hold strokes or edges of filled shapes. They 3.1 Outline width
give a cartoon look to an animation when added to be the edge of the 3.2 Expand
filled shapes. Also standalone Outlines (strokes) are used to define fold of 3.3 Sharp cups
3D drawings and used together with shadows (created using gradients or 3.4 Rounded Begin
feathering) are the basis of an artist's work. 3.5 Rounded End
3.6 Loopyness
To create an Outline Layer use the Spline Tool and check "Create Outline"
3.7 Homogeneous
in the Tool Options Panel. Once you finish the definition of the geometry
3.8 Misc
of your outline and after pressing the "Make Spline" button (or selecting
another tool or state) you create the Outline Layer with the current
"Outline Color".
Depending on the options you choose in the Tool Options Panel other Tools like Star Tool or Circle Tool can also create
Outline Layers.
Using the Layer Menu "Make Advanced Outline", "Make Outline" or "Make Region" commands you can also create those layers.
Parameters of Outline Layers

The parameters of the Outline layers are:
Name Value Type

Color color
Origin 0.000000u,0.000000u vector
Invert bool
Antialiasing bool
Feather 0.000000pt real
Type of Feather Fast Gaussian Blur integer
Winding Style Non Zero integer
Vertices List list (Spline)
Outline Width 2.000000pt real
Expand 0.000000pt real
Sharp Cusps bool
Rounded Begin bool
Rounded End bool
Loopyness 1.000000 real
Homogeneous bool
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Specific parameters for Outline Layers

The first 11 parameters of the Outline are common parameter that are shared for several types of Layers. Click on the
links to see their definitions. Only the particular parameters for the Outline Layer are described here.
This is a sample screen shot of an Outline Layer in action:
Outline width
The Outline width parameter is a float value in pixels that represents the basic value of the width for all the points of the
curve at the same time. It works together with the width parameter of the vertices' child values. So setting the "Outline
Width" to 1.0px then the resulting value for the rendered width in that vertex comes from this formula: W = OLW * VW +
2E.
Where:
W = resulting width of the outline at that vertex.

OLW = overall parameter for the width of all the vertices (that is the Outline Width parameter).
VW = specific vertex width value.
E = value of the Expand parameter.
The width handle would show the radius value for that vertex (W/2).
The width that ends up being used for each vertex is ((VertexWidth * OutLineWidth) + Expand*2):
Starting image After doubling the value of "Outline Width"
It's possible to specify negative values for the width values, which kind of turns the vertex inside out. Here's an example
where the left vertex has a negative width and the right has a positive width. Note how the edges of the spline between
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the vertices cross each other in the middle:
Expand
The "Expand" parameter is similar to the "Outline Width" parameter, but rather than being multiplied by each vertex's width,
it is added to the radius of each vertex. In other words (2*Expand) is added to the diameter of each vertex.
The width that ends up being used for each vertex is ((VertexWidth * OutLineWidth) + Expand*2):
Zero "Expand" Non-zero "Expand"
Sharp cups
Enabling "Sharp Cusps" makes the corners pointy when the tangents are split:
No "Sharp Cusps" With "Sharp Cusps"
Rounded Begin
Enabling "Rounded Begin" makes the start of the outline rounded:
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no "Rounded Begin" "Rounded Begin"
Nota : With cairo render activated, if quality superior to 6, enabling "Rounded Begin" enable also R"Rounded End".
Rounded End
Enabling "Rounded End" makes the end of the outline rounded:
No "Rounded End" With "Rounded End"
Nota : With cairo render activated, if quality superior to 6, enabling "Rounded End" enable also "Rounded Begin".
Loopyness
This parameter currently does absolutely nothing at all!
Homogeneous
Enabling 'Homogeneous' changes the way that the width of the outline changes from one spline point to the next. Each
point in the spline has its own width, and the spline has its own 'Outline Width' and 'Expand' parameters which are used
to give the final width at each spline point. The 'Homogeneous' parameter controls how the width is interpolated
between two neighboring spline points:
When 'Homogeneous' isn't checked, the width is interpolated linearly with the spline's 't' parameter
(http://en.wikipedia.org/wiki/Bézier_curve).
When 'Homogeneous' is checked, the width is interpolated linearly with the spline's length.
Turning off homogeneous often makes the fat end of a spline look lumpy. Maybe that's a bug:
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not homogeneous homogeneous
Misc
The Antialiasing Parameter isn't specific to the Outline layer, but it is particularly useful for the Outline layer. It makes
the edges appear smoother:
not antialiased antialiased
Note : File used File:Outline Layer.sifz
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Categories: Layers NewTerminology

Attribution-Share Alike 3.0 license. By contributing here you agree that the same license will be applied to your
writing. If you do not want your writing to be edited mercilessly and redistributed at will, then do not submit it to
this wiki. You are also promising us that you wrote this yourself, or copied it from a public domain or similar free
5 of 5 07/07/2016 08:43 PM
Region Layer - Synfig Animation Studio http://wiki.synfig.org/Region_Layer
Region Layer
Language:
About Region Layers

The Region Layer is much like the Outline Layer, except that the shapes it
describes are filled in, rather than just being an outline.
To create a Region Layer use the Spline Tool and check "Create Region" in the Tool
Options Panel. Once you finish the definition of the geometry of your outline and
after pressing the "Make Spline" button (or selecting another tool or state) you
create the Region Layer with the current "Fill Color".
Depending on the options you choose in the Tool Options Panel other Tools like
Star Tool or Circle Tool can also create Region Layers.
Using the Layer Menu "Make Advanced Outline", "Make Outline" or "Make Region"
commands you can also create those layers.
Parameters of Region Layers

The parameters of the region layers are:
Name Value Type

Color color
Invert bool
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Region Layer - Synfig Animation Studio http://wiki.synfig.org/Region_Layer
Antialiasing bool
Feather 1.000000u real
Type of Feather Fast Gaussian Blur integer
Winding Style Non Zero integer
Vertices List list(Spline)
The parameters are exactly the same as in the Outline Layer, except that region
layers don't have the following 7 parameters, which are all specific to outlines:
Outline width
Expand
Sharp cups
Rounded Begin
Rounded End
Loopyness
Homogeneous
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2 of 2 07/07/2016 08:43 PM
Color Editor Dialog - Synfig Animation Studio http://wiki.synfig.org/Color_Editor_Dialog
Color Editor Dialog

Language:
English • français • italiano • română • русский
Contents
1 The Colors Dialog
2 Channels outside [0,100]
2.1 Examples of RGB channels outside [0,100]
2.2 Examples of Alpha channel outside [0,100]
3 The sample file
The Colors Dialog

The "Colors Dialog" has two sections: one for the color itself and another for the "Alpha"
channel (the opacity of the color). The color section (only RGB ones) allows changes
to the color channels and shows the "HTML code" of the color. This "HTML code"
representation doesn't include the "Alpha" channel.
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You can set the color you are editing using two methods: "RGB" composition (Red,
Green and Blue channels) or "YUV" composition (Luma, Hue, Saturation, U and V
channels). Select one of the tabs to make the modifications using the method you
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prefer.
All the "RGB" channels and alpha values can be modified using the triangular sliders or
the numeric input. In all cases the value can be between 0 and 100. "RGB" values, and
alpha values as well, can actually be higher than 100 and lower than 0. If you set
RGB values higher than 100 it produces a shifted color with transparency. Same
happens if values are lower than 0. You can create an object with a color with "Alpha"
= 200. Then if you apply it over another layer with "Alpha" = 100 and use "alpha over"
as the composition method. You will then obtain a composited alpha of -100 (-100 =
100-200). Anyway the alpha value will be truncated to be in the [0,100] interval when
the image is rendered because images cannot hold negative alpha or bigger than
100% (Are you sure?).
On the other hand, "YUV" channels can only be set using the triangular sliders. It would
be a good feature if those channels could also be modified by their numerical values.
Channels outside [0,100]
Channels outside [0,100] Cairo Render

Setting RGB or Alpha channel outside [0,100] did'nt work
with "Cairo Rendering" on the WorkArea either in preview,
but only with "Synfig Software Rendering".
Cairo rendering engine is ARGB32 (8 bits per color

channel) but Synfig rendering engine is RGBA128 (32 bits
per color channel).
Cairo admits color channels as float point values between

0.0 and 1.0 (that finally is mapped to a 0-255 unsigned
value), anything outside that is clamped by Cairo API.
Examples of RGB channels outside [0,100]
Here are some examples of what happens when a color channel value is set to values
beyond its natural scope.
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In all the examples the Blend Method of the horizontal rectangle was Composite.
In the examples you can notice that negative values for an RGB channel
("overdesaturated") combined with alpha set to an intermediate value affects light
colors more than dark colors. On the other hand RGB channel values greater than
100 ("oversaturated") affects dark colors more than light colors.
Examples of Alpha channel outside [0,100]
In the following examples you can see that negative Alpha values and bigger than
100% Alpha values composited with other layers produces very interesting effects. If
someone want to explain why those effects are produced, please edit this page! :)
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The sample file

This is the file that I've used to produce the color effects. Media:ColorTest.sifz
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Draw Tool - Synfig Animation Studio http://wiki.synfig.org/Draw_Tool
Draw Tool
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The "Draw Tool" is the one that most artists will be familiar with. This tool is best
used with a drawing tablet, although it can be used with a mouse.
The "Draw Tool" can generate a Region Layer, an Outline Layer and an Advanced
Outline Layer with pressure output from the tablet mapped to the line's width.
Options
The Tool Options Panel allows you to specify:
Name : Used for the new layer; any number in this field will automatically
increment with each layer created
Layer Type : Whether create Outline and/or Advanced Outline, Region layers
(Splines)
Blend Method : The blending method used to composite on the layers below
Opacity : Sets the Amount Parameter for new layers. Defaults to 1.00
(Completely opaque)
Brush Size : Sets the Outline width or the size of the gradient (only for
Outline, Advanced Outline and Curve Gradient)
Pressure Sensitive
Min Pressure : The value of this option clamps the lower end of the
Pressure sensitivity to a specific value, essentially determining how thin
the thinnest possible segment is relative to the Brush Size parameter in
the Toolbox.
Smoothness : Determines how much tablet jitter is removed, and as a
result, how many vertices the resulting splines are composed of. Could by
Local or Global
Local : Adjust the Spline between the Splines points.
Global : Adjust the Spline globally.
Width Max Error : for advanced outline layer.
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Round End : The ends of the spline will

be rounded, only for Outline, Advanced
Outline layers.
Auto Loop : When the stroke of the "Draw
Tool" ends near the beginning of the
stroke, automatically connect the last
Handle to the first.
Auto Extend : When the stroke begins
and/or end at or near an endpoint Handle
of another outline, the resulting outline is
simply appended to the existing Outline
Layer
Auto Link : When the stroke begins
and/or ends at or near a vertex Handle in
another outline, and the outline isn't
being extended by the "Auto Extend" option
above, the first and/or last vertex of the
resulting outline is linked to the Handle
on the existing Outline Layer.
Feather : Set the Feather Parameter on
the layer
Auto Export : Automatically Export the
Spline list points into the Values Base
Nodes of the Library Panel
Buttons
Fill Last Stroke
Hit this button after having created a shape with the "Draw Tool" to create a
Region Layer, filled with the current "Fill Color", of the last trace you have
drawn.
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Brush Tool - Synfig Animation Studio http://wiki.synfig.org/Brush_Tool
Brush Tool
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This is an experimental feature

Some work still need to be done around this corner of
synfig. You can have a look to the roadmap for more
informations.
ALT-?
Introduction
The "Brush Tool" allows you to draw freehand over the top of an raster image using
the MyPaint (http://mypaint.intilinux.com/) brushes. Combined with Switch Group
Layer you can create frame by frame animations.
It is possible to paint on the Image Layer

Basic pressure sensitivity is supported.
Image size is automatically expanded when you paint outside of image
boundaries.
An Image Layer is automatically created if the current layer is'nt an Image
Layer.
Options
Eraser check box. When checked, the brush act has a rubber.
Display the set of configured brushes (MyPaint brushes format). By default,
synfig is installed with a selected set of brushes from "Concept Design (C_D)"
pack by Ramon Miranda (http://www.ramonmiranda.com/2011/09/mypaint-
concept-design-set-es.html).
From the Preferences Dialog, you can configure the "Brush Presets Path" to use
other brushes package (for example the ones listed by MyPaint
(https://github.com/mypaint/mypaint/wiki/Brush-Packages))
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The "Brush Tool" uses the color of the Outline

Color and the Brush Size set in the Toolbox to
paint.
Other sources of information
here links to cool synfig video brush usage and frame by frame animations
Development: Frame-by-frame animation (Part 4) (https://www.youtube.com

/watch?v=Z5Bj2BzG36U)
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Width Tool - Synfig Animation Studio http://wiki.synfig.org/Width_Tool
Width Tool
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Contents
1 Introductions
2 Usage
3 Options
4 Nota
Introductions
The Width Tool is designed for increasing or decreasing the width of a line much
like you would with a pencil on paper.
Usage
To change the width on a particular segment of a line, just select the Outline
Layer you want, move your mouse over that line, press the left mouse button and
move cursor back and forth along the line, like you're scratching something. The
width of outline will be increased at the places where you moved the cursor. If you
want to decrease the width, just hold Ctrl while scratching.
The Width Tool was primarily designed for the "tablet" workflow, so you will get
the best experience by using it with the tablet stylus. It is similar to making line
thicker with a pencil or thinner with an eraser (when holding the Ctrl ).
NOTE: The Width Tool is intended to fine-tune line width. If you want to heavily increase/decrease the line width i
to use the Transform Tool to directly manipulate the width handles.
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Width Tool - Synfig Animation Studio http://wiki.synfig.org/Width_Tool
Options
Growth - Defines how much a single mouse move will affect the line width. It
must be non-zero for this tool to have an effect on the spline.
Radius - Defines the size of area around current cursor position in which a
vertex will be affected. It is allows you to achieve a noticeable effect without
having to follow the line precisely with the mouse. The Width Tool works fine
on splines with lots of segments (such as those created with the Draw Tool),
you will see it works on more than just the first vertex. It is a full circular
area, other points may get in the way though.
Relative Growth - Doesn't really work very well unless the "Radius"
parameter is set to some huge value (like a million).
Nota
If you don't want the "Width Handle"s to be displayed, while using the Width Tool,
just turn them off by pressing Alt 5 . You can turn them on again with the same
keybinding.
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Group Layer - Synfig Animation Studio http://wiki.synfig.org/Group_Layer
Group Layer
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Contents
1 About Group Layers
About Group Layers 2 Parameters of Group Layers
2.1 Transformation Parameter
The "Group Layer" is a special layer 2.2 Canvas Parameter
that can hold other layers. It is 2.3 Outline Grow Parameter
generated via the Group command 2.4 Z Range parameters
accessed via the context menu in 2.4.1 Z Depth Range Enabled
the Layers Panel or through the 2.4.2 Z Depth Range Position
Layer Menu in the Canvas Menu 2.4.3 Z Depth Range Depth
Caret. As well as grouping a set of 2.4.4 Z Depth Range Transition
layers it can also translate them, 2.5 Speed
scale them, and even modify the 3 See Also
time for the layers it contains.
can also be created

"Group Layers"
through the New Layer Menu, using "<New Layer> → <Other> → Group Layer".
Parameters of Group Layers

The parameters of the "Group Layers" are:
Name Value Type

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Transformation 0.000000, 0.000000, 0.00°, 60, 60 transformation

Canvas <No Image Selected> canvas
Speed 1.000000 real
Zoom 0.000000 real
Time Offset Of time
Lock Selection bool (Static)
Focus Point 0.000000u,0.000000u vector
Outline Grow 0.000000 real
Z Range bool
Z Range Position 0.000000 real
Z Range Depth 1.000000 real
Z Range Blur 0.000000 real
Transformation Parameter
The "Transformation" parameter is a composite parameter, it hold an Offset, a

rotation angle, a skew angle and a scale value for the group. The "Transformation"
parameter is already converted to composite when the Group Layer is created
and so directly expose the Offset, Rotation, Skew and Scale subparameters.
See also Group Transformation Widget
Canvas Parameter
This is "Group" by default if the "Group Layers" was created by grouping other
layers, or "No Image Selected" if it was created from the New Layer Menu. This
parameter lets you select another canvas.
The canvas parameter presents a drop-down menu of the exported canvases, plus
an extra entry called "Other...". Selecting "Other..." presents the user with a text
entry box asking for the name of the canvas to use. The name typed should have
the following format (where [ ] indicates an optional part, ( ) is for grouping, and *
means "0 or more times"):
[[filename]#][:]id(:id)*
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In its simplest form, this is just an id, ie. the exported name of one of the child
canvases of the current canvas.
Other possibilities are:
if a '#' is present, the part before the '#' is interpreted as the filename of an
external .sif file to use.
if the '#' is the first character of the string (ie. the filename is blank) then the
'#' is ignored, and the current canvas is used instead
if a ':' appears before the first id, it means to start at the root canvas of the
current canvas
each subsequent :id steps down into the specified child
Examples:
/usr/share/doc/synfig/examples/business_card.sifz#:IndividualCard --
gives the absolute path to a .sifz file, and says to use the canvas that was
exported from its root canvas as "IndividualCard"
../../examples/business_card.sifz#:IndividualCard -- the same, but with a
relative path to the .sifz file
#:sy:head:eyes:left -- look in the current composition, and starting from the
root, navigate down through the canvas tree. Find a child canvas of the root
canvas called 'sy', look in 'sy' for a child canvas called 'head', and so on.
:sy:head:eyes:left -- exactly as above. an empty filename is the same as not
using the '#' at all
eyes:left -- without a ':' before the first id, this starts at the current canvas
(presumably the Group in question is in the "head" subcanvas of the "sy"
subcanvas of the root)
Outline Grow Parameter
This parameter allows to control thickness of all outline layers inside. Assigning
positive value to this parameter makes all child outlines rendered thicker, while
negative value makes them look thinner. This feature is very helpful for tuning
outlines in complex artwork and it also allows to achieve some nice effects like
constant outline width at any zoom level.
Note: The "Outline Grow" parameter can not be applied to exported and imported
(external) Groups layers.
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Z Range parameters
Z Depth Range Enabled
When checked, only layers inside range are visible and the visible layers are
signaled with bolded font in the Layers Panel
Z Depth Range Position
Starting z_depth position where layers are visible
Z Depth Range Depth
Depth where layers are visibles in z_depth range
Z Depth Range Transition
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Z_Depth area where layers inside are partially visible.
Example of Z Range use : http://www.youtube.com/watch?v=UPpmOz0wUY4
Speed
Alters the velocity group's child animated layers (not the "Group Layer" itself)
Set it to zero, it would stop the animation. A value of one makes the animation run
at normal speed and a value of two makes it run double speed. Minus one
reverses the animation.
See Also
Switch Group Layer
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Switch Group Layer - Synfig Animation Studio http://wiki.synfig.org/Switch_Group_Layer
Switch Group Layer

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I'm a draft, help me to be efficient ....
About Switch Group Layers

It groups layers together, but only one layer is displayed. The displayed layer is
chosen by "Active Layer Name" parameter. If there are several layers with the same
name in the "Switch Group", then only topmost one is displayed.
"Switch Group Layer" can also be created through the New Layer Menu, using "<New
Layer> → <Other> → Switch Group Layer".
Parameters of Switch Group Layers

The parameters of the "Switch Group Layers" are:
Name Value Type

Blend Method Composite integer (static)
Transformation Parameter 0.000000, 0.000000, 0.00°, 60, 60 transformation
Canvas Parameter <No Image Selected> canvas
Speed 1.000000 real
Time Offset Of time
Lock Selection bool (Static)
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Switch Group Layer - Synfig Animation Studio http://wiki.synfig.org/Switch_Group_Layer
Outline Grow 0.000000 real

Active Layer Name <empty> string
Video Usage
Simple frame by frame animation (https://www.youtube.com
/watch?v=Z5Bj2BzG36U&t=390)
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Lock Selection - Synfig Animation Studio http://wiki.synfig.org/Lock_Selection
Lock Selection
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The "Lock Selection" parameter is a boolean value (default value Off), present in all
Group Layers. These are the layers that are created when you Group a set of
layers.
If the "Lock Selection" parameter is turned 'On, then:
If you click on a grouped layer in the WorkArea window, the Group Layer will
be selected, rather than the layer you clicked on. For example, you draw an
outline, and then group it. By default the "Lock Selection" is Off, and clicking
on your outline in the WorkArea will select the outline layer. With "Lock
Selection" On, the group layer will be selected instead.
Right-clicking on a group layer offers a context menu entry to "Select All Child
Layers", which recursively selects all the layers under the current layer. If the
"Lock Selection" is engaged for any group layer in the hierarchy, it stops the
layers inside that group layer from being selected by this operation.
Hitting Ctrl A to select all the Handles in the currently selected layers will
select the Group Transformation Widget's handles of selection-locked group
layers, whereas it won't when their "Lock Selection" are Off.
The effect of these three behaviors is for a group layer to act as if it was a
primitive layer, hiding the details of its contents from selection or manipulation.
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Lock Selection - Synfig Animation Studio http://wiki.synfig.org/Lock_Selection

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Gradient Tool - Synfig Animation Studio http://wiki.synfig.org/Gradient_Tool
Gradient Tool
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ALT-G
Introduction
The "Gradient Tool" is used to create smooth transitions between two or more
colors in an object.
Options
When you select the Gradient Tool, the Tool
Options Panel will show the options for the
Gradient Tool.
These allow you to:
Name : Set a name for the layer you are

about to create. The name of the layer
can always be changed later via the
Layers Panel or the Parameters Panel if
necessary, but the type of gradient needs
to be chosen now.
Layer Type : Choose the type of gradient
to create (Linear, Radial, Conical, Spiral).
Blend Method : The blending method
used to composite on the layers below
Opacity : Sets the Amount Parameter for
new layers. Defaults to 1.00 (Completely
opaque)
For help with editing gradient colors see the section on Gradient Editor Dialog.
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The 4 types of gradients

Name Example Description
This produces a simple transition in a
straight line. Set your foreground and
background colors. Click where you want
the gradient to begin, and drag to where
you want the transition to end. The gradient
Linear
will be created perpendicular to the line you
drag out. At any time, you can edit the
gradient by moving either endpoint in any
direction. You must use the Transform Tool
to be able to edit the endpoints.
This produces circular colors with the
transition being at the center of those
circles. Click where you want the center of
the circles to be, and drag to set the radius
Radial
of the transition. Use the Transform Tool to
edit the position (center endpoint), or the
radius (surface endpoint), of the radial
gradient.
This has the appearance of looking down on
a tip of a cone. The gradient is along the
circular arc of the center and goes in all
directions. Click to set the center, and drag
to indicate the direction in which the
Conical foreground and background colors should
go. To edit afterwards, use the Transform
Tool. The center endpoint can be adjusted to
move the center of the gradient. The other
endpoint adjusts the direction of the
gradient.
This produces a spiral gradient. Click to set

the center of the spiral and drag to set the
Spiral
'tightness'. To edit afterwards, use the
Transform Tool.
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Documentation writers note: You can download the project to generate the screenshot : File:Gradient options.zip
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Gradient Editor Dialog - Synfig Animation Studio http://wiki.synfig.org/Gradient_Editor_Dialog
Gradient Editor Dialog

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The "Gradient Editor" dialog has two sections. The top part is for selecting the colors and
alpha level and the lower part contains a preview of the gradient.
Just below the preview area there are two small triangles, called Color Stop, that denote
the initial and final colors of the gradient.
Gradient editor, RGB tab Gradient editor, YUV tab
The currently selected Color Stop is displayed as a white double triangle. Its color is shown
in the top part of the dialog for editing. You can select any of the other Colors Stop by
clicking on their triangles to edit the other colors of the gradient. For example by
modifying the "Red", "Green" and "Blue" channels of the Color Stop on the right hand side you
can change the final color of your gradient (preset to white) to a nice dark yellow like in
the following example.
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Gradients are not limited to two colors; you can have as many colors as you want in the
gradient. To do that you just need to right click into the gradient preview and select "Insert
Color Stop". With this you'll insert a new triangle in the place where you made the right
click. Then you can edit that color with the color and "Alpha" sliders and create a tricolor
gradient. Also you can choose "Remove Color Stop" to suppress the currently selected Color
Stop from actual gradient.
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Here I've created some sort of transparent light cyan for the central color. Another cool
feature is that you can slide the triangles just like you slide the color or alpha bars. With
this you can compress the gradient to one or to other side or make its falling more quick or
slow between colors. If you press ⇧ Shift key meanwhile the "Insert Color Stop" is being
dragged it doesn't pass the closest "Insert Color Stop" it finds so it makes easier to stack
Colors Stop one over other. Colors Stop can be moved more precisely by editing the
numerical field just about the gradient's preview. This is a number between 0 (left edge)
and 1 (right edge) specifying the selected Color Stop's position.
Finally the "Set as Default" button copies the edited gradient into the Toolbox's default
gradient.
Tips
Constraining a gradient
By default gradient layers overwrite or flood their surroundings. The area before the
beginning of the gradient and after the end of the gradient are flooded with the beginning
and ending colors of the gradient. As can be seen in this image:
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This is by design and adds the greatest flexibility to gradient layers. To achieve a gradient
which is limited by its own geometry begin and end the gradient with transparency. Such
as this:
This still floods the surroundings, but with a transparent flood. To create a sharp edge to
the gradient the beginning and ending colors can be dragged to the ends of the gradient
editor gadget. The transparency doesn't have to have any width, it just has to be defined as
the beginning and the end. Or just the beginning, or just the end, it's up to you, and your
situation.
Interpolation between Color Stop
The interpolation between Color Stop are linear, you can simulate a constant interpolation
by adding twice a Color Stop of the same color and placing the second near to the next
color. This way, you will have a "stripe gradient" : FirstColor ----- FirstColor
NextColor---------NextColor LastColor--------LastColor
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Categories: Dialogs Gradients NewTerminology

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Blend Method Parameter - Synfig Animation Studio http://wiki.synfig.org/Blend_Method_Parameter
Blend Method Parameter

Language:
General Contents
informations
1 General informations
2 List of available blend methods
You can select the "Blend Method" of a layer
2.1 Composite
during his creation in Tool Options Panel
2.2 Straight
and change it from Parameters Panel. By
default, "Blend Method" parameter is Static. 2.3 Onto
2.4 Straight Onto
To animate it over the time, right click on
2.5 Behind
it and choose "Enable animation".
2.6 Screen
Selecting a layer "Blend Method" changes the 2.7 Overlay
appearance of the layer or composition, 2.8 Hard Light
based on the layer or layers beneath it. If 2.9 Multiply
there is only one layer, the blend method 2.10 Divide
has no effect. There must therefore be at 2.11 Add
least two layers in the composition to be 2.12 Subtract
able to use blend method. 2.13 Difference
2.14 Brighten
In the following descriptions, 'A' refers to 2.15 Darken
the color on the layer with the blend 2.16 Color
method setting, and 'B' refers to the color 2.17 Hue
on the layers beneath it. Note that in 2.18 Saturation
almost all layers, the alpha channel of the 2.19 Luminance
colors will have a scaling effect on the 2.20 Alpha over
blending. The Amount Parameter will also 2.21 Alpha Brighten
have a scaling effect. In most descriptions 2.22 Alpha Darken
these 2 details have been glossed over.
In the examples that follow a gradient (A)

is blended on the image of Tux penguin (B). The transparent areas are indicated
with the checkerboard pattern.
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A) & B)
List of available blend methods

Composite
This blend method is the default option, it simply displays the content of the
layer : Color A is composited onto B (Taking A's alpha into account).
This blend mode is similar the layer blend mode Normal Mode often found in 2D
programs.
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Straight
This blend method looks similar to the previous one, except that the objects under
a straight-object will be invisible. So if there is a more or less transparent object
on the Straight mode layer, the objects on the layers underneath won't show
through it.
More precisely, the resulting color is "(A-B)*amount + B". So if amount is 1 the

result is A and if amount is 0 the result is B. In particular, if amount is 1 and A is a
very transparent color, the resulting color will also be A; despite the fact that A is
very transparent, none of B's color is used.
Onto
If a layer is set to the Onto blend method, only the parts of the layer that are over
a not transparent area will be visible.
Precisely: this is the same as the Composite blend method except that the
transparency of the resulting color is set to be the same as the transparency level
of layer B.
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Straight Onto
Warning, actually (http://www.synfig.org/issues

/thebuggenie/synfig/issues/868) broken in some
cases
Bug report #868 (http://www.synfig.org/issues
/thebuggenie/synfig/issues/868) - Straight Onto blend
method broken (both render engine) : When using
groups result is the same has "Straight" on the
workarea and when rendering and cobra
(0991d44751f) to render empty on vector artwork.
This method is a combination of the two methods above. E.g. if an

half-transparent object is set to Straight Onto, it will only be visible over a
non-transparent area, and the non-transparent part under that object won't be
visible.
Precisely: the resulting color is "(X-B)*amount + B" where X is A but with its
transparency set to A's transparency times B's transparency.
So if amount is 1 the result is A, but with its transparency multiplied by that of B,

and if amount is 0 the result is B. In particular, if amount is 1 and A is a very
transparent color, the resulting color will be a possibly more transparent version
of A; despite the fact that A is very transparent, none of B's color is used in the
result.
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(Yuck. Are these 'precisely' comments useful?)[Yes!]
Behind
This blend method makes the layer visible over transparent areas, and invisible
over non-transparent areas, giving the impression that the layer is behind the
other layers. It is often used for the "Shade" effect layer, to make a drop-shadow
effect.
Precisely: this is the same as the composite blend method, but with A and B
swapped. B is composited onto A instead of A being composited onto B.
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Screen
This blend method is similar to the Screen Mode often found in 2D programs. It
combines the colors of the screen mode layer and the ones behind it, and gives a
lighter result in general.
Overlay
This is similar to PhotoShop - layer blend mode Overlay Mode
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Precisely: define 3 new colours: RM = A * B; RS = 1-(1-A)*(1-B); RET = A*RS +

(1-A)*RM then blend RET onto B as in the Onto method above(!)
Any idea what that is aiming to do? Or what the layer does in this PhotoShop
program? This appears to emulate the effect of a cross-fade between the two
layers if they are set to equal amounts - i.e like 'add', but maintaining the overall
brightness of the image
Hard Light
This is similar to PhotoShop - layer blend mode Hard Light Mode
For each of red, green and blue, if the component is in the top half of its range
then calculate X=1-(1-(2A-1))*(1-B), otherwise calculate X=2AB, then blend X
onto B as in the Onto method above.
Is this aiming to make bright colours brighter and dark colours darker?
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Multiply
This is similar to PhotoShop - layer blend mode Multiply Mode
Precisely: the resulting colour is (((A*B)-B)*amount+B). The calculation is

performed independently on red, green, and blue components. When amount is 0,
this simplifies to B. When amount is 1 it simplifies to A*B.
Divide
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Describe me
Precisely: the resulting color is (((B/A)-B)*amount)+B.
When amount is 0, this becomes simply B.
When amount is 1, this becomes B/A.
A very small quantity is added to A before dividing by it to avoid a divide-by-zero

condition. This causes the divide blend method to bias toward positive values, but
the effect is really negligible.
Add
Describe me
Precisely: the resulting color is (B + A*A.alpha*amount). The calculation is

performed independently on red, green, and blue components. The resulting
color's alpha is B.alpha.
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Subtract
Describe me
Precisely: the resulting colour is (B-A). The calculation is performed

independently on red, green, and blue components.
Difference
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Describe me
Precisely: the resulting colour is the absolute value of (B-A). The calculation is
performed independently on red, green, and blue components.
Brighten
Describe me
Precisely: for each of the red, green, and blue components, compare A's value
with B's value and use the higher of the pair.
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Darken
Describe me
Precisely: for each of the red, green, and blue components, compare A's value
with B's value and use the lower of the pair.
Color
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Describe me
Precisely: the resulting colour is obtained by adjusting B to have the same U and
V values as A, while keeping Y the same.
straight.png + synfigtux.png = color.png
As this example looks just like the saturation one, perhaps a yellow gradient
instead of a white one would be more illustrative
yellowgradient.png + synfigtux.png = coloryg.png
Hue
Describe me
Precisely: the resulting colour is obtained by adjusting B to have the same hue as
A.
Saturation
Describe me
Precisely: the resulting colour is obtained by adjusting B to have the same

saturation as A. Saturation is the magnitude of the UV vector
(http://en.wikipedia.org/wiki/YUV).
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As this example is so similar to the 'Color' blend example, here it is with a yellow
gradient -
yellowgradient.png + synfigtux.png = saturationyg.png
Luminance
Describe me
Precisely: the resulting colour is obtained by adjusting B to have the same Y

(luma) value as A, while keeping U and V the same.
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Alpha over
Layer A act like a mask on B.
Have a look to Basic masking and Subtracting Shapes tutorials for usage

example.
Precisely : multiply alphas and then straight blends using the amount.
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Alpha Brighten
Alpha Darken
Language:
16 of 17 07/07/2016 08:46 PM
Retrieved from "http://wiki.synfig.org/index.php?title=Blend_Method_Parameter&

oldid=21165"

permission!
17 of 17 07/07/2016 08:46 PM
Basic masking - Synfig Animation Studio http://wiki.synfig.org/Doc:Basic_Masking
Basic masking
Language:
English • Deutsch • español • français • română • русский
This tutorial gives you an overview of how masking can be done in Synfig.
Contents
1 About masking
2 Hiding
3 Revealing
4 Revealing mask method 1.
7 Tutorial files
About masking
Sometimes you want your characters to go behind objects, a building in the background for instance. If you
create your background in Synfig you can probably just place the character behind the object in your layer
stack but if your background is an image you need to do this by masking.
This tutorial will show you two basic ways of masking; hiding and revealing using differents blend methods
Hiding
In this masking mode everything covered by the mask shape is hidden.
Create a mask shape and place it above the elements you want to mask, either within the same group
layer or above it and then grouping the mask and elements together.
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Set the blend method of the mask to "Alpha Over".

Everything below the mask shape will now be hidden.
Revealing
A revealing mask can be achieved by two different approaches using different blend modes.
Revealing mask method 1.
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Warning, actually (http://www.synfig.org/issues/thebuggenie/synfig

/issues/868) broken in some cases
Bug report #868 (http://www.synfig.org/issues/thebuggenie/synfig
/issues/868) - Straight Onto blend method broken (both render engine) :
When using groups result is the same has "Straight" on the workarea and
when rendering and cobra (0991d44751f) to render empty on vector
artwork.
Create a masking shape and place it below the elements you want to mask.
Set the blend method of the elements you want to mask (robot layer in this case) to "Straight Onto". You
can only use this method on one layer at a time so if you have several objects you need to group those
into one group layer.
Everything above the mask will be visible, everything outside will be hidden.
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This mask method is similar to the hiding mask and a bit more flexible than revealing method 1 in that you
don't have to group everything that should be masked. This mask reveals everything below it, no matter how
many layers.
Create a mask shape above the objects you want to mask.

Tick the "Invert" option of the mask.
Set blend method of mask to "Alpha Over". Everything below the mask shape will be visible and the rest
is masked off.
You can group the mask and the objects that should be masked. Anything outside of this group layer is
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not masked so leave the background outside in this example.

Using one 'mask' and one 'full mask'. To be describe (using the linked project)
Tutorial files
Download tutorial files.
Language:
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Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Basic_Masking&oldid=21171"

Attribution-Share Alike 3.0 license. By contributing here you agree that the same license will be applied
to your writing. If you do not want your writing to be edited mercilessly and redistributed at will, then
do not submit it to this wiki. You are also promising us that you wrote this yourself, or copied it from a
public domain or similar free resource. Do not submit copyrighted work without permission!
5 of 5 07/07/2016 08:47 PM
Sets Panel - Synfig Animation Studio http://wiki.synfig.org/Sets_Panel
Sets Panel
Language:
English • română • русский
Contents
images outdated! 1 Introduction
2 Digging deeper
2.1 Action over Sets
Introduction 2.2 Action over Layers
2.3 Sets can be nested
Suppose you have several shapes that you want to treat
the same but they're scattered throughout your project,
placed on different layers. Rather than expanding each Group Layer and individually
selecting them each time you want to edit them, you can use Sets.
To add some layers to a set select them in the Layers Panel, right click, and choose "Add to
Set". It will prompt you for a Set name. Type a name for a new, or existing set and click "OK".
Now you can select that set and animate all those layers together (for instance, change all
their amounts, or move their origins).
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Digging deeper
Action over Sets
Current interaction with sets and its layers in Sets Panel can be described in following
terms:
Double click over a Set icon selects all its layers in the Layers Panel. It allows a
multiple selection of scattered layers with just one double click. Notice that
double click does not highlight the layers in the Sets Panel.
Double click over a icon of a layer from a set, selects that layer on the Layers Panel and
unselects all others.
Double click holding Ctrl key over a Set icon or layer icon from a set, adds the
selection to the current one at the Layers Panel.
Double click over a set or layer name allows to rename it.
Clicking the checkbox on the left of layer icon will deactivate the layer in the Layers
Panel.
Clicking the checkbox near the set icon will deactivate all layers inside of this set.
A layer in a set can be moved to any other set (empty or not).
If the set is empty it can't be activated and won't be saved.
Single left or right click over a Set makes it selected. You can use it to enable the
"Remove Set" button.
Single left click over layer in a set selects it. You can select multiple layers if you click
holding Ctrl or ⇧ Shift key, but the effect on subsequent commands only affect the
layer that you right-click on.
Action over Layers

Single right click over a layer in a set pops up the context menu with the same elements as
you have for each layer in the Layers Panel:
Command:Select All Children: This menu entry appears only if the layer from the set is
a Group layer. The behavior is the same as in the Layers Panel - all layers inside of the
Group layer are selected.
Command:Add Layers to Set: Displays a dialog to enter a Set name and moves the
select layer to the new set. Only works for the layer below the cursor when multiple
selection is done.
Command:Remove Layers from a Set: Removes the selected layer from the set. Only
one layer at a time can be removed. Even if multiple layers are selected only the layer
below the cursor when right clicking is removed.
Command:Duplicate layer: Works the same as duplicate layer from the Layers Panel
and also add the duplicated layer to the current Set. It works partially because you
cannot duplicate multiple layers as in the Layers Panel. It only acts over the layer you
did the right click. The selection is ignored.
Command:Group: It works the same as the Command:Group layers from the Layers
Panel but only affects to the layer where the right click is done.
Command:Remove Layer: It works the same as the Command:Remove Layers from the
Layers Panel but only affects to the layer where the right click is done.
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Command:Set Layer Description: Displays a dialog for renaming the layer.

Command:Raise Layer / Command:Lower Layer: Does the same than in the Layers
Panel. It doesn't modify the position of the layer in the Set but the position in the
Layers Panel hierarchy is modified as expected.
Notice, that a layer can only belong to one Set at a time. Adding a layer to a Set when it's
already in previous set will remove it from the previous set.
Sets can be nested

You can make nested sets one of the following ways:
by adding a layer to a set with a name containing dot as separator: "parent.child"

by dragging a set inside other set.
The contents of the nested sets is selected when you double-click the parent set icon.
Depending on what set level you click you can select more or less layers.
For example making a double click on the 'All' Set will select Rotation and Image layers in
once double click.
Regarding to the buttons:
"Add New Set" button adds empty deactivated set.

"Remove Set" button removes selected set. If the set contains other sets they are not
recursively deleted, only the first child level of layers.
Also Sets scope is the current edited Canvas. That means that only the layers in a set that
belong to the current Canvas being edited are show in the Sets Panel. It also means that
Sets are File/Canvas dependent. It means that a layer can only belong to a set defined in its
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exported canvas scope. For example, if there are two canvases where B is the root one and
A is a exported one hold by a Group Layer inside B, then a layer that belongs to exported
canvas A can belong only to Sets defined at canvas A scope. Although you can select the
layer from the outer root canvas (B) you cannot add it to a set defined at B scope. You can
also have sets with the same name in different file/canvas scope. If a layer is dragged out
from a pasted canvas and it belongs to a set, the set name is dragged out also.
Here are shown some examples of what can be done using sets for a complex file:
Effects after double click on the

Samples Sets
highlighted Set
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Sample1
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Sample2
Language:
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Retrieved from "http://wiki.synfig.org/index.php?title=Sets_Panel&oldid=21043"
Categories: Panels NewTerminology
This page was last modified on 14 December 2015, at 12:28.

that the same license will be applied to your writing. If you do not want your writing to
be edited mercilessly and redistributed at will, then do not submit it to this wiki. You
are also promising us that you wrote this yourself, or copied it from a public domain or
similar free resource. Do not submit copyrighted work without permission!
6 of 6 07/07/2016 08:48 PM
Guides - Synfig Animation Studio http://wiki.synfig.org/Doc:Guides
Guides
Language:
English • français • română • русский
Contents
1 Introduction
2 Appearance
3 Adding guides to your canvases
3.1 Dragging from the Canvas Window Rulers
3.2 Clicking on the Canvas Window Rulers
3.3 Using the Canvas MetaData Panel
4 Positioning guides precisely
4.1 Using the Info Panel
5 Removing guides from your canvases
5.1 Dragging to the Canvas Window Rulers
6 Showing or hiding guides
6.1 Using the Canvas Window View menu
7 Changing the color of the guides
8 Snapping
8.1 Using the Canvas Window View menu
9 Copying Guides from one canvas to another
Introduction
Guides are horizontal or vertical lines that you can add to your canvases to help you to position items precisely.
Guides can be placed anywhere on your canvas – even outside of your working area. Guides won't appear in your
finished animations, but they will be saved with your documents. Each canvas has its own set of guides.
If you imagine guides are made of metal, handles act like magnets around guides, snapping onto them when they
get close enough. This means that, using guides, it is easy to ensure handles are in particular places.
Position handles, vertex handles, tangent handles, radius handles, width handles and angle handles can all snap
onto guides. This means that you can use guides to accurately position anything and everything in Synfig Studio.
Appearance
Guides look like this in the canvas window:
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As you can see above, they appear as blue dashed lines that extend across your working area to the edges of the
canvas window. A guide that is being positioned on the canvas will appear as a red dashed line instead of a blue
dashed line. File:Doc Guide LightSpots.sifz
Adding guides to your canvases

There are three ways to add guides to your canvases. You can drag them from the canvas window rulers, you can
click on the canvas window rulers or you can add guides using the Canvas MetaData Panel.
Dragging from the Canvas Window Rulers
You can add a horizontal guide by moving your mouse over the horizontal ruler at the top of the canvas window,
holding down the left mouse button and then dragging your mouse downwards. To show you that you are
positioning the guide, it will appear as a red dashed line. When you release the left mouse button the guide will be
placed on your canvas and the red dashed line will become blue.
You can add a vertical guide by moving your mouse over the vertical ruler at the left of the canvas window, holding
down the left mouse button and then dragging your mouse to the right. To show you that you are positioning the
guide, it will appear as a red dashed line. When you release the left mouse button the guide will be placed on your
canvas and the red dashed line will become blue.
Clicking on the Canvas Window Rulers
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Each time you click on the horizontal ruler at the top of the canvas window, a horizontal guide will be added at the
horizontal centre of your canvas. Each time you click on the vertical ruler at the left of the canvas window, a
vertical guide will be added at the vertical centre of your canvas.
In Synfig Studio more than one guide can share the same position, so by repeatedly clicking on a ruler you will end
up with a stack of guides in the same position.
You can use the left, right or middle mouse button to click on the rulers.
Using the Canvas MetaData Panel
Advanced users may sometimes want to add guides using the Canvas MetaData Panel. The Meta Data Panel stores
its data in Synfig's internal units, not in pixels, points, etc.
To show you how this works, we'll open a new file and add a vertical guide to the centre of the canvas.
1. Select "File → New" or press Ctrl N to open a new file.

2. Select the Meta Data Panel in the Parameters, Library, Keyframes, Timetrack, Graphs, Canvas MetaData
window.
3. Click the "Add new MetaData entry" icon (the one that looks like this ) at the bottom of the panel. A "New MetaData
Entry" dialog box will appear.
4. Type "guide_x" and click "OK" or press ↵ Enter .
5. Double click on the Data column next to the "guide_x" Key in the Canvas MetaData Panel. This will allow you to
enter a value.
6. Type "0" and press ↵ Enter . A new vertical guide should appear at the centre of your canvas.
The "guide_x" Key in the Meta Data Panel stores all the vertical guides on the current canvas. It stores them as a list
floating point numbers separated by spaces.
The "guide_y" key in the Meta Data Panel stores all the horizontal guides on the current canvas. It stores them as a
list of floating point numbers separated by spaces.
Positioning guides precisely

The purpose of guides is to allow you place things in exact positions, so being able to position guides accurately is
very important. There are two ways you can position guides using Synfig Studio. You can look at the Info Panel
while you are dragging guides with the mouse, or you can use the Canvas MetaData Panel to enter guide positions
directly.
Using the Info Panel
When you open or create a new file, it's possible to position guides to pixel boundaries (if pixels happen to be your
currently selected unit system) by looking at the Info Panel while you drag them. Unfortunately, as soon as you
have zoomed in or out of your canvas this is no longer possible. You will only see fractions of a pixel displayed in
the Info Panel. However, there are various ways to fix this:
Click on the "Zoom to Fit" button and then click on the "Zoom to 100%" button to the left of the horizontal scroll
bar in the canvas window.
Save your file, close it and reopen it you'll find you're able to position guides to pixel boundaries once again –
until the next time you zoom in or out of your canvas.
Tip
The Info Panel is not updated when you first add guides to the canvas, but it is
updated when you reposition them. We suggest that you place new guides
roughly into position first, then reposition them with the help of the Info Panel
to get them into exact position.
Advanced users may sometimes want to enter guide positions using the Canvas MetaData Panel. This might be
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simply because they find this method is quicker, or it may be because they want to place guides very accurately -
for example, at fractions of a pixel.
To show you how this can be done, we'll open a new file and add a horizontal guide at 0.5 pixels above the centre
of the canvas. For this example to work, you'll need to have kept the default setup values.
1. Select "File → New" or press Ctrl N to open a new file.

window.
4. Type "guide_y" and click "OK" or press ↵ Enter .
5. Double click on the Data column next to the "guide_y" Key in the Canvas MetaData Panel. This will allow you to
enter a value.
6. Type "0.0083335" and press ↵ Enter . A new horizontal guide should appear at 0.5 pixels above the center of
your canvas.
Removing guides from your canvases

There are two ways to permanently remove guides from your canvases. You can drag them back onto the canvas
window rulers or you can remove them using the Canvas MetaData Panel.
If you only want to remove guides temporarily, you should hide them instead of removing them (see below).
Note
Unlike in many other programs, you cannot remove guides in Synfig Studio by
dragging them off of the canvas window to the right or to the bottom. You
must drag guides off of the canvas window to the top or to the left (towards
the rulers) to remove them.
Dragging to the Canvas Window Rulers
In Synfig Studio, removing guides is done in the opposite way to adding them. You use the mouse to drag guides
from the canvas back onto the canvas window rulers. You remove vertical guides by dragging them onto the
vertical ruler at the left of the canvas window. You remove horizontal guides by dragging them onto the horizontal
ruler at the top of the canvas window. If you have removed a guide successfully, the canvas window status bar will
inform you "Erase canvas metadata Successful".
Advanced users will sometimes want to remove guides using the Canvas MetaData Panel. For instance, if you have
a lot of guides on your canvas this is the fastest method of permanently removing them all.
For instance, to remove all horizontal guides from a canvas using the Canvas MetaData Panel you would:
window.
2. Select the row with the "guide_y" Key.
3. Click on the "Remove selected MetaData entry" icon (it looks like this ).
To remove a particular guide from the canvas using the Canvas MetaData Panel you would:
window.
2. Double click on the Data column in the row for the "guide_x" or "guide_y" Key.
3. Select and delete the required value.
4. Press ↵ Enter .
Note
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There must be at least one value remaining in your Data column after your
edit for this to work, otherwise you will get a "Edit canvas metadata: Action is
not ready." error dialog and your edit will not be successful.
Showing or hiding guides

Sometimes, particularly if you are using a lot of guides, you'll want to hide them all so you can see your artwork
more clearly. There are two ways to show or hide all the guides on the current canvas in Synfig Studio. You can use
the Canvas Window "View" menu or you can use the Canvas MetaData Panel.
Note
If snapping to guides is enabled, it will still work even if the guides are
hidden.
Using the Canvas Window View menu
Go to menu in the Canvas Window (use the Canvas Menu Caret button in the upper left corner) and select
"View → Show Guides".
If you already have at least one guide on your canvas, you can show or hide guides using the Canvas MetaData
Panel.
window.
2. Double click on the Data column next to the "guide_show" Key in the Canvas MetaData Panel. This will allow you
to enter a value.
3. Type "0" to hide guides or "1" to show guides and press ↵ Enter .
The "guide_show" Key in the Meta Data Panel stores whether guides are visible or not. It stores "0" if guides are
hidden or "1" if guides are visible.
Note
As well as "0" or "1", you can also enter "true" or "false" (without quotes) to
enable or disable boolean values in the Canvas MetaData Panel.
Changing the color of the guides

The default guide color in Synfig Studio is blue. This may not be a useful color for your work, but fortunately you
can change this color.
You can adjust the color of the guides on the current canvas using the Meta Data Panel.
To adjust the color of the guides on a canvas :
1. Select the Meta Data Panel.

2. Double click on the Data column next to the "guides_color" Key in the Meta Data Panel. This will allow you to
enter values.
3. Enter the red channel guide color has float value between 0 and 1 included.
4. Add a space after this number
5. Enter the green channel guide color has float value between 0 and 1 included.
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7. Enter the blue channel guide color has float value between 0 and 1 included.
Snapping
Guides do not do anything until snapping to guides is enabled. There are two ways to enable snapping to guides.
The first is using the Canvas Window "View" menu. The second is using the Canvas MetaData Panel.
Once snapping is enabled, when you move a handle close to a guide it will "snap" onto it, in much the same way as
a magnet will snap onto a piece of metal. Once a handle has snapped to a guide you will find it takes a stronger
than normal movement to detach it from the guide, again as if you were pulling a magnet off of something metallic.
Having handles snapping to guides is usually very useful, but sometimes it can be very annoying! Fortunately you
can easily turn snapping to guides off.
Note
Although handles snap to guides, in Synfig Studio guides will not snap to
handles.
Using the Canvas Window View menu
Go to menu in the Canvas Window (use the Canvas Menu Caret button in the upper left corner) and select
"View → Snap to Guides".
If you already have at least one guide on your canvas, you can enable or disable snapping to guides using the
Canvas MetaData Panel.
window.
2. Double click on the Data column next to the "guide_snap" Key in the Canvas MetaData Panel. This will allow you
to enter a value.
3. Type "1" to enable snapping to guides or "0" to disable snapping to guides and press ↵ Enter .
The "guide_snap" Key in the Meta Data Panel stores whether snapping to guides is enabled or not. It stores "0" if
snapping to guides is disabled or "1" if snapping to guides is enabled.
Copying Guides from one canvas to another

When you export the canvas parameter of a Group layer you'll find the exported canvas has no guides – but
sometimes you would like it to have the same guides as its parent canvas. Or you may want to use the guides you
added to a canvas in another file. You can solve this kind of problem easily using the Canvas MetaData Panel.
As an example, here's how you would copy vertical guides to another canvas that has no guides:
1. Open the canvas window of the canvas that has the guides you want to copy.
window.
3. Select the "guide_x" row.
4. Click on the Data column next to the "guide_x" Key in the Canvas MetaData Panel.
5. Press Ctrl C or right-click on the highlighted numbers and select "Copy".
6. Open the canvas window of the canvas you want to copy the guides into.
window.
9. Type "guide_x" and click "OK" or press ↵ Enter .
10. Double click on the Data column next to the "guide_x" Key in the Canvas MetaData Panel. This will allow you to
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enter a value.
11. Press Ctrl V or right-click on the highlighted area and select "Paste"
To copy the horizontal guides you would perform the procedure above for the "guide_y" Key instead of the "guide_x"
Key.
Note
You must ensure the Data column for the "guide_x" or "guide_y" rows is selected
before you try and copy or paste guide values in the Canvas MetaData Panel.
If you don't, you may find you are copying or pasting layers instead of guide
values.
Language:
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Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Guides&oldid=20394"
Categories: Canvas Window Glossary Manual NewTerminology

submit it to this wiki. You are also promising us that you wrote this yourself, or copied it from a public domain
or similar free resource. Do not submit copyrighted work without permission!
7 of 7 07/07/2016 08:48 PM
Grid - Synfig Animation Studio http://wiki.synfig.org/Doc:Grid
Grid
Language:
English • română
Contents
1 Introduction
2 Appearance
3 Showing and hiding a grid
3.1 Using the Canvas Window Toolbar button
3.2 Using the Canvas View menu
3.3 Using the Options dialog box
3.4 Using the Canvas MetaData panel
4 Enabling and disabling snapping to a grid
4.1 Using the Canvas Window Toolbar button
4.2 Using the Canvas View menu
5 Changing the spacing of grid lines
6 Changing the color of grid lines
Introduction
You can add a grid of horizontal and vertical lines to your canvases to help you to
position items precisely. The grids won't appear in your finished animations, but they
will be saved with your documents. Each canvas has its own grid. The spacing of the
horizontal and vertical lines in a grid can be changed independently, so you can have
grids made up of rectangles as well as grids made up of squares.
If you imagine the grid's lines are made of metal, handles act like magnets around grid
lines, snapping onto them when they get close enough. This means that, using grids, it
is easy to ensure handles are in particular places.
Position handles, vertex handles, tangent handles, radius handles, width handles and
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angle handles can all snap onto grid lines. This means that you can use grids to
accurately position anything and everything in Synfig Studio.
Appearance
A grid looks like this when you display it in the canvas window:
As you can see above, the grid appears as grey dashed lines that extend across your
working area to the edges of the canvas window.
Showing and hiding a grid

There are four ways to show or hide a grid in your canvas window. You can use a
button on the canvas window toolbar, you can use the Canvas View Menu, you can use
the Options dialog box that you'll find on the Canvas File Menu or you can use the
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Using the Canvas Window Toolbar button
There is a show/hide grid button on the canvas window toolbar.
When the button looks like this the grid is hidden. If you press it the grid will
be shown.
When the button looks like this the grid is shown. If you press it the grid will
be hidden.
Using the Canvas View menu
You can open the Canvas Menu using the Canvas Menu Caret button and then use
"View → Show Grid" to hide or show the grid.
Using the Options dialog box
"File → Options" to display the Options dialog box.
You can use the "Show Grid" checkbox to show or hide the grid, and then press the "OK"
or "Apply" button.
Using the Canvas MetaData panel
Although there is no real advantage in using this method, you can show or hide the
grid using the Canvas MetaData Panel.
The Meta Data Panel starts off empty, so to show or hide the grid on a canvas without
canvas metadata you would have to:
1. Select the Meta Data Panel in the Parameters, Library, Keyframes, Timetrack,
Library, Canvas MetaData window.
2. Press the Meta Data Panel "Add New MetaData entry" icon (the one that looks like this
)
3. Type "grid_show" and press ↵ Enter .
4. Double click on the Data column next to the "grid_show" Key in the Meta Data
Panel. This will allow you to enter a value.
5. Type "0" to hide the grid or "1" to show the grid and press ↵ Enter .
To show or hide the grid on a canvas that already has canvas metadata you would:
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The "guide_show" Key in the Meta Data Panel stores whether guides are visible or not. It
stores "0" if guides are hidden or "1" if guides are visible.
Note
As well as "0" or "1", you can also enter "true" or "false"
(without quotes) to enable or disable boolean values in the
Enabling and disabling snapping to a grid

The grid does not do anything until snapping to the grid is enabled. Once snapping is
enabled, when you move a handle close to a grid line it will "snap" onto it, in much the
same way as a magnet will snap onto a piece of metal. Once a handle has snapped to a
grid line you will find it takes a stronger than normal movement to detach it from the
grid line, again as if you were pulling a magnet off of something metallic.
Having handles snapping to grid lines is usually very useful, but sometimes it can be
very annoying! Fortunately you can easily turn snapping to the grid off.
There are four ways to enable or disable snapping to the grid in your canvas window.
You can use a button on the canvas window toolbar, you can use the Canvas View
Menu, you can use the Options dialog box that you'll find on the Canvas File Menu or
you can use the Canvas MetaData Panel.
Note
If snapping to the grid is enabled, it will still work even if
the grid is hidden.
Using the Canvas Window Toolbar button
There is a enable/disable snapping to the grid button on the canvas window toolbar.
When the button looks like this snapping to the grid is disabled. If you press
it snapping to the grid will be enabled.
When the button looks like this snapping to the grid is enabled. If you press it
snapping to the grid will be disabled.
Using the Canvas View menu
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"View → Snap to Grid" to enable or disable snapping to the grid.
You can use the "Snap to grid" checkbox to enable or disable snapping the grid, and
then press the "OK" or "Apply" button.
Although there is no real advantage in using this method, you can enable or disable
snapping to the grid using the Canvas MetaData Panel.
The Meta Data Panel starts off empty, so to enable or disable snapping to the grid on a
canvas without canvas metadata you would have to:
Graphs, Canvas MetaData window.
2. Press the Meta Data Panel "Add New MetaData entry" icon (the one that looks like this
)
3. Type "grid_snap" and press ↵ Enter .
5. Type "0" to disable snapping to the grid or "1" to enable snapping to the grid and
press ↵ Enter .
To enable or disable snapping to the grid on a canvas that already has canvas
metadata you would:
Graphs, Canvas MetaData window.
2. Double click on the Data column next to the "grid_snap" Key in the Meta Data
The "grid_snap" Key in the Meta Data Panel stores whether snapping to the grid is
enabled or disabled. It stores "0" if snapping to the grid is disabled or "1" if snapping to
the grid is enabled.
Changing the spacing of grid lines

The default grid in Synfig Studio has its grid lines spaced 15.0 pixels apart horizontally
and 15.0 pixels apart vertically. This may not be a useful size for your work, but
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fortunately you can change the spacing.
You can change the spacing of the horizontal grid lines and vertical grid lines
independently. This allows you to have rectangular rather than square grids.
You also hide the horizontal grid lines, which gives you a grill of vertical lines rather
than a grid. You can do this by setting the vertical spacing to 0. However, you cannot
hide the vertical grid lines.
There are two ways to adjust the spacing of grid lines in your canvas window. You can
either use the Options dialog box that you'll find on the Canvas File Menu or you can
use the Canvas MetaData Panel.
Note
The origin of the grid is always set to the centre of the
canvas.
You can change the spacing of vertical grid lines by typing a number into the "Grid size
X:" box or you can use the arrows next to the "Grid size X:" value to increase or
decrease the spacing.
You can change the spacing of horizontal grid lines by typing a number into the "Grid
size Y:" box or you can use the arrows next to the "Grid size Y:" value to increase or
decrease the spacing.
When you have finished adjusting the spacing of your grid lines you can click "Apply" or
"OK".
Note
If you enter a negative number for "Grid size X:" or "Grid
size Y:" (or both) the grid will not be displayed when you
click "Apply" or "OK". However snapping to the grid will still
work if it is enabled.
You can adjust the spacing of the grid lines on the current canvas using the Canvas
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MetaData Panel. However, there is no real advantage in using the Meta Data Panel to
do this instead of the Options dialog box. In fact, you might find this method more
complicated as the Meta Data Panel stores its data in Synfig's internal units, not in
pixels, points, etc.
To adjust the spacing of the grid on a canvas that already has a grid displayed you
would:
2. Double click on the Data column next to the "grid_size" Key in the Meta Data
Panel. This will allow you to enter values.
3. Enter the spacing of the vertical grid lines in Synfig units.
5. Enter the spacing of the horizontal grid lines in Synfig units.
The "grid_size" Key in the Meta Data Panel stores the grid spacing in Synfig's internal
units as two floating point values separated by a space character. The first value stores
the spacing of the vertical grid lines. The second value stores the spacing of the
horizontal grid lines.
Changing the color of grid lines

The default grid color in Synfig Studio is kind of light gray. This may not be a useful
color for your work, but fortunately you can change the grid color.
You can adjust the color of the grid lines on the current canvas using the Meta Data
Panel.
To adjust the color of the grid on a canvas that already has a grid displayed you would:
1. Select the Meta Data Panel.

2. Double click on the Data column next to the "grid_color" Key in the Meta Data
Panel. This will allow you to enter values.
3. Enter the red channel grid color has float value between 0 and 1 included.
5. Enter the green channel grid color has float value between 0 and 1 included.
7. Enter the blue channel grid color has float value between 0 and 1 included.
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your writing to be edited mercilessly and redistributed at will, then do not submit
it to this wiki. You are also promising us that you wrote this yourself, or copied it
from a public domain or similar free resource. Do not submit copyrighted work
without permission!
8 of 8 07/07/2016 08:48 PM
Linking - Synfig Animation Studio http://wiki.synfig.org/Linking
Linking
Language:
Contents
1 Introduction
1.1 Automatic links
1.2 Manual links
1.2.1 Link offset by Origin
1.3 Handles type
2 Which Handle Moves and Which Stays Still?
2.1 Tier 0
2.2 Tier 1
2.3 Tier 2
2.4 Tier 3
2.5 Tier 4
2.6 Tier 5
2.7 Tier 6
Introduction
It's possible to link two handles together so that when one moves, the other
moves with it, like it is explained in this chapter of the documentation.
Automatic links
This is done automatically when you create an Outline Layer and Region Layer at
the same time in the Spline Tool; a single spline is created, and is linked to the
vertices parameter of both the outline and the region. This allows you to move the
outline around and have the region it surrounds automatically move with it.
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With "Link Origins" checked :

Move the outline around and
have the region it surrounds
automatically move with it.
Manual links
To link some handles together, select them by selecting their layer(s) and
dragging a box around them, or by holding the Control key and toggling
individual handles on, then right-click on one of the selected handles and select
"Link" from the context menu.
Link offset by Origin
Everything links perfectly as long as neither origin is moved before the link !
However, as soon as you move either origin, it offsets the linking location by
however far the origin was moved. So, it appears that a shape moved the origin of
the other shape after she placed on the origin. The way to fix it easiest is to not
move the origin before you link.
Link offset by origin, is not absolutely intuitive, but allows for some powerful and
flexible editing when things get complicated. Play with it until you understand
it ;-)
Handles type
All of the selected handles must be of the same basic type. You can't link a real
value to a vector value. You can usually link a vertex to a tangent if you like,
because they are both vector values. I'm not sure it makes much sense to do so,
however.
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Which Handle Moves and Which Stays Still?

So you've selected a bunch of handles, right clicked to bring up the menu and
clicked 'link'. Which of the handles' positions is used as the new shared position?
It works like this: a tiered decision process:
Tier 0
Tier 0 is applied only for handles which are simple values (ie. none of them
correspond to a ValueNode). There could be two cases:
If each handle is from a different layer, then the 'first' one is the one from the
topmost layer. Before that the one from the lowest layer was used.
If the handles are from the same layer, it seems to be the handle listed last in
the parameter dialog that has its value used.
This case won't happen if any of the handles are animated, converted, or already
linked to anything else, including being part of a spline.
Tier 1
If any of the handles are an exported value:
If all the handles which are an exported value are the same exported value,
then that value is used.
Otherwise it's an error; linking isn't allowed to change an exported value.
Tier 2
So none of the handles are an exported value.
If any of the handles are referenced more than the others, then one of those is
used.
What does 'referenced' mean? It's a count of how many times the value is used. If
2 handles are linked together, that value will be referenced twice.
Notice that if you draw an outline and region at once using the spline tool, the
points in the created layers will each have a reference count of one, since the
points themselves aren't linked to each other. Rather, it is the blines (the lists of
blinepoints) that are linked. On the other hand, if you draw an outline and a
region separately and link their vertices individually, then each vertex will have a
reference count of 2.
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Tier 3
If it's still not decided which one to use, and some of the handles are animated
and others are constant values, then one of the animated ones will be used.
Tier 4
After that, if two or more handles are animated, the one with the most waypoints
gets priority.
Tier 5
If it's still not decided, then the one that was least recently modified will get
priority.
So if all other things are equal, you can decide which handle gets moved by
nudging the one you want to move a little just before linking.
Tier 6
If even the modification date of the ValueNodes is the same, there's nothing to
base the decision on and so the 'first' handle's value is used.
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Library Panel - Synfig Animation Studio http://wiki.synfig.org/Library_Panel
Library Panel
Language:
The Library panel shows all exported value nodes and all canvases in the current
animation.
If you find yourself using a particular color over and over again, it's a good idea to
export it into the Library panel so you can easily pick the same colour in the
future. Simply right-click on the color in the Parameters Panel and choose
"Export" from the menu. You will be prompted for a name to associate with the
value. In order to see the newly exported value in the Library panel, you will have
to open up the "ValueBase Nodes" tree if it isn't already opened. The same
technique works for any other parameter as well, even for complete animated
spline paths.
To use a value that you have exported into the Library panel in a different layer,
simply select the value in the Library panel then right-click the parameter you
want to apply it to in the Parameters Panel. Select "Connect" to use the value.
The values stored in the Library panel store their animations with them. So if you
have a circle whose color changes from red to yellow over time, and export that
circle's Color parameter and use it to color a rectangle, the rectangle will also
change from red to yellow over time, in exactly the same way. The color of the two
shapes will now be linked, so editing either one of them will affect the other.
When a value is selected in the Library Panel, its handle will be shown in the
Work Area Window. These handle will remain as you switch from layer to layer,
which can be confusing.
It is possible, using drag and drop, to organise the values in the Library panel into
a hierarchical structure, but currently the structure you create isn't saved into the
.sifz file, so any organisation you do will be lost when you next open the
document.
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Library Panel - Synfig Animation Studio http://wiki.synfig.org/Library_Panel
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Export - Synfig Animation Studio http://wiki.synfig.org/Export
Export
Language:
English • français • română
Exporting and converting a ValueNode are among the most interesting features
of Synfig. A combination of them allows the user to organize complex animations
modifying just a few parameters.
You can right-click any parameter in the Parameters Panel and Export it. This
adds it to the Library Panel, and allows it to be used as the value of other
parameters. You cannot export two parameters with the same name.
Contents
1 Unexport
2 Scope
3 Rename
4 Convert
5 Reuse
Unexport
You can delete an exported parameter. To do this right click on the exported
parameter (or the Value Node) and select "Unexport". It will delete the current
selected exported Value Node but it will not affect to any parameter that was
connected to the exported Value Node.
Exported canvases cannot be deleted for the time being.
Scope
Exported Value Nodes are visible in the Library Panel only for the current edited
canvas. So if you export the canvas parameter and then double click in the Canvas
Dialog you will open the canvas in edit mode in another window. You can export a
parameter while editing that canvas, and then the exported parameter will be
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Export - Synfig Animation Studio http://wiki.synfig.org/Export
visible only in the canvas scope. It will allow have same exported name for several
Value Nodes in different canvases.
Rename
You can also rename an exported parameter. Just make right click on the exported
parameter (or the exported Value Node. It will not affect to the connected
parameters that will remain connected to that renamed ValueNode.
Convert
You can convert any exported Value Node using the Convert right click menu. But
there is a difference: converting a connected parameter will disconnect from its
exported Value Node. But if you convert a Value Node all the connected
parameter will follow the converted Value Node.
Reuse
Sometimes you would like to do the same combination of exported values and
convert types. And it is so tedious to repeat each time. There is a way to avoid this
and reuse the exported and converted values.
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Convert - Synfig Animation Studio http://wiki.synfig.org/Convert
Convert
Language:
* This page need a better formating (for example sorting by categories : math/angle/boolean/...)
* Some convert types are missing see here (https://github.com/synfig/synfig/blob/master/synfig-core/src/synfig/
Contents
Overview 1 Overview
2 Convert Types
Right-clicking on a value in the Parameters Panel brings up a context menu 2.1 Add
which has a sub-menu called "Convert". 2.2 And
2.3 Angle String
The "Convert" menu allows you to specify that the parameter should be 2.4 aTan2
controlled automatically in various ways or used in mathematical formulas. 2.5 Spline
Depending on the type of the parameter the Convert menu will contain 2.6 Compare
different options. 2.7 Composite
2.7.1 Composite for Group Layer
To convert the parameter back to its original type, select "Disconnect" from 2.8 Cos
its context menu. 2.9 Derivative
2.10 Dot Product
2.11 Duplicate
2.12 Dynamic
2.12.1 Comments
2.13 Dynamic List
2.14 Exponential
2.15 From Integer
2.16 Gradient Color
2.17 Gradient Rotate
2.18 Int String
2.19 Joined List
2.20 Linear
2.21 Logarithm
2.22 Not
2.23 Or
2.24 Power
2.25 Reverse
2.26 Radial Composite
2.27 Random
2.28 Range
2.29 Real String
2.30 Reciprocal
2.31 Reference
2.32 Repeat Gradient
2.33 Reverse Tangent
2.34 Scale
2.35 Segment Tangent
2.36 Segment Vertex
2.37 Sine
2.38 Spline Tangent
2.39 Spline Vertex
2.40 Spline Width
2.41 Step
2.41.1 Example
2.42 Stripes
2.43 Subtract
2.44 Switch
2.45 Time Loop
2.46 Time String
2.47 Timed Swap
2.48 Two-Tone
2.49 Vector Angle
2.50 Vector Length
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2.51 Vector X
2.52 Vector Y
3 Which Value Types can use which Convert Types?
3.1 Angle
3.2 Bool
3.3 Canvas
3.4 Color
3.5 Gradient
3.6 Integer
3.7 List
3.8 Real
3.9 Segment
3.10 Spline Point
3.11 String
3.12 Time
3.13 Vector
4 Compatibility
Converting animated values

When a parameter is animated it is (internally) converted to Animated Value node.
Converting to another Convert Types replaces the link.
Convert Types
Add
Converting a parameter to "Add" adds three sub-parameters, the first two of which are the same type as the parameter itself:
<param> "LHS"
<param> "RHS"
real "Scalar"
The "Add" conversion can be used with parameters of type angle, color, gradient, integer, real, time, and vector.
The resulting value is:
(LHS + RHS) * Scalar
And
Converting a bool parameter to "And" adds two sub-parameters:
bool "Link1"
bool "Link2"
The resulting value is true only if both Link1 and Link2 are true.
Angle String
Converting an string-valued parameter to "Angle String" adds four sub-parameters:
angle "Angle"
integer "Width"
integer "Precision"
bool "Zero Padded"
The resulting value a string containing the value of "Angle" (in degrees) formatted as a string with a minimum width "Width", with
"Precision" decimal places. If "Zero Padded" is true, it will be left-padded with 0 characters.
aTan2
Converting an angle-valued parameter to "aTan2" adds two sub-parameters:
real "X"
real "Y".
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atan2(y,x)
ie. atan(y/x) but without an error when x is 0. The value is the angle between the x axis and the vector (x,y).
Spline
Converting a list parameter to "Spline" doesn't seem to change anything. Perhaps that's the default type for lists of vertices, such as
are found in outlines and regions?
Compare
Converting a bool parameter to "Compare" adds five sub-parameters:
real "LHS"
real "RHS"
bool "Greater than"
bool "Equal to"
bool "Less than"
The valuenode compares "LHS" and "RHS". The three boolean values determine which comparison returns true. For example, if
LHS>RHS and "Greater than" is checked, the valuenode will evaluate to true.
Composite
Converting a Spline Point parameter to "Composite" adds six sub-parameters:
vector "Vertex"
real "Width"
real "Origin"
bool "Split Tangents"
vector "Tangent 1"
vector "Tangent 2"
Converting a color parameter to "Composite" adds four real-valued sub-parameters:
real "Red"
real "Green"
real "Blue"
real "Alpha"
Converting a segment parameter to "Composite" adds four vertex sub-parameters:
vertex "Vertex 1"

vertex "Tangent 1"
vertex "Vertex 2"
vertex "Tangent 2"
Converting a vector parameter to "Composite" adds two real-valued sub-parameters:
real "X-Axis"
real "Y-Axis"
The resulting value is a Spline Point, Color, Segment, or Vector made by combining the component parts.
Composite for Group Layer
The "Transformation" parameter of a Group Layer and Switch Group Layer is a composite parameter, it hold an Offset, Rotation, Skew
and Scale subparameter for the group.
Cos
Converting a real-valued parameter to "Cos" adds two sub-parameters:
angle "Angle"
real "Amplitude".
"Amplitude" * cos("Angle")
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Derivative
It allows to calculate the derivative (first or second order) of a given value node using the finite differences method. It has the
following sub parameters:
real "Link" : Value Node whom is calculated the derivative (Real, Angle, Time, Vector)
real "Interval" : Size of the interval to calculate the finite differences (Real >0).
integer "Accuracy" : Accuracy order. (ROUGH, NORMAL, FINE & EXTREME)
integer "Order" : First or Second order derivative (FIRST, SECOND)
Dot Product
Converting a real or angle parameter to a "Dot Product" adds two sub-parameters:
vector "LHS"
vector "RHS"
If the converted value is an angle, the return value is the angle between the two vectors:
return = acos((LHS · RHS) / (|LHS| * |RHS|))
If the converted value is a real, the result value is the dot product of the two vectors:
return = LHS · RHS = |LHS| * |RHS| * cos(alpha)
(where alpha is the angle between "LHS" and "RHS").
Duplicate
This ValueNode type is only used by the Duplicate Layer. It never appears in the "Convert" menu. It is used to control the range of the
Index in the Duplicate Layer (q.v.).
The "Duplicate" ValueNode type has 3 real-valued sub-parameters:
real "From"
real "To"
real "Step"
The value of the ValueNode varies from the value of "From" to the value of "To" in steps of size "Step". The sign of "Step" is ignored. If
From<To the steps are positive, else they're negative.
Dynamic
Allows to link two vectors with a dynamic link. The ValueNode (vector type) that is converted to "Dynamic" will be linked to another
vector value using a linear/rotational spring system with damping and friction.
File:Convert-Dynamics- File:Convert-Dynamics-
Example1-project.sifz Example2-project.sifz
Once you convert the Value to "Dynamic" it offers the following sub-parameters:
vector "Tip Static" This is the equilibrium position of the system without external forces relative to the Origin. See Origin. Since
it is a vector its length is used for the linear spring equilibrium length and its angle form the x axis is used for the torsion spring
equilibrium angle. The initial value of this subparameter is the current value of the Value that is being converted to Dynamic.
vector "Origin" This is the basement of the dynamic system. Defaults to (0.0, 0.0). If the user changes this value the final
equilibrium calculated position of the value is modified too. Accelerations of the Origin are used to move the Tip due to the
fictitious forces needed to apply under non inertial reference systems.
vector "Force" External force applied on the Tip of the dynamic system. Defaults to (0.0, 0.0).
real "Torque" External momentum applied tot he dynamic system at the Origin. Defaults to 0.0.
real "Damping" Damper coefficient of the linear link. Defaults to 0.4
real "Friction" Friction coefficient of the rotational link. Defaults to 0.4
real "Spring" Spring coefficient of the linear link. Defaults to 30.0
real "Torsion" Torsion coefficient of the rotational link. Defaults to 30.0
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real "Mass" Mass of the dynamic system. Defaults to 0.3

real "Inertia" Moment of inertia of the dynamic system. Defaults to 0.3
bool "Spring rigid" When checked linear spring is rigid. Defaults to off
bool "Torsion rigid" When checked torsion spring is rigid. Defaults to off
bool "Origin drags tip" When checked result is origin + dynamic tip otherwise result is just dynamic tip. Defaults to off
Comments
The movement of the Origin produces two effects. It drags the

resulting vector the same amount of the Origin along the time (that
is the resulting vector is the sum of the Origin(t) + dynamic tip(t))
and its acceleration produces an inertial force contrary to the
acceleration direction and magnitude.
The Torque only affects the angle of the resulting vector respect to
the Origin. This means that the mass center of gravity is located at
the origin (where the torque is applied) and so there is not
centrifugal effects.
Since the Origin only can be translated and not rotated, there are
not Coriolis forces.
The Force is applied on the tip position so it would produce effects

on the angle and on the length of the tip. Force (F) is decomposed
into two vectors one aligned with the Tip vector (Fr) and other Graphical representation of the dynamics system
perpendicular (Fa). The one aligned (Fr) is used on the linear
damper spring equations. The one perpendicular (Fa) is used as
additional torque by this expression Fr*R (where R is the variable length of the Tip vector)
If Mass (Inertia) reaches near to zero, then the movement for linear (rotational) link is disabled.
User is responsible of the meaning of the values of the parameters (i.e. negative mass, or negative friction or spring constant)
Origin is automatically connected to a subparameter of an internal Value Node in order to calculate the second derivative of the
Origin (that is the acceleration of the Origin). Do not Disconnect Origin value node. Export it instead and link or connect other Value
Nodes to the exported.
Dynamic List
Converting a list parameter to "Dynamic List" seems to replace each of the "Vertex NNN" sub-parameters with "Item NNN" parameters which
can't be expanded, but can be Exported.
Exponential
Converting a real parameter to "Exponential" adds two sub-parameters:
real "Exponent"
real "Scale"
The resulting value is the result raising the mathematical constant 'e' (http://en.wikipedia.org
/wiki/E_%28mathematical_constant%29) to the power of "Exponent", and scaling the result by "Scale". That is, it returns:
Scale * eÊxponent
This is useful for tracking layers which have been zoomed, since the Zoom Layer scales by e^(zoom factor).
See this video (http://youtube.com/watch?v=GAWtndOHkUw) for an example of the use of this convert type.
From Integer
This is currently disabled. It converts an integer to one of several types.
Gradient Color
Converting a color parameter to "Gradient Color" adds two sub-parameters:
gradient "Gradient"
real "Index"
The resulting value is a color taken from the Gradient Tool at the given index position. "Index" 0 corresponds to the left of the
"Gradient"; "Index" 1 corresponds to the right of the "Gradient".
Gradient Rotate
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Converting a gradient parameter to "Gradient Rotate" adds two sub-parameters:
gradient "Gradient"
real "Offset"
The resulting value is a gradient based on the "Gradient" parameter, but shifted left (for negative values) or right, according to the
value of the "Offset" parameter. An offset of 1.0 will shift the gradient by its entire visible width. Values shifted off the left or right
edge aren't lost - they aren't visible in the gradient as it's displayed in the parameters dialog, but they will still be used when
rendering (depending on parameters such as "Loop" and "Zigzag", which can cause gradients to be looped between their their left and
right edges, rather than using the non-displayed parts).
Int String
Converting an string-valued parameter to "Int String" adds three sub-parameters:
integer "Int"
integer "Width"
bool "Zero Padded"
The resulting value a string containing "Int" formatted as a string with a minimum width "Width". If "Zero Padded" is true, it will be
left-padded with "0" characters.
Joined List
Converting a string parameter to be "Joined List" adds four sub-parameters:
list "Strings"
string "Before"
string "Separator"
string "After"
The result is a string containing the value of "Before", followed by all the strings in the "Strings" list, with the value of "Separator"
between each pair, followed by the value of "After".
Linear
Converting an angle parameter to be "Linear" adds two angle sub-parameters:
angle "Rate"
angle "Offset"
Converting a color parameter to be "Linear" adds two angle sub-parameters:
color "Rate"
color "Offset"
Converting an integer parameter to be "Linear" adds two angle sub-parameters:
integer "Rate"
integer "Offset"
Converting a real parameter to be "Linear" adds two real-valued sub-parameters:
real "Rate"
real "Offset"
Converting a time parameter to be "Linear" adds two time sub-parameters:
time "Rate"
time "Offset"
Converting a vector parameter to be "Linear" adds two vector sub-parameters:
vector "Slope"
vector "Offset"
The parameter's value will change linearly over time, starting with the value specified by "Offset" at time zero, and increasing by the
value specified by "Rate" (or "Slope", in the case of vector parameters) every second.
The resulting value for vector parameters is:
Offset + Slope*time
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and for the other 5 types of parameter it is:
Offset + Rate*time
Logarithm
Converting a real-valued parameter to "Logarithm" adds three sub-parameters:
real "Link"
real "Epsilon".
real "Infinite".
Log(Link) (if Link >= Epsilon)

-Infinite (if Link < Epsilon)
The "Epsilon" and "Infinite" parameters are only needed to prevent logarithm of negative or zero numbers. For regular operation the
resulting value is simply the natural logarithm of "Link". In fact a logarithm of a negative number cannot be calculated in the space of
Real numbers. This convert type returns -Infinite for simplicity.
Not
Converting a bool parameter to "Not" adds one sub-parameter:
bool "Link"
The resulting value is the opposite of "Link".
Or
Converting a bool parameter to "Or" adds two sub-parameters:
bool "Link1"
bool "Link2"
The resulting value is true if either "Link1", "Link2", or both are true.
Power
Converting a real-valued parameter to "Power" adds three sub-parameters:
real "Base"
real "Power"
real "Epsilon".
real "Infinite".
The resulting value is Base^Power if the operation is defined. The undefined cases will also return a value (to avoid errors):
0^0 = 1
0^-x = +/- infinite
If a negative base is raised to a noninteger power, the power is rounded (typecast) to an integer
The "Epsilon" and "Infinite" parameters are only needed to prevent division by zero.
Reverse
It operates on every type I could figure out how to reverse: lists, strings, spline points and segments, gradients, width points, and
dash items.
From the Parameters Panel, select what you want to reverse, right click and select "Convert → Reverse"
When reversing a list, it also reverses the individual elements of that list, meaning that, for instance, a spline will look exactly the
same after being reversed.
Radial Composite
Converting a color to "Radial Composite" adds four sub-parameters:
real "Luma"
real "Saturation"
angle "Hue"
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real "Alpha"
Converting a vector to "Radial Composite" adds two sub-parameters:
real "Radius"
angle "Theta"
For color parameters, the resulting value is the color with the given "Luma", "Saturation", "Hue", and "Alpha" amounts.
For vector parameters, the resulting value is the point reached by traveling a distance "Radius" from the origin, in the distance given
by the angle "Theta".
Random
Converting a parameter to "Random" adds five sub-parameters, the first of which is the same type as the converted parameter:
<param> "Link"
real "Radius"
integer "Seed"
real "Animation Speed"
integer "Interpolation"
real "Loop Time"
"Random" can be used on angles, colors, integers, reals, times, and vectors.
It is used to cause a parameter's value to vary randomly over time, around a central value:
"Link" provides the central value.

"Radius" defines the maximum random difference.
"Seed" seeds the random number generator
"Animation Speed" defines how often a new random value is chosen (in choices per second)
"Interpolation" determines how the value is interpolated from one random choice to the next. Possible values are:
0 - no interpolation; the value jumps from one value to the next
1 - linear interpolation
2 - cosine
3 - spline
4 - cubic (the default); uses Catmull-Rom (http://www.gamedev.net/reference/articles/article1497.asp) spline interpolation
"Loop Time" makes the random value repeat after the given time. The value ends up the same at the given time as at time=0 so it's
possible to make random looping animations without a nasty jump when the time wraps back to zero.
The "Interpolation" sub-parameter should really be a drop-down menu, rather than an integer field, but that isn't yet implemented.
Range
Converting a parameter to "Range" adds three sub-parameters, all the same type as the parameter itself:
<param> "Min"
<param> "Max"
<param> "Link"
"Range" can be used on angles, integers, reals, and times.
It is used to limit the value of the linked parameter to be between "Min" and "Max".
Min (if Link < Min)

Max (if Link > Max)
Link (otherwise)
Real String
Converting a string parameter to "Real String" adds four sub-parameters:
real "Real"
int "Width"
int "Precision"
bool "Zero Padded"
The result is a string formatted to contain the given value "Real". "Width" specifies the minimum field width, "Precision" specifies the
number of decimal places and "Zero Padded" specifies whether to pad with zeros on the left hand side.
For example, with Real=3.1415, Width=6, Precision=2, and ZeroPadded=true, we get:
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"003.14"
(6 characters long, 2 decimal places, and padded with zeros on the left).
Reciprocal
Converting a real-valued parameter to "Reciprocal" adds three sub-parameters:
real "Link"
real "Epsilon".
real "Infinite".
1/Link (Link <= -epsilon or epsilon <= Link)

Infinite (if 0 <= Link < epsilon)
-Infinite (if -epsilon < Link < 0)
The "Epsilon" and "Infinite" parameters are only needed to prevent division by zero. For regular operation the resulting value is simply
the reciprocal of "Link".
Reference
Converting a parameter to "Reference" adds a single sub-parameter called "Link". The "Link" parameter is the same type as the
parameter being converted.
It doesn't seem to do anything at all, other than adding an extra parameter. Whatever value is put into "Link" becomes the value of the
parameter being converted.
The only use for this conversion type I can think of is the following:
you know that point A should follow point B, so you export point B and connect point A to it
you're not yet sure exactly how point B should move, so you experiment with different conversion types for point B
changing the conversion type for point B breaks the connection you made in the first step
converting point B to be a reference, and then experimenting with different conversions in its "Link" parameter allows point A to
connect to point B and for the connection to remain in place while you experiment in the "Link" parameter
Link
Repeat Gradient
Converting a gradient parameter to "Repeat Gradient" adds seven sub-parameters:
gradient "Gradient"
integer "Count"
real "Width"
bool "Specify Start"
bool "Specify End"
color "Start Color"
color "End Color"
The resulting value is a gradient containing "Count" equally spaced, equally wide copies of "Gradient". Each copy has "Gradient" going
forwards and then backwards. "Width" specifies relative width of the forward copy, with a width of 0 or less meaning only the
backward copy is used, and a width of 1 or more meaning only the forward copy is used. A value of 0.5 will result in the forward and
reverse copies of "Gradient" being the same width.
If "Specify Start" is checked then "Start Color" will be inserted at the beginning of the new gradient, otherwise the beginning of
"Gradient" will be used as the beginning of the new gradient.
If "Specify End" is checked then "End Color" will be appended to the end of the new gradient, otherwise the end of "Gradient" will be used
as the end of the new gradient.
Here's an example of a repeated gradient - the radiating green/yellow lines are a repeated gradient, applied to a perpendicular curve
gradient. This gradient was repeated with a width of 0.5, meaning it is used backwards and forwards the same amount:
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and here's the resulting image, along with the .sif file:
You can donwload the project Media:Repeat-gradient-valuenode.sif
Reverse Tangent
Converting a Spline Point parameter to "Reverse Tangent" adds two sub-parameters: one called "Reference" of type Spline Point, and a
boolean parameter called "Reverse".
Spline Point "Reference"

bool "Reverse"
"Reverse Tangent" can only be used on Spline Points.
The resulting value is the same as the "Reference" Spline Point, but with its tangents switched over. This is useful when attempting to
link the vertices of a region to the vertices of an outline when the region and the outline were drawn in opposite directions, and so
tangent1 of an outline vertex needs to be linked to tangent2 of the region vertex, and vice versa.
Scale
Converting a parameter to "Scale" adds two sub-parameters: one called "Link", of the same type as the parameter itself, and a
real-valued parameter called "Scalar".
<param> "Link"
real "Scalar"
"Scale" can be used on angles, colors, integers, reals, times, and vectors.
Link * Scalar
Segment Tangent
Converting a vector parameter to "Segment Tangent" adds two sub-parameters:
segment "Segment"
real "Amount"
"Amount"is a number between 0 and 1, defining the distance along the given "Segment". The resulting value for the whole parameter is
the tangent to the segment, at the given point along the segment.
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Segment Vertex
Converting a vector parameter to "Segment Vertex" adds two sub-parameters:
segment "Segment"
real "Amount"
"Amount"is a number between 0 and 1, defining the distance along the given "Segment". The resulting value is the vertex at the given
point along the segment.
Sine
Converting a real-valued parameter to "Sine" adds two sub-parameters:
angle "Angle"
real "Amplitude".
Amplitude * sin(Angle)
Spline Tangent
Converting a angle, {{l|Convert#Real|real}, or vector parameter to "Spline Tangent" adds six sub-parameters:
spline "Spline"
bool "Loop"
real "Amount"
angle "Offset"
real "Scale"
bool "Fixed Length"
"Amount" is a number between 0 and 1, defining the distance along the given spline. The resulting value for the whole parameter is the
tangent to the spline, at the given point along the spline, optionally rotated and scaled according to the "Offset", "Scale", and "Fixed
Length" parameters.
"Offset"is an angle used to give the tangent an extra rotation before returning it. If "Fixed Length" is true, the tangent is then scaled to
have a length equal to "Scale". Otherwise the tangent is multiplied by "Scale".
If a vector was converted the result is the tangent itself. If an angle was converted, the result is the angle of the tangent to the
horizontal, and if a real was converted, the result is the length of the tangent.
This tutorial gives an example of the use of this convert type.
Spline Vertex
Converting a vector parameter to "Spline Vertex" adds three sub-parameters:
spline "Spline"
bool "Loop"
real "Amount"
"Amount"is a number between 0 and 1, defining the distance along the given spline. The resulting value for the whole parameter is a
vector giving the position of the given point along the spline.
This tutorial gives an example of the use of this convert type.
Spline Width
Converting a real parameter to "Spline Width" adds three sub-parameters:
spline "Spline"
bool "Loop"
real "Amount"
real "Scale"
is a number between 0 and 1, defining the distance along the given spline. The resulting value for the whole parameter is the
"Amount"
width of the spline at the given point along it, multiplied by the "Scale" parameter.
Step
Converting an angle, color, integer, real, time, or vector parameter to be "Step" adds four sub-parameters:
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<param> "Link"
time "Duration"
time "Start Time"
real "Intersection"
The parameter's value will change in steps. Each step is "Duration" seconds long. The steps start at times "Start Time", "Start
Time"+"Duration", etc. The value of the valuenode is the value of "Link" at some time. "Intersection" determines which time is used. An
"Intersection" of 0.0 means that the value of "Link" at the start of the step should be used. An "Intersection" of 0.5 (the default) means to
use the value of "Link" at the middle of the step, etc.
The resulting value at time is:
Example
"Link" is a sine wave. "Duration" is 10f (the frame rate is 24 fps). "Start Time" is 1s.
So one step starts at 1s, and others start at 0s 14f, 0s 4f, 1s 10f, etc.
This is the (kind of) sine wave:
And this is the effect of the Step valuenode on it, with an "Intersection" of 0.0. Notice that at time 0s, the step has a negative value --
that step runs from -6f to 4f, and so its value is the value of "Link" at time -6f. These images were created in The Gimp
(http://www.gimp.org/) - it's not currently possible to view two curves at the same time in Synfig Studio.
Here it is with an "Intersection" of 0.5:
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and here, with an "Intersection" of 1.0:
You can download the project Media:Doc Convert Step.sifz
Stripes
Converting a gradient parameter to "Stripes" adds four sub-parameters:
color "Color 1"

color "Color 2"
integer "Stripe Count"
real "Width"
The resulting value is a gradient containing "Stripe Count" equally spaced, equally wide stripes of color "Color 2" with a background of
"Color 1". "Width" specifies the width of the stripes, with a "Width" of 0 or less meaning they are invisible, and a "Width" of 1 or more
meaning the whole gradient is of "Color 2".
Subtract
Converting a parameter to "Subtract" adds three sub-parameters, the first two of which are the same type as the parameter itself:
<param> "LHS"
<param> "RHS"
real "Scalar"
The "Subtract" conversion can be used with parameters of type angle, color, gradient, integer, real, time, and vector.
(LHS - RHS) * Scalar
Switch
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Converting a parameter to "Switch" adds three sub-parameters:
<param> "Link Off"

<param> "Link On"
bool "Switch"
"Link Off" and "Link On" are the same type as the parameter being converted.
The resulting value is the value of "Link Off" when "Switch" is off, and "Link On" when "Switch" is on.
This conversion can be used on all value types.
Time Loop
Converting a parameter to "Time Loop" adds four sub-parameters: one called "Link", of the same type as the parameter itself, and three
time parameters:
<param> "Link"
time "Link Time"
time "Local Time"
time "Duration"
It works similarly to the Time Loop Layer but affects only a single parameter.
For any integer value n, from "Local Time + abs(Duration)*n" to "Local Time + abs(Duration)*(n+1)", the resulting value of the
parameter is the same as that of the "Link" parameter from "Link Time" to "Link Time + Duration".
In other words, "Duration" seconds of values of the parameter "Link" starting from time "Link Time" onwards are looped over and over,
with the value of the "Link" parameter at time "Link Time" corresponding to the resulting value at time "Local Time".
As an example, suppose the "Link" parameter has a value of time the current time. At 0s the value is 0, at 10s the value is 20.
If we set:
Link Time = 5s
Local Time = 2s
Duration = 4s
then from 2s to 6s and from 6s to 10s, etc., the resulting value is the value of "Link" from 5s to 9s, as follows:
Then the resulting values will be:
0s -> "Link" value at 7s = 14

2s -> "Link" value at 5s = 10 (at "Link Time" = 2s, result is the value of "Link" at "Link Time" = 5s = 10)
6s -> "Link" value at 5s = 10 ("Duration" = 4s later, the value is the same as at 2s)
If "Duration" is zero, the resulting value is whatever the value of the "Link" parameter is at time "Link Time".
If "Duration" is negative, the resulting value at "Local Time" still matches the value of "Link" at "Link Time", but the animation goes in the
opposite direction. For example:
If we set:
Link Time = 5s
Local Time = 2s
Duration = -4s
then from 2s to 6s and from 6s to 10s, etc., the resulting value is the value of "Link" from 5s to 1s, as follows:
Then the resulting values will be:

2s -> "Link" value at 5s = 10 (at "Link Time" = 2s, result is the value of "Link" at "Link Time" = 5s = 10)
6s -> "Link" value at 5s = 10 (4s later, the value is the same as at "Link Time" = 2s)
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This conversion can be used on all value types.
Time String
Converting a string parameter to "Time String" adds one sub-parameter called "Time", of type time:
time "Time"
The result is a string containing the given "Time".
Timed Swap
Converting a parameter to "Timed Swap" adds four sub-parameters:
<param> "Before"
<param> "After"
time "Time"
time "Lenght"
"Before" and "After" are the same type as the parameter being converted.
This conversion type linearly switches from "Before" to "After", taking "Lenght" seconds to do so, and completing the swap at "Time".
Note that this doesn't give us anything that we can't achieve using the "Linear" conversion type and a few waypoints.
"Timed Swap" can be used on angles, colors, integers, reals, times, and vectors.
if "current time" > "swap Time" then "After"

else if "current time" < ("swap Time" - "Lenght") then "Before"
else interpolate between "Before" and "After"
See Slideshow Tutorial for an example.
Two-Tone
Converting a gradient to "Two-Tone" adds two color-valued sub-parameters:
color "Color1"
color "Color2"
The resulting gradient has two Color Stop, one at each end, starting with "Color1" and ending with "Color2".
These color parameters can be animated, giving us the ability to have the gradient change color over time. It used to be used as a
workaround for this bug (http://sourceforge.net/tracker/index.php?func=detail&aid=1568818&group_id=144022&atid=757416).
Vector Angle
Converting an angle to "Vector Angle" adds a vector sub-parameter:
vector "Vector"
The resulting value is the angle between the "Vector" and the X axis.
Vector Length
Converting a real to "Vector Length" adds a vector sub-parameter:
vector "Vector"
The resulting value is the length of the "Vector".
Vector X
Converting a real to "Vector X" adds a vector sub-parameter:
vector "Vector"
The resulting value is the X component of the "Vector".
Vector Y
Converting a real to "Vector Y" adds a vector sub-parameter:
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vector "Vector"
The resulting value is the Y component of the "Vector".
Which Value Types can use which Convert Types?

There are 13 different types of value in Synfig. Each of these types has a different set of convert types available to it, as follows:
Angle
Angle parameters can be converted to Add, aTan2, Spline Tangent, Dot Product, Linear, Random, Range, Scale, Step, Subtract,
Switch, Time Loop, Timed Swap, Vector Angle, and Reference types.
Bool
Bool parameters can only be converted to the And, Greyed, Or, Not, Compare Random, Switch, Time Loop,and Reference types.
Canvas
Canvas parameters can be converted to the Switch, Time Loop, and Reference type.
Color
Color parameters can be converted to Add, Composite, Gradient Color, Linear, Radial Composite, Random, Scale, Step, Subtract,
Switch, Time Loop, Timed Swap, and Reference types.
Gradient
Gradient parameters can be converted to Add, Gradient Rotate, Repeat Gradient, Stripes, Subtract, Switch, Time Loop, Two-Tone,
and Reference types.
Integer
Integer parameters can be converted to Add, Linear, Random, Range, Scale, Step, Subtract, Switch, Time Loop, Timed Swap, and
Reference types.
List
List parameters can be converted to Spline, Dynamic List, Switch, Time Loop, and Reference types.
Real
Real parameters can be converted to Add, Spline Width, Cos, Dot Product, Exponential, Linear, Logarithm, Power, Random, Range,
Reciprocal, Scale, Sine, Step, Subtract, Switch, Time Loop, Timed Swap, Vector Length, Vector X, Vector Y, and Reference types.
Segment
Segment parameters can be converted to the Composite, Switch, Time Loop, and Reference types.
Spline Point
Spline Point parameters can be converted to Composite, Reverse Tangent, Switch, Time Loop, and Reference types.
String
String parameters can be converted to the Angle String, Int String, Joined List, Real String, Switch, Time Loop, Time String, and
Reference types.
Time
Time parameters can be converted to the Add, Linear, Random, Range, Scale, Step, Subtract, Switch, Time Loop, Timed Swap, and
Reference types.
Vector
Vector parameters can be converted to Add, Spline Tangent, Spline Vertex, Composite, Linear, Radial Composite, Random, Scale,
Segment Tangent, Segment Vertex, Step, Subtract, Switch, Time Loop, Timed Swap, and Reference types.
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Compatibility
When a new ValueNode type is added to Synfig, the .sif file format is extended to include a way of writing the new type. This
extension won't be able to be read by any older version of Synfig. Here's a list of the ValueNode types that have been added, along
with the subversion revision number in which they first appeared:
Version Revision Convert
(1.0.2) 15/08/09
pull#199 (https://github.com
Reverse
/synfig/synfig/pull/199)
(1.0) 15/04/27
pull#105 (https://github.com
Dynamic
/synfig/synfig/pull/105)
(0.63.06)
BLine Width renamed
?
Spline Width
BLine Vertex renamed
?
Spline Vertex
BLine Tangent
? renamed Spline
Tangent
(0.61.09)
2034 Logarithm
2010 Int String
2010 Angle String
2007 Joined List
2003 Real String
2000 Time String
1891 Dot Product
1885 Gradient Color
1882 Vector X
1882 Vector Y
1881 Vector Length
1880 Vector Angle
(0.61.08) 1839
1694 BLine Width
1690 Random (for bools)
1691 Step
Subtract (for
1354
gradients)
1354 Add (for gradients)
1267 From Integer
1267 Duplicate
1238 Reciprocal
1226 Time Loop
1162 Reverse Tangent
1132 aTan2
1111 Cos
923 Switch
907 Random
(0.61.07) 878
776 Range
744 Spline Vertex
744 Spline Tangent
742 Add
739 Exponential
666 Repeat Gradient
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610 Timed Swap
(0.61.06) 536
Language:
Retrieved from "http://wiki.synfig.org/index.php?title=Convert&oldid=22059"
Categories: Glossary NewTerminology Data Linking Pages with too many expensive parser function calls

Content of this Synfig Studio Documentation Wiki is available under the terms of Creative Commons Attribution-Share Alike 3.0
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18 of 18 07/07/2016 08:49 PM
Sewing Splines - Synfig Animation Studio http://wiki.synfig.org/Sewing_Splines
Sewing Splines
Language:
English • español • română
Somes of the screenshots needs to be updated with 0.64.0
This is a small tutorial that describes how to join any layers based on the Spline
object by their edges. Such layers include the Region Layers, Outline Layers,
Plant Layer and Curve Gradient Layer.
Contents
1 Problem Definition
2 Solution
3 Drawbacks
4 Sewing more than two Splines
5 Sewing corners
5.1 Creating a smooth corner for compatible Splines
5.2 Creating a smooth corner for not compatible Splines
6 Dead End Corner
7 Removing thin line bug
Problem Definition
It is not always possible to link the edges of the Splines, because they may have
been constructed in opposite directions (clockwise and counter clockwise),
causing the tangents not to be appropriate for linking to each other.
If you're lucky you can link the tangents and the Regions will display properly. In
the following example the direction of region construction is shown by the red
arrow. You can see that the yellow tangent Handles are on the same side of the
vertex (the orange Handles). Similarly with the red Handles. It is not so obvious
when the tangents are not parallel.
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Select the vertex Handles, right click and select the context menu "Link"
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Then repeat the same procedure with the tangents (only one of the pairs of
tangents needs linking unless the tangents are split)
Now watch this situation. The Regions are constructed with the same clockwise
direction. The result is that the shared edge become incompatible for linking
properly. The tangents are opposite each other (its yellow or red Handles are not
at the same side of the vertex Handle).
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Repeat the same steps as before. First link the vertex Handles and then link the
tangent Handles. No matter what tangent Handles you link together (same color
or different color), it always gives the same result:
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Solution
To solve this problem there is a smart solution. Since the tangents of each Spline
are placed opposite each other, the solution comes from converting one of the
tangents to a scaled one. The scale should be exactly -1. This allows us to link
opposite tangents together since we are going to link one of the tangents to the
other tangent, but this last one would be displayed as its inverse by the scale
conversion (so the Spline has not the loop when rendered).
(Recently has been commited a new convert type Reverse Tangent

which might allow simplification of this task, but it's not yet clear whether that's the case.)
In the example, let's chose to make the right Region the one that we are going to
modify with the scale conversion. Here are the steps you should perform before
you link the tangents. You can do it later but should repeat the linking operations.
1. Select the vertex from the vertices list in the Parameter Panel. It will be
marked with a red square around it in the WorkArea.
2. Open the Vertex definition and search for the tangent you want to modify. If
they are merged you can do it with either of them.
3. Right click and select Convert->Scale
4. Open the converted tangent and see that there are two new parameters:
"Link" and "Scale".
5. Right click over the "Link" parameter and Export it giving a proper name (for
example 't4' if it is the vertex number 4)
6. Go to the Library Panel and select the Value node you just have exported.
7. Now go to the other layer and search the tangent you want to link to.
8. Select it, right click, and select the "Connect" option.
9. Now you have obtained the same result as before!! :(. The Regions are
looped at that point!!. Here comes the trick. :)
10. Go to the converted and exported tangent, find the "Scale" parameter you
have obtained from the Scale conversion, and set it to -1. Voila! the tangents
match each other!
Alternatively, instead of converting to Scale and exporting the Link you could
convert to Reverse Tangent and link it directly. I have not tested yet.
Notice that the other vertex Handles (of the other vertices) show how they have
opposite colors.
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Drawbacks
The converted tangents lose the ability to being manipulated by tangents Handles
since the tangent is no longer a Radial Composite value node which is the type of
conversion that Synfig knows how manage internally with Handles interface.
You should modify the tangent of the vertex of that Region using the Handles of
the other Region Layer or by the numerical input of the x,y values.
Sewing more than two Splines

Sewing more than two Splines is much the same as the case described because
locally you are only going to stitch two tangents each time. If you need to sew
more than one vertex at the same place just repeat the steps making the proper
change of tangent sign as appropriate.
Sewing corners
One not obvious situation happen when you have to sew two corners. In that case
the tangents (almost one of them) must be split. It can happen two clearly
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different situations:
1. The outside tangents are linked. Usually you link them to obtain an smooth
surface. It is like a 180 DEG corner.
2. The outside tangents aren't linked. Then you want to create a real corner
with control of each tangent. This case is a particular case of the above.
So lets study the case where the outside tangents are going to be linked having
opposite values (they are always 180 DEG separated).
That case can be reached by two regions with same clockwise construction or
opposite. Let start with the simple one.
Creating a smooth corner for compatible Splines
When you want to link two vertices that are going to create a smooth corner (a
180 DEG one) you have to do the following (I assume that the vertices are already
linked, if not you can do it now or later):
1. As well as the regions are tangent compatible (see the first previous
example) the tangent Handles have same color on same side of the vertex.
First is to split the tangents of both vertices. Right click on vertex and "Split
Tangents".
2. Then you should directly link the two tangents Handles for the inner par of
the corner. It is the tangent that points down in the following figure (the red
ones)
3. If you link the other two tangents (the yellow ones) you would obtain two
identical tangents. That's not what we ant to achieve we want that both
tangents have the opposite direction so they match smoothly.
4. Repeat the steps of Convert->Scale, export "Link" parameter, link the
exported to the other tangent and set "Scale" parameter to be -1. It would
allow obtain this figure.
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There you can see that the one of the two Handles of the upper tangent is greyed.
It means that it cannot be manipulated due it is the one what was converted to
"Scale". To manipulate that tangent you must use the left side Handle.
The red ones Handles of the other tangent are overlapping and you can manage
one of them at a time.
If you don't want to create an smooth corner just don't make the link of the yellow
tangent Handles in this case. Set them free and make the corner you want.
Creating a smooth corner for not compatible Splines
If the SpLines are not compatible (second example of above) you should make
now only one conversion too. The inner tangent still not being compatible, so it
need a conversion to Scale, an export, a link to the other tangent and a Sсale set
to -1, like in the previous example. But the outer one is compatible now because
they are already two inverted tangents and can be linked to create a 180 DEG
corner.
So after you have split the tangents you should obtain something like this:
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Now, you should link the left red Handle with the right yellow one but they are
opposite tangents (opposite colors). Then convert one of them (the yellow one in
the example) to scale, export the "Link" parameter, link it to the other (red)
tangent Handle and make the Scale parameter to be -1. It will make both regions
have same rendered tangent on the sharing edge.
Once done, you simply need to join the two upper Handles (yellow left and red
right). As well they are opposite they are compatible for a 180 DEG corner. The
result should be this:
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Dead End Corner
(If anyone has a better name for this kind of meeting of vertices please change it freely)
I gave this name to a a vertex that is completely surrounded by Splines so that it

doesn't have any outside tangent. The inner vertex of a shared edge is the
extreme example of the most general case of a Dead End Corner vertex. It has
only two tangents.
Here is an example of a preparation of a Dead End Corner. The three Regions are
going to be joined at the central vertex.
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If you have a look at the tangent Handles you can see that they match in pairs
except the two upper ones. If you have followed the tutorial you can easily
imagine that the tangent Handles that have matching colors can be linked directly
and the ones that mismatch should be converted to scale, have their "Link"
parameter exported, linked to the other tangent, and set the Scale parameter to
-1. Like this:
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So making the direct linking of the lower tangent Handles and making a reversed
link to the upper pair of tangent Handles the Dead End Corner is properly
created. Please try it for yourself. If you have problems, please ask here in this
article's Talk page.
Here is the result:
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Removing thin line bug

There is a not solved "bug"
(http://www.synfig.org/issues
/thebuggenie/synfig/issues/36) that
makes thin lines when you sew regions
with same color. It is only a pixel thick.
This is "not really" a bug. Such behaviour
is caused by the way how anti-aliasing
works in the Synfig's rendering engine.
To workaround this "not really" bug

meanwhile it is solved you can do one of
the following:
For each layer is affected, create a outline layer using same color than the
region. Then select both layers and make right click over the "Vertices"
paramter (greyed) then select "Link". Set the outline width to 1.0. It will be
enough to remove the think line.
Add a super sample layer and set its value to 3x3 or 4x4 to eliminate the thin
line.
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If the regions are outlined but not in the area of the thin line, you can
uncheck the antialiasing parameter and the thin line would disappear.
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Command:Link to Spline - Synfig Animation Studio http://wiki.synfig.org/Command:Link_to_Spline
Command:Link to Spline
(Redirected from Link to Spline)
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Generally if you want some vertex to be attached to some point on another Spline,
you need to create a vertex at that point on the target Spline. That increases the
complexity of your image and has a drawback - you cannot move the attached
vertex along the Spline.
The Link to Spline feature provides an easy way to attach a vertex of a Spline to
another Spline without the creation of an additional vertex. The vertex becomes
"stuck" to the Spline and can be moved along it.
Linking
1. Select the Spline you want to link and target Spline
2. Select the handle you want to link to target Spline. It could be
1. Spline vertex handle
2. Spline tangent handle
3. Origin Parameter of a Group Layer
4. or real handle
3. Right click on the target Spline (not the Spline vertex!) and select "Link to
Spline"
1. if selected vertex handle, it placed on Spline at position where clicked

2. if selected tangent handle, it links with Spline tangent at click position
3. if selected Origin of a Group, it links both Origin and Angle parameters
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Command:Link to Spline - Synfig Animation Studio http://wiki.synfig.org/Command:Link_to_Spline
4. if selected real handle, it links with Spline width at click position
NOTE: At step 2 you can select Spline vertex, tangent and real ducks at the
same time to link their values to the values on the same position of target
Spline.
Inverse handle Manipulation

It is possible to change linked handle position along Spline simply by dragging it.
If you linked the tangent and width ducks too, you will notice what they are
changing their values according the values of Spline.
You may also specify the offset of the tangent and width ducks simply by dragging
them. I.e. making tangent 90 degrees to Spline will keep that offset at any point of
Spline.
See also
Following a Spline tutorial.
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ValueNode - Synfig Animation Studio http://wiki.synfig.org/ValueNode
ValueNode
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A ValueNode is a value that can change over time.
A ValueNode represents a description of a value and how it changes (or doesn't!)

over time.
ValueNodes are the things we see as the value for every parameter of every
layer. The waypoints visible in the Time Track Panel are also part of the
ValueNode - waypoints are how Animated ValueNodes work out what value to
be at each point in time.
Each ValueNode (and hence each Parameter in Synfig has one of 13 Types.
Contents
1 Kinds of ValueNodes
1.1 Constant ValueNodes
1.2 Animated ValueNodes
1.3 Converted ValueNodes
2 Actions on ValueNodes
2.1 Convert
2.2 Disconnect
2.3 Export
2.4 Connect
2.5 Link
Kinds of ValueNodes
There are three kinds of ValueNodes in Synfig. In the following examples the
ValueNode's type is a real number (http://en.wikipedia.org/wiki/Real_number) in
each case:
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Constant ValueNodes
These have a single value for all time, and no waypoints. An example of such a
ValueNode would be:
"3.4, for ever"
Animated ValueNodes
These have Waypoints that specify their value at particular points in time. For
times which don't have a value specified, the value is calculated by interpolating
between the waypoints. An example would be:
"3.4 at the beginning of the animation,

move smoothly up to 7.6 at time = 10 seconds,
then jump instantly to 2.0
and stay there until the end of time"
Converted ValueNodes
These are ValueNodes which have been Converted into sub-parameters, each of
which is itself a ValueNode. Right-clicking on a parameter and selecting a type
from the 'convert' sub-menu allows you to convert a ValueNode. Converted
ValueNodes don't have waypoints themselves, but their sub-parameters may do.
An example would be:
"start at 3.4 and linearly increase by 1.2 per second"
Actions on ValueNodes
Convert
Converts a ValueNode into a Linkable type. It disconnects from the previous
value node then creates a new Linkable ValueNode and connects the parameter
to that new nalue node.
Disconnect
Creates a Constant value node based on the value of the parameter at the frame
where the action is executed. It disconnect from the previous value node and
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connect the parameter to that new constant value node.
ValueNodes are not discarded completely until all parameter that were
connected to get disconnected. So when you disconnect from a value node it
doesn't mean that the ValueNode is completely lost. Maybe other parameters still
connected to the value node too, so it is not deleted.
Export
Export, take a ValueNode (animated, constant or linkable) and labels it with a
unique name. The exported ValueNode is now known at any place of the
document (by any layer) so any other parameter can Connect to it. All exported
ValueNodes are stored in the Library Panel.
Connect
When a Exported ValueNode is selected in the Library Panel it is available to be
connected to any parameter, so the parameter is plugged to that exported value
node. When you Connect a parameter to an exported value node, the parameter is
disconnected from the previous value node. Parameters and Exported value nodes
can be Connected only of they are type compatible (i.e. angle with angle and not
angle with vector)
Link
When two or more parameters are selected at the same time (usually from two
layers) it is possible to link the ValueNodes. In this case all except one of the
selected previous parameters are disconnected from its value nodes and then
connected to the value node selected from the selected. The decision on which
value node is kept and used as link value node is taken inside the code and cannot
be user decided (but it should be)
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Categories: Glossary NewTerminology Data Linking

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Reuse Exported ValueNodes - Synfig Animation S... http://wiki.synfig.org/Reuse_Exported_ValueNodes
Reuse Exported ValueNodes

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Introduction
Exporting and converting a ValueNode are among the most interesting features of
Synfig. A combination of them allows the user to organize complex animations
modifying just a few parameters. See the tutorial Following a Spline for an
example.
Sometimes you would like to do the same combination of exported values and
convert types. And it is so tedious to repeat each time.
There is a way to avoid this and reuse the exported and converted values.
Imagine that you have a situation where you have a cool conversion combination
and want to use it into another already done animation. You can do the following:
1. In the animation file that has the cool conversion do:

1. Export all the values that you want to control. For example if parameter
a is a=b+c then you should export three parameters: a, b and c. The
exported parameter a will be an Add parameter and will be calculated
based on the b and c exported parameters.
2. Delete all the layers (you don't need them at all, because you only need
the cool conversion combination). Save the file with other name
("master.sifz"). This will be the main file.
2. Go to Canvas Menu Caret "<File> → <Import>" and select the file that have the
current done animation where on you want to use the cool exported
valuenodes combination.
3. Then select the imported Group Layer and go to its Canvas parameter and
Export it. Set a meaningful name. Save the "master" file and close it.
4. Open the "master" file again and you'll see that the imported animation file
(already an exported canvas) has an expand triangle that allows to select the
layers that are inside of it.
5. Select the parameter of the layer of the imported canvas that you want and
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Reuse Exported ValueNodes - Synfig Animation S... http://wiki.synfig.org/Reuse_Exported_ValueNodes
link the parameter to any of the "master" canvas exported values that are
accessible to the Library Panel parameters, using the right click mouse
button.
That's all folks! ;-)
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/index.php?title=Reuse_Exported_ValueNodes&oldid=20027"
Categories: Tutorials Tutorials Advanced Exporting Data Linking

NewTerminology

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Switching Scenes - Synfig Animation Studio http://wiki.synfig.org/Switching_Scenes
Switching Scenes
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Introduction Contents
Suppose
1 Introduction
you've made
2 Take the scenes you need
a few
3 Prepare the project
different
3.1 Import and prepare your scenes
scenes in
4 Switch by visibility
separate .sif
4.1 Opening, closing titles
files and
4.2 Lets animate
want to edit them together.
4.3 Cut the scene
4.4 Lets display the closing title
Of course, you could render each 5 Final and extra notes
.sif file to a separate video file and
use some kind of video editing
(http://en.wikipedia.org/wiki/Non-linear_editing_system) software to edit it
together.
But what if we want to use Synfig itself to do the editing?
Take the scenes you need

In this example I'm going to take 3 sifz files made by Zelig and mix them together:
Sy-n-fig-s1-hi.sifz - a 3 second introduction scene (scene 1)

Sy-n-fig-s2-ball.sifz - 28 seconds of animation (scene 2)
Sy-n-fig-s3-boid.sifz - 6 seconds of a different scene that needs cutting into
the middle of scene 2
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Prepare the project

First we need a new document in Synfig ( Ctrl N ), and configure his properties a
bit.
Use "<Menu> → <Canvas> → Properties" ( F8 ), select the "Time tab" and set the "End Time"
to 47 seconds (3 seconds for scene 1 + 28 seconds for scene 2 + 6 seconds for
scene 3 + 5 seconds each for opening and closing titles). To set the "End Time", you
can type '47s' in the field. Alternatively, you can type the "Duration", eg. '1128f' for
24 frames per second.
Import and prepare your scenes

Using "<Menu> → <File> → Import" ( Ctrl I ), import each of the three scenes one at a
time. The scenes will be imported as separate layers.
From Layers Panel, double click each imported layer to rename them 'Synfig Hi',
'Synfig Ball' and 'Synfig Boid' as appropriate.
Two of the scenes have transparent backgrounds, so create a background layer to

go behind them. "<Menu> → <Layer> → <New Layer> → <Geometry> → Solid Colour". Change
the Color Parameter to white and move the layer to the bottom of the list in the
Layers panel.
Switch by visibility
Synfig now uses the layer visibility (the Amount_Parameter) to switch between
scenes, rather than canvases. To start with, we want all our imported scenes to be
invisible, so the Amount will be set to 0.
As we switch to each scene, we want to set the Amount to 1, but we don't want it
to gradually fade from one value to the other. To set this up, change the default
interpolation type to Constant. This can be found in the main toolbox window,
right at the bottom. It defaults to Clamped, but we want our edits to happen
exactly when we specify them. The Constant interpolation means that when the
Waypoint is reached, the value changes immediately.
From the layers panel, select all scenes using Ctrl Click and from the
Parameters_Panel set 0 Amount row. Now, only the white background remain
visible.
Opening, closing titles
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We don't have any opening or closing titles, so we're going to have to make those
ourselves. Make a new text layer: "<Menu> → <Layer> → <New Layer> → <Other> → Text" and
edit the Text Parameter to say something appropriate for the opening titles, and
the Color parameter to something you like.
Group the Text layer and rename it 'Titles'. Add a background for the text using
"<Menu> → <Layer> → <New Layer> → <Geometry> → Solid Colour". This will probably be the
same color as the text, so change the color of either the text or new Solid Colour
layer until you're happy with it. Now get the background layer into the Titles
group by dragging it (if it is not already in the group). Finally, ensure that the
background is below the text.
Lets animate
Next, go to frame 0 by entering 0f in the Current time in the canvas window. Turn
on Animate Editing Mode.
We want the 'Titles' to show for the first 5 seconds, then switch to the 'Synfig Hi'
layer.
Type '5s' in the Current time field, or move the Time Cursor as appropriate.
Check that Animate editing mode is on and the default interpolation is Constant.
Select the Titles layer and change the Amount to 0, then select the 'Synfig Hi'
layer and set the Amount to 1.
If we play the animation from the beginning now (press the |<< button to go to
the start of the animation, then press play), we'll see the title frame for 5 seconds,
and then it will jump to the 'Synfig Hi' scene. But the 'Synfig Hi' scene has already
ended - they've already done their wave. We need to delay the 'Synfig Hi' scene by
5 seconds, so it starts to play at the same time that it's displayed. With the time
slider at 5s, edit 'Synfig Hi' layer's Time Offset Parameter to be -5s.
Now when we preview the animation, we see the static title frame for 5 seconds,
and then the scene 1 plays until 8s !
Next we need to switch to the Synfig Ball scene. Move the Time Cursor to 8s.
Select the 'Synfig Hi' layer and change the Amount to '0' to hide it. Then select
the 'Synfig Ball' layer and set the Amount to 1 to show it. Again we'll need to
delay the start of this scene, so set the Time Offset Parameter to -8s.
Cut the scene

Now we want to cut the 'Synfig Boid' scene into the middle of the 'Synfig Ball'
scene.
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Playing with the Time Cursor in the main WorkArea, we see that we want scene 3
to be cut in at around the 23s mark (15 seconds into Synfig Ball, which started at
8s). Adjust the time cursor to 23s and set the Amount to 0 on the 'Synfig Ball'
layer. Set the Amount to 1 on the 'Synfig Boid' layer. Adjust the Time Offset
parameter to -23s, so that the Synfig Boid scene starts when we switch to it.
Scene 3 lasts for 6 seconds, so move the time cursor to 29s and set the 'Synfig
Boid' layer Amount to 0. Switch back to the 'Synfig Ball' layer and set the
Amount to 1.
Note that the 'Synfig Ball' layer animation just continued whilst the layer was
invisible and the 'Synfig Boid' layer was being animated. We don't want to lose
those 6 seconds, so at the 29th second, we'll move the 'Synfig Ball' layer along by
6 seconds so that it picks up where we left off before the cut.
Previously, the Synfig Ball layer was offset by -8 seconds. We now need a further
delay of 6 seconds, making a total of 14s. Change the 'Synfig Ball' layer Time
Offset to -14s.
Lets display the closing title

The animation will be complete at 5+3+28+6 = 42s, so move the time cursor
there and we can add the end credit scene. Switch back to the titles canvas
(Synfig Ball Amount = 0, Titles Amount = 1).
Select the Text layer within the Titles layer group and update the Text parameter
to something appropriate for the closing credits.
Final and extra notes

Preview your animation to see how it looks.
I ended up with this file: BallAnimation.sifz
Note : that the use of the Constant interpolation means that layer visibility is
switched instantly. If you want to fade from scene to scene, you will need to add
some extra waypoints at the start or end of the fade and change the interpolation
to something other than Constant. Take a look to How Do I : Show or hide a layer,
or fade the effect of a blur? for more informations.
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oldid=21692"
Categories: Tutorials Tutorials Advanced ImportArt

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Slideshow Tutorial - Synfig Animation Studio http://wiki.synfig.org/Doc:Slideshow_Tutorial
Slideshow Tutorial
(Redirected from Slideshow Tutorial)
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In Synfig, there are many ways to create a slideshow from a series of images.
Probably the simplest is using the List Importer to import a series of images.
However, the method only works on raster images and is incapable of generating
transitions. The technique described here is only slightly more complex, but it
allows creating a presentation from a series of Synfig layers, regardless of type of
size. The method can only produce cross-fade transitions; anything more complex
would require a more advanced technique.
Contents
1 Technical Description
2 Step-by-Step Instructions
2.1 Setting Up
2.2 Blend Method
2.3 Timed Swap
2.4 Animation Length
2.5 Extra: Background
3 Endnotes
Technical Description
Synfig animates with a series of layers, each of which exists throughout the entire
timeline. Hence, our goal is to make only one of the layers visible at any given
time. Though there are many ways to achieve this goal, this tutorial will assure
that only one layer is seen by using the Blend and Amount parameters of each
layer.
All graphical layers in Synfig have these two essential properties. The Blend Mode
defines how the image should be layered on everything below it, and the Amount
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dictates to what extent the blending is done. In the default blend mode,
Composite, objects are simply placed on top of everything below them. In this
case, the Amount value determines the overall transparency of the layer: at a
value of "1.0", the layer is fully visible; at "0.0", it is entirely transparent.
In-between values constitute partial transparency, which will form the transitions.
These parameters can be used to display a series of pictures. Each is its own layer
and at any given point in time, one layer's amount is set to "1.0" while all others
equal "0". However, there is a more efficient way of accomplishing the task. This
method requires switching all images to the Straight blend mode.
This blend mode has an advantage: all layers below the current one are hidden.
Therefore it is no longer necessary for layers below the current one to have a an
Amount of "0". Using the Amount for crossfade still works, but it now needs to be
changed only once: all layers start with a value of "1", and then be made
transparent from the highest to the lowest.
The effect could be animated with two Waypoints per layer. However, Synfig offers
an even simpler method that does not require using the Animate Editing Mode.
Instead, Linking functionality can be used. The data type for Amount is currently
set to be a real number. Instead, let's replace that with a special function by
converting a layer's parameter to Timed Swap.
Now we examine the parameters of this new data type. The first "Before" is the
initial value (1.0), the second "After" is the final value (0.0), and the third "Time" is
the time when the values will switch. If we want the image to display for two
seconds, we can set the "Time" to "2s". (Note: this assumes we are starting at 0s).
Then the amount will be 1.0 for two seconds (image visible) and 0 for the
remainder of the timeline (image hidden). The last "Lenght" value will be the
duration of the crossfade transition. Note that the transition is included into the
time for which the image will be displayed. For example, a value of "1s" means
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that the image will be fully opaque for one second, swap during one second, and
then remain has it for the rest of the animation.
Applying successive times to layers from the top down will fade them one by one,
creating the desired slideshow effect.
Step-by-Step Instructions
Here are step-by-step instructions for applying this principle to an animation.
Setting Up
Open a Synfig document and import any images, canvases, etc. Images can be
imported using >File>Import (The first ">" signifies the Caret Menu). Note that
importing links to the image using a relative path. Take care to maintain the
relative positions of the files when moving them. If multiple layers represent a
single image, Group them into an Group Layer. Then arrange the images in the
order they will be displayed, first image on top.
Blend Method
Select all layers in the layer panel. Then go to the parameters panel and set the
Blend Method to Straight.
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Timed Swap
Unlike Blend Mode, converting to Timed Swap must be done individually for each
layer. Set "Before" to 1.0 and "After" to 0. Suppose you want the images to swap
every 4 seconds, using 1 second transitions. Then set the "Duration" to "1s".
Afterwards, set Time for the first layer to 4+1=5. Then increase the time for each
successive layer (5,10,15,20,...). The Swap Time is the point where the image fully
disappears. Configure these values to fit your needs.
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Animation Length
Now that times have been configured, your file must be configured to render the
full animation length. Configure the canvas properties, go to >Edit>Properties
and switch to the "Time" tab. Set the end time to equal the last of your time values.
You can add a few seconds if you want a blank/black screen at the end, after the
images have faded.
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Extra: Background
You may have noticed that the Straight Blend Mode removes any backgrounds
from the image. Here are two methods to add a background:
a) Group all image layers. Now the Straight blend mode only works within the
Group Layer. Once this is done, add any backgrounds below the canvas, and any
foreground above the canvas.
b) Add a background layer/canvas to the top of the layer list. Since it is above all
other layers, the Straight layering mode doesn't affect it. However, it would
normally shroud all the images. To make it appear below everything else, set the
Blend Mode to Behind.
Endnotes
Congratulations! You have now finished reading the slideshow tutorial. Please
leave me (nikitakit) a comment about your thoughts concerning this page.
GNU/Linux users may also be interested in AkhIL's imag2sif shell script

(http://akhilman.googlepages.com/images2sif.sh). It imports images into Synfig
and creates a Rotate and Translate Layer for each.
The explanation of the "Straight" blend mode in this tutorial lacks a screenshot.
Feel free to add one.
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Doc:Snowflake with the Duplicate Layer - Synfig ... http://wiki.synfig.org/Doc:Snowflake_with_the_Du...
Doc:Snowflake with the Duplicate Layer

(Redirected from Snowflake with the Duplicate Layer)
Language:
English
This tutorial explain a simple example of the use of the Duplicate Layer, to create a
snowflake.
Contents
1 First branch of the snowflake
2 Adding the Rotate and Duplicate Layers
3 Connecting everything together
4 What happened?
First branch of the snowflake

The 1st part is very simple : We'll create a single snowflake branch with the Spline Tool (or the
Polygon Tool).
Select the "Spline tool", and in the tools options, make sure that only "Create Region" is checked. (If
you use the "Polygon tool", check either "Create Polygon Layer" or "Create Region", as you wish).
Draw the branch in the upper middle part of your image. Once it's drawn, select the newly
created layer (I will refer to it as the "Branch layer") and make sure that the bottom of the
branch is more or less at the same place as the green dot showing the center of the image. You
can move your branch by selecting all the points Ctrl A and using the Transform Tool
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Adding the Rotate and Duplicate Layers

To make a whole 6-branches snowflake, we need to
make several copies of the branch, and rotate them.
First, we need a Rotation layer. Right click on the

image and select "<Layer> → New Layer → Transform → Rotate".
You should now have a Rotate Layer on top of the
Branch layer.
Then, we'll use the Duplicate Layer. Right click on the

image and select "<Layer> → New Layer → Other → Duplicate".
So far, no change is visible on our image, it's normal :).
In the Layers Panel, make sure that the layers are in

the following order : Duplicate on top, Rotate in the
middle, and the "Branch" layer on the bottom.
Connecting everything together

Select the Duplicate layer and look at the Parameters Panel. There's an "Index" value that is
automatically exported. Its name is "Index 1". (It looks like "Index (Index 1)" in the panel).
This value is made of 3 subparameters : "From", "To" and "Step". Those parameters tells how many
times an object is duplicated.
We need 6 branches so set the "To" parameter to 6 (keep "From" and "Step" to 1).
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Now move to the Library Panel, and select our "Index 1" value. (Unfold the "ValueBase Node" if
necessary).
In order to have 6 rotated branches, we need to link the duplication and the rotation together.
Select the Rotate layer, and go back to the Parameters panel.
The Rotate layer has just 2 parameters: "Origin" and "Amount". The important one here is "Amount", it
tells the angle of the rotation.
Right click on "Amount" and select "<Convert> → Scale".
Now Amount is made of 2 subparameters, "Link" (an angle) and "Scalar" (a real), the whole
rotation being equal to Link * Scalar.
Set the "Link" subparameter to 60 (that's the angle between the snowflake branches).
Right click on the "Scalar" parameter and select "Connect". It will connect the previously selected
"Index 1" value (in the Library panel) to the Scalar parameter.
How it looks after the connection:
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You should now have a complete snowflake, yay! (maybe you will need to adjust Rotate Layer's
Origin_Parameter)
What happened?
We linked the "Scalar" value of the rotation to the duplicate layer:
Thanks to the Duplicate, the Scalar parameter was set to values between 1 and 6 (From and To),
by steps of 1 - instead of being set to a single value.
So we had 5 rotations in addition to the original branche : One of 60° (Scalar * Link = 1 * 60°),
another of 120° ( 2 * 60°), another of 180°, etc. And all of these rotations were displayed
together.
You can think of the Duplicate Layer as something allowing you to have a list of values, that you
can link to a (real) parameter in the same way you could link a single value to a parameter.
You can download the project File:SnowFlake.sifz
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promising us that you wrote this yourself, or copied it from a public domain or similar free
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Doc:Brushes - Synfig Animation Studio http://wiki.synfig.org/Doc:Brushes
Doc:Brushes
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Contents
Introduction
1 Introduction
The Outlines that you can draw with 2 What do I need to use brushes?
Synfig are formed by a rounded brush.
2.1 A brush image
The brush is defined by a radius that you
2.2 A combinaison of feature
can modify by its brush editor widget.
3 The Idea
This tutorial explains how to make
4 The procedure
brushed outlines that would improve
sustantially your artwork. 5 Further steps
6 Examples
What do I need to use

brushes?
A brush image
Well, for the moment Synfig hasn't any brush image included so you'll need to do
them by your self or grab from the free resources (insert link here to those
resources).
Here are some examples of brushes:
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These pictures are all licensed as public domain. Feel free to use them in your
projects.
Brush images can just be any kind of image file that allows transparency (PNG,
TIFF, GIF). The more resolution your image has, the bigger your brush size can be
without pixelisation. Huge file sizes would take synfig more time to
render,though. Find the balance between both options of quality and speed.
Anyway, you can use anything that is visible under synfig as a brush. See below.
A combinaison of feature
Brushes are not a primary feature of Synfig. They are obtained from the
combination of the following features:
Duplicate Layer
Link to Spline (what uses the following convert types):
Spline Vertex
Spline Tangent
Spline Width
Strictly the Link to Spline feature is not needed but it would help on make several
conversion types and linking.
The Idea
The idea of brushes is to use the Duplicate layer feature with the Link to Spline
(automatic or manual) feature given by the conversion types.
When you link a vertex to a spline (or a tangent or a width) it converts your
parameter to the following sub-parameters.
spline "Spline"
bool "Loop"
real "Amount"
There are other particular parameters for tangent or width that will be revised in
other section.
spline "Spline" is the spline where the parameter (vertex, tangent or width) is
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linked to. In the case of the vertex it means that the vertex lies on the spline given
by its "Amount" parameter. When Amount is 0.0 the vertex position is the Spline
begin. When Amount is 1.0 the vertex position is the Spline end. When Loop is
"on" values outside the [0.0, 1.0] range are forced to be in that range by
eliminating the integer part of the number. (It needs a better explanation)
On the other hand the Duplicate layer allows duplicate the render of everything
that is below it as many times as the Index value node indicates. Also if you link
any parameter to that Index one the parameter is modified according to the index
before it is multiple rendered by the Duplicate layer. It allows apply some kind of
transformation to the layers at the same time you duplicate them.
Combining those two features (Link to Spline and Duplicate) you can achieve the
emulation of brushes in synfig.
The procedure
As of Synfig 1.0.2 (November 27, 2015), much of the process for creating a
brushtroke effect has been simplified because scale and rotate functions have
been integrated into group layers. The following steps will guide you through the
process:
1. If you have not already done so, create an outline (path) for the brush to
follow.
1. Click on the Spline Tool.
2. Under the Tool Options Panel, select "Create Outline" if it is not already
selected. You may wish to de-select all other "Layer Type" options as
well.
3. Lay as many or as few vertices as you wish.
4. In the bottom-left corner of the Tool Options Panel, click "Make Spline"
(gears icon).
5. Edit the spline to your content by adding or removing vertices and
moving tangent handles.
2. Import the "brush" you would like to copy by clicking File->Import..., then
selecting the corresponding image file.
Alternatively, you may use an existing shape within your project,
although this may require an additional step. Place the object(s) to be
used as a brush in a Group Layer or Switch Group Layer. If you want
your brush to rotate to follow the contour of the path, it is necessary
that the objects be in a group layer or switch group layer because most
objects do not have a rotation (Angle) parameter but groups do. (Some
objects also lack an origin parameter.) After creating the group layer,
move the origin handle to the object's center (ctrl-click and drag the
origin handle) so that they both move together. These steps are not
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necessary if you import an image because imported images are created

within a switch group layer.
3. Select both the group layer containing your brush and the spline layer. Click
the group's origin handle (green circle), then right-click on the spline (not on
a handle) and select Link to Spline. To test that you have done this
correctly, move the group's origin handle and it should be confined to the
spline and rotate so that it is always tangent to it. You are still free to rotate
the group layer and it will continue to correspondingly rotate as you move
the origin along the spline's path.
4. Put the group layer with your brush inside another group layer. Call this new
group layer "Clones" or something similar for easy reference.
5. With the group layer ("Clones") selected, adjust the scale handle (orange
circle in the Group Transformation Widget) so that the brush is as large or as
small as you desire. You can also return to this step later.
6. Click the group layer containing your brush (not the "Clones" layer).
Right-click it and select New Layer->Other->Duplicate. (Alternatively,
click in the menu bar Layer->New Layer->Other->Duplicate.) This
creates a Duplicate Layer, which is not the same as duplicating the layer. Do
not simply click "Duplicate Layer" below the Layers Panel.
7. Click the Duplicate Layer you just created. Under the parameters, expand
"Index (Index 1)" and edit the values "From", "To", and "Step". These
correspond to the portion of the spline to be traversed as well as the density
of the brushstroke. For the "From" and "To" parameters, 0 corresponds to
the start of the spline and 1 corresponds to its end. The number of duplicates
to be made is equal to floor((To-From)/Step). A smaller "Step" parameter
corresponds to a denser brushstroke while a larger one makes it more sparse
(and possibly easier to render). For this tutorial, it is suggested you use
From=0, To=1, and Step=0.02, which will create 50 copies along the entire
length of the spline, although you are encouraged to modify these values to
see their effects.
8. Open the Library Panel. Expand "ValueBase Nodes" and select "Index 1",
which should correspond to the value node you just edited in the Duplicate
Layer. Make sure "Index 1" remains selected throughout the following step.
9. Click the group layer containing your brush (not "Clones"). Within the
Parameters Panel, expand Transformation->Offset. Right-click "Amount"
and select "Connect". (Note that the Transformation and Offset parameters
must be expanded. The Amount parameter there is not the same as the
top-level Amount parameter, which is equivalent to the layer's alpha
channel.) This connects the "Amount" parameter (the position along the
spline) with the value node associated with the Duplicate Layer. This should
create many copies of the brush along the length of the spline. You will
notice that these copies are not rotated, which will be accomplished in the
next and final step. If you do not wish for the brush to rotate as it traverses
the path, you are done.
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10. Still within the group layer's Parameters Panel, expand

Transformation->Angle. Right-click "Amount" and select "Connect" (make
sure "Index 1" is still selected in the Library Panel). (Note that the
Transformation and Angle parameters must be expanded. The Amount
parameter there is not the same as the top-level Amount parameter, which is
equivalent to the layer's alpha channel.) This automatically associates the
duplicates' angle with the tangent to the spline. If you have done all of the
above steps correctly, your brush will follow the spline and its angle will
change with it.
At this point, you can modify any parameters and the brushstroke will update
dynamically. You can turn off the Spline Layer to hide it, add vertices, modify
tangent handles, and change the "From", "To", and "Step" parameters.
Further steps
It is possible to make more fancy things with this procedure like make random
angled brushes or random spread brushes stamps along the outline. But this is
part of an Advanced uses of Brushes tutorial.
Examples
A Star layer. You can see that seems to be a bug there with the feather and zoom
in and out combinations.
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A simple stroke.
A angled pen. And this is the brush image:
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The same but not rotated.
Other brush example. And this is the brush image:
This is the sifz file used to render the examples:
Sample file link
You need to modify the zoom parameter in the group layer and the b-amount
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value node to modify the density of the brush to achieve same values than in the
examples.
Language:
Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Brushes&

oldid=21502"
Categories: Manual Tutorials Tutorials Intermediate NewTerminology

permission!
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Plugins - Synfig Animation Studio http://wiki.synfig.org/Doc:Plugins
Plugins
Language:
English
Contents
1 Summary
2 Rationale
3 How to install plugins
3.1 Where to find plugins
4 Tutorial
5 Details
Summary
The Plugins feature allows to run custom python scripts directly from Synfig
Studio menu. Each script takes .sif file as first argument and should modify its
contents in some way. After script execution finished, the file is automatically
reopened back in Synfig Studio.
With the current script feature, has it work with the file itself you can't retrieve
the current Time Cursor position when the script is invoked. But you can know
the value of a Parameter or ValueNode at a certain time (the ones fixed by
Waypoints), because the Animated Value Nodes are stored (other problem is to
know the interpolated value, which is not trivial for other thing rather than Linear
or Constant interpolation)
All plugins are located in the "Plug-Ins" submenu of the canvas.
Rationale
People often write some scripts to make useful things on Synfig (sif) files. The
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most of these scripts are written in python. But for ordinary users running custom
scripts from terminal is tricky. With plugins feature user can install scripts as easy
as they copy files and transparently run them in the same way as they use
standard Synfig Studio commands. Also, runing scripts from menu is much faster
than from terminal and it greatly improves the workflow for advanced users.
Having this feature allows to easily add simple functions to Synfig Studio by
writting scripts in python.
How to install plugins

Plugin is a directory, containing the python script (*.py file), plugin.xml and
maybe some other files if they are required by python script.
To install the plugin user should copy its directory into the following location:
Windows Vista/7/8: C:\Users\USERNAME\Synfig\plugins

Windows XP: C:\Documents and Settings\USERNAME\Synfig\plugins
Linux: ~/.config/synfig/plugins
OSX: /Users/USERNAME/Library/Synfig/plugins
The system-wide location for the plugins is

USER_DIRECTORY/SYNFIG_CONFIGURATION_DIR/plugins
Where to find plugins

Yoyobuae:FreeForm Deform (https://github.com/yoyobuae/synfig-plugins)
Morevna:Plugins feature in Synfig Studio (http://morevnaproject.org/2012/06
/11/plugins-feature-in-synfig-studio/)
Berteh:Import Labels and Timings (https://github.com/berteh/synfig-import-
labels)
Synfig forum, scripts/plugin thread (http://www.synfig.org/forums
/viewforum.php?f=33)
Tutorial
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Introducing Plugins for Syn�g Studio
Details
Each plugin located in a separate subdirectory with unique name. The part of the
name before first "-" symbol is used to set the group plugin belongs to (not
implemented yet). The main information about plugin (plugins name and script to
execute) is stored in the plugin.xml file. It's self-explanatory :
<?xml version="1.0" encoding="UTF-8"?>

<plugin>
<name>Unhide All Layers</name>
<name xml:lang="es">Activa todas las capas</name>
<name xml:lang="eu">Erakutsi geruza guztiak</name>
<name xml:lang="eu_ES">Erakutsi geruza guztiak</name>
<name xml:lang="fr">Afficher Tous les Calques</name>
<name xml:lang="lt">Parodyti visus sluoksnius</name>
<name xml:lang="ru">Показать все скрытые слои</name>
<exec>view-unhide-all-layers.py</exec>
</plugin>
view-unhide-all-layers.py :
#!/usr/bin/env python
#
# Copyright (c) 2012 by Konstantin Dmitriev <k....z...gmail.com>
#
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# This program is free software; you can redistribute it and/or modify

# it under the terms of the GNU General Public License as published by
# the Free Software Foundation; either version 2 of the License, or
# (at your option) any later version.
import os
import sys
def process(filename):
# Read the input file

inputfile_f = open(filename, 'r')
inputfile_contents = inputfile_f.readlines()
inputfile_f.close()
# Now write results to the same file

inputfile_f = open(filename, 'w')
for line in inputfile_contents:

if "<layer " in line:
inputfile_f.write(line.replace(' active="false" ',' active="true" '))
else:
inputfile_f.write(line)
inputfile_f.close()
if len(sys.argv) < 2:
sys.exit()
else:
process(sys.argv[1])
All scripts are interpreted with python 3.
In Linux and Mac OSX case Synfig Studio looks for "python" or "python3" binary.
For windows case Python binary is expected at INSTALL_PREFIX/python
/python.exe. New environment variable SYNFIG_PYTHON_BINARY allows to set
custom path to the python 3 binary.
Language:
English
Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Plugins&oldid=21062"

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permission!
5 of 5 07/07/2016 08:51 PM
Audio Synchronisation - Synfig Animation Studio http://wiki.synfig.org/Doc:Audio_Synchronisation
Audio Synchronisation
Language:
English
This tutorial explains how to create a simple Synfig animation synchronised to an

audio source. All source material is available for download (https://github.com
/berteh/synfig-projects/tree/master/music%20sync) for education purposes.
Contents
1 Multiple approaches
2 The example
3 Prepare and label the audio track
4 Import keyframes in your Synfig project
5 Set your scene up
6 Animate along the keyframes
7 Render
8 Going further
Multiple approaches
Many approaches are possible. We herein propose a very fast way to design a new
video for an existing audio track. The audio source is prepared and labeled in
Audacity (http://audacity.sourceforge.net/), a well-known opensource audio editor
available for Windows, Mac and Linux. A Synfig plug-in (https://github.com/berteh
/import-audacity-labels-keyframes) will then be used to import these labels into
Synfig and design the animation on top. To use Synfig plug-ins you need to install
Python (https://wiki.python.org/moin/BeginnersGuide/Download) first.
A common alternative is to synchronise your audio and video in a third party

video editing software (such as avidemux (http://avidemux.sourceforge.net/),
Openshot (http://www.openshot.org/), Blender VSE (http://wiki.blender.org
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/index.php/Doc:2.4/Manual/Sequencer/Usage) or many others

(http://en.wikipedia.org/wiki/List_of_video_editing_software#Free_and_open-
source)). It is overall more flexible, but very accurate synchronisation is harder to
reach.
The example
For this tutorial we'll be creating a bouncing ball animation based on portions of
beskhu's Ping Pong Ball sound (https://www.freesound.org/people/beskhu/sounds
/149732/).
The resulting video can be viewed online (https://www.youtube.com

/watch?v=AD94OMW3LKU) or downloaded.
Bouncing ball - audio synchronisation in Sy...
Prepare and label the audio track

In Audacity (http://audacity.sourceforge.net/), edit your audio to suit your needs
(and storyboard), then select and label each section that seems relevant as
an animation reference point (or keyframe in Synfig) in your audio track.
In our case, these significant moments would be the various impacts of the ball,
and optionally the intermediate top of each bounce. Download the tutorial audio
to try it out!
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Adding a label in Audacity is done via Tracks > Add

Label at Selection (or ( Ctrl+b )). See this tutorial
(http://multimedia.journalism.berkeley.edu/tutorials
/audacity/adding-labels/%7Conline) for more details
on labelling audio tracks in Audacity. Try to make
each label name unique, short and meaningful.
Once satisfied with your labels location and name,

use the Tracks > Edit Labels dialog to export the
labels into a file named labels.txt in the same adding a label in Audacity
directory as your Synfig Project.
Import keyframes in your Synfig project

Install Python (https://wiki.python.org
/moin/BeginnersGuide/Download) and the keyframe
import plug-in (https://github.com/berteh/import-
audacity-labels-keyframes) if you don't have them
yet.
Open Synfig and create a new project, choose a run the plugin on your .sif
document resolution fit to your use (360x203 Web
project
HD, 24fps, for this tutorial).
Synfig plug-ins only work on .sif files, not the default .sifz format. Simply rename
your-project.sifz into your-project.sif in the > File > Save As dialog
(music_sync_tutorial.sif for this tutorial).
Importing keyframes is then as simple as running the plug-in from > Plug-Ins >
Import Audacity Labels as Keyframes. It will import the labels from the file
labels.txt in the same directory as your Synfig project. Some options
(https://github.com/berteh/import-audacity-labels-keyframes#configuration) can
be customized, but the default settings will do just fine for this tutorial.
Check out the new keyframes in the Keyframes window!
Set your scene up

Listen to the audio... in this sample animation we need a ball to bounce, and some
wood-like surface to roll on.
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Set them up in any way you like, or copy that in the

screenshot, it consists of:
a ball: a circle and curve gradient (pale yellow

for the ball, to blue for the background)
a floor: a brown rectangle with light rotation
set up the scene
Animate along the keyframes

Switch to Animate Editing Mode(1) and navigate your
different keyframes using the seek buttons (2) to
modify for each the origin of the ball, either manually
in the parameters (3) or by moving its handle (4).
You can easily refer to the active keyframe name (5)

to know where to locate the ball if the name of your animate the ball position
audio label was meaningful enough.
It may be necessary to add a few keyframes or waypoints. We added one "exit"

keyframe at the end of the animation to make the ball roll out of the picture.
Fine tune the interpolation type with a right-click on the waypoint to make the
animation smoother. We opted for [linear] on bounce, [clamped] on tops and
[Ease_In/Out easy in] to slow the rolling ball on the last (exit) waypoint.
Render
Rendering in Synfig does not currently support the inclusion of audio tracks, we
therefore render the animation as .png images, and merge them with the audio
using the opensource avconv (https://libav.org/download.html) tool. This whole
process is likely to be integrated in Synfig in a future release.
To render the animation frames select > File > Render, preferably locate the
target in a distinct directory (render/music_sync_tutorial.png in our case),
check the time settings (duration of our audio is 2s 10f) and hit "Render".
Collate the rendered frames and the audio using avconv (https://libav.org
/download.html):
avconv -r 24 -i render/music_sync_tutorial.%04d.png -i music_sync_tutorial.ogg -c:a copy music_sync_tutorial.mp4
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The above options are: -r rate of the following input stream: the fps used in this
Synfig project, -i input: the sequence of images and the audio file, -c:a codec for
the audio stream: copy the current audio (ogg) file without re-encoding it.
The resulting video can be downloaded.
Going further
To go further you may want to make the bounces more realistic: see the Ball
Bounce tutorial, or make a texturized and rotating ball, or a realistic wood floor...
Share your creations in the Synfig forum (http://www.synfig.org/forums/)!
Language:
English

/index.php?title=Doc:Audio_Synchronisation&oldid=19547"
This page was last modified on 20 August 2014, at 10:32.

permission!
5 of 5 07/07/2016 08:51 PM
Keyframe - Synfig Animation Studio http://wiki.synfig.org/Keyframe
Keyframe
Language:
What is a
keyframe? Contents
A keyframe is a 1 What is a keyframe?

basically a "mark" in 2 What does a keyframe looks like?
the timeline. This 3 Keyframes and waypoints
mark allows the user 4 Adding, duplicating and removing keyframes
to make Synfig 4.1 Add a keyframe
remember the state 4.2 Duplicate a keyframe
of the animation at 4.3 Remove a keyframe
that point (frame). It 5 Editing keyframes: time, length & description
means that the 5.1 Activation
keyframe is like a 5.2 Time
label that tell Synfig 5.3 Length
that this frame 5.4 Jump
should be taken into 5.5 Description
account when 6 Editing Keyframe Properties
creating waypoints. It 7 Edit a keyframe from the timebar
also indicates that 8 Examples
the marked frame is 8.1 Duplicate a keyframe with no waypoint on it
a special frame 8.2 Editing Keyframe Properties
where the 8.3 Change Keyframe Time
information of every
8.3.1 Without waypoints between keyframes
parameter of every
8.3.2 With waypoints between keyframes
layer is stored in
9 Advanced uses of keyframes
order to be reused
9.1 Reusing keyframes
later.
9.2 Usage of Onionskin
Each keyframe is 9.3 Quickly creating/importing Keyframes
associated with a
particular frame and
a frame can only have one keyframe.
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What does a keyframe looks like?

A keyframe looks like a light brown vertical dashed line in the Time Track Panel
placed at the corresponding frame. You can distinguish it from the Time Cursor by
its color (the time cursor is blue).
The symbols shown in the image are waypoints.
The keyframe representation in the Timebar change according their states :

"Normal", "Selected" or "Deactivated"
Three keyframes with three different

states : Normal, Selected and
Deactivated
Keyframes also appear as entries in a list in the Keyframes Panel
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Documentation writers note: You can download the project to generate the screenshot : File:Keyframe-lookslike.sifz
Keyframes and waypoints

A keyframe doesn't necessarily imply a waypoint, and a waypoint doesn't
necessarily imply a keyframe.
A keyframe could live all the time without any waypoint but it stores the
information of the values of the parameters on that specific frame. If there is a
waypoint there then the waypoint information (only the parameter value) is stored
too. If there is no waypoint in the keyframe then its "stored" value is the result of
the surrounding waypoints, its parameter values and the interpolation values the
waypoints have. This means that a keyframe remembers the values of the
parameters at that frame but does not keep them static at that frame. To maintain
a parameter's value static in a certain frame you must use a waypoint.
The creation of a waypoint can cause the creation of new waypoints on the
neighboring keyframes depending on the current value of the Editing Lock
Keyframes state. So, maybe, the creation of a waypoint (modifying a parameter or
pasting or moving a waypoint or even duplicating a keyframe) can lead to the
creation of a waypoint in the keyframes that are immediately before and after the
inserted waypoint's frame. The waypoints created in the neighboring keyframes
are created according to the default interpolation value in the toolbox window.
See the examples to understand how this works.
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Adding, duplicating and removing keyframes

Add a keyframe
Place the time cursor at a frame where there isn't currently any keyframe. Then
press the "Add new Keyframe" button. If you place the time cursor at a frame where
there is currently an existing keyframe or if animation Start Time egals animation
End Time (animation Duration is 0m 0s 1f) then the "Add new Keyframe" button is
disabled. Once you press the button then a new entry is added to the list of
keyframes and a vertical dashed line is added in the time line. No waypoint is
created.
Duplicate a keyframe
Select a keyframe in the keyframe list of the Keyframes Panel and place the
cursor at a frame where there isn't currently any keyframe. Then press the
"Duplicate Keyframe" button. This would have two separated effects:
1. If there is a waypoint at the original keyframe then the waypoint is

duplicated. Its duplication includes the parameter value and its interpolation
types.
2. If there is no waypoint in the original keyframe for any particular parameter
then two things could happen:
There is no waypoint for that parameter at ANY frame in the time line:
Then NO waypoint is created.
If there is a waypoint in the time line for that parameter, but not in the
keyframe that is going to be duplicated, then in the duplicated keyframe
is created a new waypoint with a value for the parameter of the result of
the current value at the original keyframe and a "TCB Smooth"
interpolation type for both "In" and "Out".
Of course, duplicate a keyframe will produce a new keyframe at the place pointed
by the time cursor and will add a new one to the keyframe list in the proper place.
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In the keyframe list, the new added keyframe have the same description than the
original, plus a "(Duplicate)" at the end.
Remove a keyframe
Just select a keyframe from the keyframe list and press the Remove keyframe
button. It will remove the keyframe and all the waypoints for all parameters for all
layers that are currently there.
NOTE: If you move a keyframe by modifying its time in the keyframe list dialog
and immediately press the Remove Keyframe button then the waypoints are not
deleted. It seems to be a bug but also can be considered a feature if you really
want to keep the waypoints and not the keyframe.
Editing keyframes: time, length & description

You can see in the Keyframe list dialog that there are four headers and before
that, an empty column. This empty column maintain checkboxs related to
keyframe activation : enabled or disabled.
"Empty" [CheckBox]
Time
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Length
Jump
Description
Activation
By changing the state of the checkbox you can activate or disable the keyframe. A
visual information about the keyframe state is displayed in the Timebar.
Time
You can modify the time (frame) where the keyframe is placed just making a click
in the corresponding "Time" cell. It will allow modify the time forward or backward
the amount that you want. You can also manually place a keyframe at the desired
time using the Timebar.
Modifying the Time of a keyframe has the following effects:
1. The existing Waypoints in the keyframe will move to the new position.
2. If any parameter have a a waypoint in the time line, then the moved
keyframe will have a new waypoint set to default interpolation on those
paramter(s).
3. According to the default interpolation method and the Editing Lock
Keyframes status and to the parameters that have any waypoint in the time
line, new waypoints will be created on the neighbouring keyframes of the
destiny time (frame). The original neighbouring keyframes will be untouched
if don't coincide with the destiny neighbouring keyframes.
4. If a keyframe is displaced and doesn't "jump" over other existing keyframe
then the waypoints that are surrounding the original position of the moved
keyframe are compressed and / or expanded in the timeline depending on the
displacement of the keyframe. See the examples. This is a recent discovered
behaviour
You cannot set the time of other keyframe. If you try to set the time of a certain
keyframe to be the same time of another existing keyframe then the program
gives you this message:
keyframe_set: Cannot change keyframe time because another keyframe already exists
with that time.
See the example to see how changing the time of a keyframe works.
Length
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Length parameter sets the time the keyframe is exposed in the timeline until next
keyframe. You can also manually change the length parameter using the Timebar
and holding Alt key on releasing the mouse button.
Changing the parameter shifts all following keyframes and Waypoints forward or
backwards.
Jump
The Jump column is only a short cut to place the Time Cursor at the keyframe
where you make a click in the "(JMP)" label.
Description
This cell allow the user insert a short description of the meaning of the keyframe.
Just make click on it and change the text.
Editing Keyframe Properties
Hitting the keyframe Properties button, the "Keyframe Properties" dialog will appear.
This dialog allows change the interpolation method for all the waypoints on the
keyframe at the same time. Even if, for a certain parameter, there is no waypoint
on the keyframe but the parameter have other waypoints in the time line, then
when you apply the "Keyframe Properties" you will add a waypoint at that keyframe
were there aren't currently any waypoint. The added waypoints have the
interpolation methods stated by the dialog. It means that the "Keyframe Properties"
dialog will modify the interpolation methods for all the parameters that have any
waypoint in the time line.
The dialog have the following parameters:
7 of 20 07/07/2016 08:52 PM
In: Checking this value you can change the interpolation method of the left
part of the waypoints of the current selected keyframe of all the layers of the
canvas to the selected interpolation method in the drop down menu.
Out: Same but for the right part of the waypoint.
Tension: See TCB
Bias: See TCB
Continuity: See TCB
Temporal Tension: See TCB
You can check only one of both "In" or "Out" check boxes to only affect the change
to the left or right part of the waypoints. The non checked part would not be
modified. Same comment applies for the Manual interpolation method parameters
("Tension", "Bias", "Continuity" and "Temporal Tension")
This dialog would not affect what's the interpolation method for a new waypoint
created by the user, automatically created by the keyframe duplication or by the
lock keyframe state. The interpolation methods for new waypoints created in
those cases will be both the same ("In" and "Out" or Left and Right) and depend
only on the Default interpolation method of the Toolbox window.
See the examples to understand better how it works.
Edit a keyframe from the timebar
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Three keyframes with three different

states : Normal, Selected and
Deactivated
You can adjust the Time of a keyframe by a normal drag and drop. To adjust it's
Length, hold Alt key when releasing the mouse button.
During a keyframe drag and drop operation a tooltip indicator will be displayed
with some time informations.
Right click over a keyframe or in upper part of the "Timebar" open the keyframe
contextual menu giving access to the keyframes actions.
Examples
Duplicate a keyframe with no waypoint on it
For example, imagine that you have following set of keyframes and waypoints and
the corresponding parameter of the radius of a circle:
Before duplicate keyframe at 2s to 6s

Frame Keyframe Waypoint Radius Interpolation
0s yes yes 20.0 TCB Smooth
2s yes no 25.0 n/a
4s yes no 30.0 n/a
8s no yes 40.0 TCB Smooth
9 of 20 07/07/2016 08:52 PM
notice that although the interpolation between 0s and 8s is TCB Smooth the real result
is linear due that they are the only two waypoints of the animation for that parameter.
If you select the keyframe at 2s, place the time cursor at 6s (where there isn't a
keyframe), set the default interpolation to TCB Smooth, and have the lock
keyframe status to "All keyframes locked" and press the "Duplicate keyframe" button,
then the result is the following:
After duplicate keyframe at 2s to 6s

2s yes no 25,78125 n/a
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You can see that:
1. At 0s none has changed. Not affected by the insertion of the keyframe. It is

two keyframes away from 6s and also have a waypoint.
2. At 2s there was a keyframe and stills there. But previous to the creation of
the keyframe at 6s the current interpolated value of the "radius" was 25.0.
After the creation of the keyframe at 6s the radius is the result of the
interpolation between 0s and 4s frames waypoints with its radius values and
its interpolation methods. That is 25.78125. This keyframe is more than one
keyframe away from the new 6s keyframe so no waypoint is created.
3. At 4s there was a keyframe and still being there. But in this case the 4s
keyframe is a neighbor of the new 6s keyframe. As well as the lock keyframe
state was set to "All keyframes locked" then the keyframe at 4s has been locked
adding a waypoint on it. The radius value hasn't changed (still being 30.0)
because it was locked adding a waypoint with its current value). The
Interpolation mode of the waypoint was set to "TCB Smooth" as stated by its
default value.
4. At 6s there is a new keyframe with a new waypoint with the old value of the
interpolated value of the keyframe at 2s. That is a "radius" of 25.0.
5. At 8s nothing has changed. There wasn't any keyframe and there was a
waypoint so nothing is expected to change.
Return to the previous state before you duplicate the keyframe with the History
Panel, and imagine now that you do the same operations but you choose the
default interpolation set to Constant. Then the result is the following:
After duplicate keyframe at 2s to 6s (constant

interpolation)
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2s yes no 20.0 n/a

4s yes yes 30.0 Constant
Now you can see that the keyframe at 2s doesn't hold the value of the parameter
by itself. It only remember the value if a waypoint is created on it, by the result of
the insertion of a neighbour waypoint, or if a keyframe is duplicated and the lock
keyframe status affects that keyframe. In this example the value at 2s has
changed drastically due to the different interpolation method for the created
waypoint on 4s. If in this situation you duplicate again the keyframe at 2s to other
frame (ej. 10s) then it would copy a keyframe with a waypoint on it with a radius's
value of 20.0, what is the current value of the parameter in that keyframe before
duplicate it.
Documentation writers note: You can download the project to generate the screenshot : File:Keyframe-example1.sifz
Editing Keyframe Properties
Consider this situation for a certain layer:
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In the sample the animation duration is 10 seconds so the image shows all the
existing waypoints and keyframes. The time cursor isn't over any keyframe.
Now consider that you have the following default values:
Default Interpolation method set to "Ease in/out"

Lock Keyframes status set to "All Keyframes Locked"
Now select the keyframe at frame 4s in the keyframe list. Press the "Keyframe
Properties" button and set the following interpolation method:
and press "Apply" button. The result will be this:
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You can see the following effects:
1. The existing waypoints at 4s keyframe have changed its interpolation

methods according to the "Keyframe Properties" dialog.
2. There are new added waypoints at 4s keyframe. The waypoints are added to
the paramters that have almost one waypoint in the time line (for example
the one that have only a waypoint at 9s). The added waypoints at 4s
keyframe have the interpolation settings that was stated by the "Keyframe
Properties" dialog.
3. New waypoints have been created for the neighbouring keyframes to 4s (2s
and 6s) for all the parameters that have any waypoint in the time line. The
waypoints are created in the neighbouring keyframes according to the Lock
Keyframes status. Also the created waypoints interpolation method responds
to the default interpolation method you have set.
If in the "Keyframe Properties" dialog you were checked off the "Out" or the "In" check
boxes then it would have happened two things:
1. The existing waypoints at 4s would only change its interpolation method on

the side the check box was checked on. The other side will be untouched.
2. The new added waypoints will have the interpolation method set to "TCB
Smooth" method where the check box is off and the interpolation method set by
the "keyframe properties" dialog where the check box is on.
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In this sample it was only checked on the "In" check box.
Change Keyframe Time
Without waypoints between keyframes
Consider again this situation for a certain layer:
15 of 20 07/07/2016 08:52 PM

Now select the keyframe at frame 4s in the keyframe list. Make a click in the
"Time" cell and modify the time to be 3s. The result will be this:
16 of 20 07/07/2016 08:52 PM
With waypoints between keyframes
Consider now this situation for a certain layer:
17 of 20 07/07/2016 08:52 PM

Now select the keyframe at 4s in the keyframe list. Make a click in the "Time" cell
and modify the time to be 2s. The result is this:
You can see how the waypoints at right and left of the moved keyframe have been
compressed and expanded in the time line. Also notice that any waypoint has
been formed in the moved keyframe at the paramter at the bottom of the list but
yes in the static keyframes.
It seems to be a bug (?) - to be verified.
Trying to understand this behaviour I see that also the keyframes keep the
waypoints between two adjacent keyframes although you move them, keeping the
distribution of the waypoints in the portion of time line between keyframes. This
behaviour doesn't happen if the moved keyframe "jumps" over other keyframe
when moved. Please add here as much information you can discover about
keyframes behaviour. It seems that there are some bugs and any information is
welcome
18 of 20 07/07/2016 08:52 PM
Advanced uses of keyframes

Reusing keyframes
If you want to learn more about advanced uses of keyframes see this tutorial
about reusing animations. Keyframes can be like stored "poses" that can be
reused several time in the animation. Very useful for lip sync.
Reuse Animations
Usage of Onionskin
To properly use the onion skin feature ( Alt O or "<Menu Caret> → <View> → Toggle Onion
Skin") you should consider the frame where the keyframes are set. Onion skin will
show you the before and after keyframes images with a 50% opaque copy of the
current view. Also the current view is 50% opaque.
See Onion Skin for more detail.
Quickly creating/importing Keyframes
Using a Synfig plug-in (https://github.com/berteh/import-audacity-labels-

keyframes) it is possible to quickly import keyframes from a list of timings, as
explained in the Audio Synchronisation tutorial.
Language:
Retrieved from "http://wiki.synfig.org/index.php?title=Keyframe&oldid=20850"
Categories: NewTerminology Glossary

19 of 20 07/07/2016 08:52 PM
permission!
20 of 20 07/07/2016 08:52 PM
Time Track Panel - Synfig Animation Studio http://wiki.synfig.org/Timetrack_Panel
Time Track Panel

Language:
English
The "Timetrack Panel" shows a symbol (usually a green dot) for every Waypoint in the timeline.
Keyframes are represented by vertical lines through the timeline.
The time cursor shows you with another vertical line at which frame you currently are at.
When you change an object parameter while in Animate Editing Mode, for example by moving
an object, a Waypoint is inserted. The rows of the "Timetrack Panel" are aligned with the
Parameters Panel. If you are animating the individual vertices, you have to expand the
vertices list to see their individual waypoints.
You can drag those Waypoints through time, and you can change their interpolation method
by right-clicking (eg. a sudden step change instead of a smooth transition). You can also
change the default interpolation method from the Toolbox Panel in the New Layer Defaults
section. The very bottom control sets the default method, and is initially set to Clamped.
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Holding Ctrl allows you to select more than one waypoint for a given valuenode at a time.
When nothing is selected, clicking on a point in either normal mode or additive mode will
select the time point closest to the click. Subtractive click will do nothing
When things are already selected, clicking on a selected point does nothing (in both
normal and add mode). Add mode clicking on an unselected point adds it to the set.
Normal clicking on an unselected point will select only that one time point. Subtractive
clicking on any point will remove it from the the set if it is included.
Normal click out of a waypoint unselect all.
Holding ⇧ Shift when beginning to drag waypoints will copy them rather than moving them.
Holding Alt while clicking waypoints will delete them.
Further reading:
Keyframe
Waypoint
Timebar
Interested in futur things ? Waypoints ... what could be the future of...? (http://www.synfig.org/forums/viewtopic.php?f=14&t=5013
2 of 3 07/07/2016 08:52 PM
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Retrieved from "http://wiki.synfig.org/index.php?title=Timetrack_Panel&oldid=20600"
Categories: Panels NewTerminology

that the same license will be applied to your writing. If you do not want your writing to
be edited mercilessly and redistributed at will, then do not submit it to this wiki. You are
also promising us that you wrote this yourself, or copied it from a public domain or
similar free resource. Do not submit copyrighted work without permission!
3 of 3 07/07/2016 08:52 PM
Waypoint - Synfig Animation Studio http://wiki.synfig.org/Waypoint
Waypoint
Language:
English • suomi • français
Contents
1 Introduction
2 Selecting Waypoints
3 Editing Waypoints
3.1 Move it
3.2 Move some
3.3 More actions
4 Interpolation
4.1 Default Interpolation
4.2 Interpolation In & Out
4.3 Graphical Representation
5 Example combining Waypoints
5.1 Ease in - Normal - Ease out
6 Futur things ?
Introduction
"Waypoints"are the graphical symbols that show up on the Timetrack panel. Each
time the value of a parameter is edited in animate editing mode, a Waypoint will
be created. For example, when you adjust a "Tangent" Handle of a vertex in a
Spline, a "Waypoint" will be created to note the change. However, you didn't really
adjust the tangent, you adjusted the two parameters which define the tangent: its
angle ("Theta"), and its length ("Radius"). Opening up the tangent's nodes in the
Parameters Panel will show that "Waypoints" have been created against each of
these 2 parameters.
As a result of adjusting a single "Tangent" Handle, "Waypoint" have been created as

follows:
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the length of the tangent changed ("Radius")

the angle of the tangent changed ("Theta")
the tangent changed ("Tangent 1")
the vertex changed ("Vertex 001")
the vertices changes ("Vertices")
Only the first 2 of these are 'leaf waypoints' - the rest are parents (and
grandparents, etc) of these 2 waypoints.
As things currently stand, it is only possible to delete one leaf waypoint at a time.
If, for example, you want to delete the change made to the "Tangent" Handle above,
you'll need to open up the tangent and delete both the "Theta" and "Radius"
Waypoints. The ability to delete whole trees of waypoints with a single click would
be useful, as would the ability to select multiple waypoints at once, and operate
upon them en masse.
Selecting Waypoints
Holding Ctrl allows you to select more than one waypoint for a given valuenode
at a time.
When nothing is selected, clicking on a point in either normal mode or

additive mode will select the time point closest to the click. Subtractive click
will do nothing
When things are already selected, clicking on a selected point does nothing
(in both normal and add mode). Add mode clicking on an unselected point
adds it to the set. Normal clicking on an unselected point will select only that
one time point. Subtractive clicking on any point will remove it from the the
set if it is included.
Normal click out of a waypoint unselect all.
Editing Waypoints
Move it
Waypoints can be dragged left or right with the left mouse button to change the
time at which they act upon their parameter(s). If you drag a parent's Waypoint,
all its child Waypoints will move with it.
Move some
You can select multiple Waypoints using Ctrl Click , and then they can be dragged
left or right has moving single waypoint.
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More actions
Right-clicking on Waypoint shows a context menu, containing:
"Jump to": Set the current time to be the time of the waypoint.
"Duplicate":Only appears for single-leaf Waypoints. Creates a copy of the
current Waypoint at the currently selected time.
"Remove": Only appears for single-leaf waypoints. Deletes the Waypoint.
"Remove n Waypoints": Only appears for multi-leaf waypoints. Deletes the n
Waypoints.
"Edit": Only appears for single-leaf Waypoints.
TODO: writeme (brings up a dialog allowing various parameters to be set).
"Both".: Allows you to change the "In" and "Out" interpolation setting for the
Waypoint and all its children.
"In".: Allows you to change the "In" interpolation setting for the Waypoint and
all its children.
"Out".: Allows you to change the "Out" interpolation setting for the Waypoint
and all its children.
If the Waypoint is Linked other menu entries related to the link will appear up to
those one.
TODO: writeme (describe added menu entries in case of linked waypoint)
Interpolation
Default Interpolation
The default type of interpolation for new waypoints is defined by a dropdown list
at bottom of the Canvas Window.
It is possible to fix interpolation by parameter. Right-click any parameter and

choose its default interpolation from a submenu. The defined interpolation is
indicated in the Parameters Panel with corresponding icon near the parameter
value.
Interpolation In & Out
Each Waypoint has an "In" and an "Out" interpolation setting, which determines the
manner in which its parameter changes - whether it changes linearly over time, or
follows a curve.
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The "In" interpolation defines how the parameter changes in the moments before
the Waypoint is reached, and "Out" defines how it changes in the moments after
the Waypoint. Available interpolation types are as follows:
TCB Smooth: If you imagine a graph of the parameter's value against time,
using the TCB interpolation type will fit a smooth curve between adjacent
waypoints, much like the Spline Tool fits smooth curves between adjacent
spline vertices.
Clamped: Acts like TCB interpolation, but never "overshoots" (or
"undershoots") the values you set in the Parameters Panel.
Constant: Stops the animation.
Ease In/Out: The graph is horizontal as it leaves the Waypoint.
Linear: The graph of parameter value against time is a straight line.
Undefined: This is only shown for multi-leaf Waypoints, where there is more
than one different interpolation type amongst its leaf Waypoints.
Graphical Representation
The color and shape of the Waypoint as displayed in the Timetrack indicates its
interpolation type:
Waypoints
Clamped TCB Constant Ease In/Out Linear Undefined

Smooth
Each Waypoint is split into two halves. The left half indicates its "In" interpolation
and the right half indicates its "Out" interpolation, so many different combinations
are possible:
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In the chart above the "In" interpolation is shown on the left, and the "Out"
interpolation is shown across the top.
Note: the .sif file used to generate these screenshots is available. File:Waypoint-
examples.sif
Here is an File:Interpolation.sif showing 25 different blobs, and how they move

with different combinations of Waypoints. It renders to a
[http://dooglus.rincevent.net/synfig/interpolation.avi 634K .avi file], and is
available in lower resolution on YouTube (http://www.youtube.com
/watch?v=SI1VaH2psts). Notice how:
the blobs with any red (Constant) on them don't move at all
the yellow (Linear) sides of blobs 'bounce' off the walls
the cyan (Ease) sides slow gracefully to a halt at the walls
the green (TCB Smooth) sides bounce at the top (the animation is a single
down-and-up animation, looped, so there's no 'context' at the top for the TCB
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to fit the curve to) but act smoothly at the bottom
The 'undefined' (grey) symbol is used when the row in the Time Track Panel
represents multiple Waypoints. For example, the 'vertices' row represents all the
vertices making up a Spline. Each of those vertices can have multiple Waypoints,
each with different interpolations. If all the interpolations are the same, that
interpolation's symbol will be used. Otherwise, the grey 'undefined' symbol is
used.
Look at the Waypoints below. They are from the Timetrack for the "Vertices" of an
Outline Layer.
You'll see the left side of each of the Waypoints is colored. This means the "In"
interpolation for each vertex is the same. However, the right side is grey,
indicating that the "Out" interpolation for each vertex differs.
TODO: rewrite the above so it doesn't hurt the brain so much.
Example combining Waypoints

Ease in - Normal - Ease out
Futur things ?
Interested in futur things ? Waypoints ... what could be the future of...? (http://www.synfig.org/forums/viewtopic
6 of 7 07/07/2016 08:52 PM
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permission!
7 of 7 07/07/2016 08:52 PM
Doc:Reuse Animations - Synfig Animation Studio http://wiki.synfig.org/Doc:Reuse_Animations
Doc:Reuse Animations
Language:
English • español • русский
Introduction
Contents
One of the goals of all animators (especially the lazy ones like me) is to have the opportunity to
reuse pieces of animation. It allows you to save a lot of time if you can insert some portions of 1 Introduction
animations already recorded into any other position in time. 2 Keyframes
3 Exporting the Canvas Parameter
This is especially useful for making characters speak because you have to move your character's
4 A sample
mouth to repeated positions depending on the phonemes it describes while speaking.
This can be done easily just using a combination of keyframes and exported canvases.
Keyframes
Our goal is to record some sort of animation and reuse it later. This can be done using keyframes. If you create some keyframes at the
beginning of your animation you can reuse these "poses" at a later point in time just by duplicating the keyframes at another time position.
To do that just do following:
1. Create a Keyframe at a frame (all of our keyframes should be created close to each other to use a small portion of time. We only want to
record a "pose" not a transition)
2. Modify your objects in the way you want (for example make an eye close just by moving the points of the eyelid).
3. Give a name to the keyframe just by clicking on its corresponding Description cell.
4. Repeat the above steps as many times you need to make a new "pose". Let's say you have created a keyframe at frames number 2 (eye
open) and 4 (eye closed)
5. Once done then go to another frame with the time cursor, select the keyframe you want to introduce and press the "Duplicate keyframe"
button. You'll obtain a copy of the selected keyframe at the current time cursor position.
There is a problem with this technique. You are making copies of the entire animation poses that you have stored in the first keyframes of
the time (frames 2 and 4 of the sample) and therefore you have made copies of all the other objects existing in the scene (following the
example, the eyeball).
If you already have an eyeball animation recorded and you overlap an eyeblink (open and closed) set of keyframes in the middle, then the
eyeball animation would be broken by the insertion of the copies of the eyelid movement keyframes.
Exporting the Canvas Parameter

Every time you group the layers, you obtain a Group Layer that prevents the composition of the contained layers over layers outside of it.
One of the parameters of the Group Layer is the Canvas. The canvas is like a workspace that represents all the grouped layers.
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To avoid the problem described in the previous section (the keyframes affecting all the objects in the scene) you can do following:
1. Before creating the keyframe poses of the eyelids, group all the layers that form the eyelids.
2. Select the Group layer and select the Canvas parameter in the Parameter Dialog.
3. Right click the Canvas parameter, export it, and give it a name (in the sample this will be "eyelids").
Go to the Canvas Browser Panel and select the just exported canvas.
Double click it and a new workarea window will open with just the layers that were grouped at the step 1 - the "eyelids" canvas in the
sample.
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Create all the keyframes you need to store your "poses". Once done go to the proper frame and insert a copy of the pose keyframe. It will
produce a keyframe in the "eyelids" canvas, but will not produce any keyframe on the other layers (for example the eyeball). This allows to
independently animate of a portion of the model separated from the rest. Be sure that the exported canvas is as long as the animation.
Now once you have stored the eye blinks (open and closed) at the desired position you can go to the main window (just close the "eyelids"
canvas work area). You'll see that all the modifications have been transmitted to the main animation but they haven't created any keyframes
in the main work area. Even the layers that are inside the "eyelids" Group layer don't have any keyframes (you can see an indication that
there are keyframes in the exported canvas - dashed vertical lines - but no keyframe is displayed in the keyframe dialog). Anyway, you can
see the waypoints created by the keyframes and tweak them, but not the keyframes themselves. To modify the keyframes you should edit the
exported canvas again in its own work area. If you modify the grouped layers from the main work area, waypoints will be created according
to the main work area keyframes, not the exported canvas work area, so you will get different effects depending upon which work area you
use to modify the grouped layers.
Now, once you have created your animation of the eyelids you can go to the eyeball and modify it to your taste, inserting keyframes or
waypoints with no worries about interfering with the eyelid animation. Also you can animate the eyeball before and make the animation of
the eyelids later. They won't interfere with each other.
It would be a great improvement if you could connect the time cursors of the main work area and the exported canvas work area to show
both windows at the same current time. This would give feedback on where to insert the 'pose' keyframes in your local animation.
A sample
Here you can find a sample animation of a blinking eye (the closed and open positions are copies of the keyframes "Open" and "Closed",
while the eyeball moves independently in its own animation.
I have stored the poses "Open" and "Closed" at frames 0 and 2. The animation is defined to start at frame 6.
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Sample file
All comments are welcome.
Language:
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Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Reuse_Animations&oldid=20441"
Categories: Manual Tutorials Tutorials Advanced NewTerminology
This page was last modified on 1 May 2015, at 04:11.

Content of this Synfig Studio Documentation Wiki is available under the terms of Creative Commons Attribution-Share Alike 3.0 license.
By contributing here you agree that the same license will be applied to your writing. If you do not want your writing to be edited
mercilessly and redistributed at will, then do not submit it to this wiki. You are also promising us that you wrote this yourself, or copied
it from a public domain or similar free resource. Do not submit copyrighted work without permission!
4 of 4 07/07/2016 08:54 PM
Editing Lock Keyframes - Synfig Animation Studio http://wiki.synfig.org/Lock_Keyframes
Editing Lock Keyframes

Language:
English
The "Lock Keyframes" setting is controlled by clicking the buttons at the right of the Timetrack at the bottom of
the Canvas window. The icons has a picture of a padlock on it, the left one with an arrow pointing left and the
right one an arrow pointing to the right. Those icons will only be visible if your canvas has a non-zero end time.
It will only be active if you're not currently using a tool which disables the timetrack, such as the Spline Tool or
the Draw Tool.
Clicking on the two icons through its 4 possible values:
All Keyframes Locked (both padlock are locked)
Past Keyframes Locked (left padlock is locked)
Future Keyframes Locked (right padlock is locked)
No Keyframes Locked (neither padlock are locked)
The setting has no effect unless the canvas is in animate editing mode. When the canvas is in animate editing
mode, however, and a parameter is changed, waypoints will be created in whichever of the immediately
preceding and immediately following keyframes are indicated by its value.
For example, if you are currently editing at 2s, and keyframes exist at 0s, 1s, 3s and 4s, then:
If 'lock keyframes' is set to 'All Keyframes Locked', waypoints will be created at 1s and 3s.
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If 'lock keyframes' is set to 'Past Keyframes Locked', a waypoint will be created at 1s.
If 'lock keyframes' is set to 'Future Keyframes Locked', a waypoint will be created at 3s.
If 'lock keyframes' is set to 'No Keyframes Locked', no extra waypoints will be created.
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In all 4 cases, a waypoint will be created at the current time point, 2s.
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Retrieved from "http://wiki.synfig.org/index.php?title=Lock_Keyframes&oldid=19875"
Categories: Glossary Canvas Window NewTerminology

Attribution-Share Alike 3.0 license. By contributing here you agree that the same license will be applied
to your writing. If you do not want your writing to be edited mercilessly and redistributed at will, then do
not submit it to this wiki. You are also promising us that you wrote this yourself, or copied it from a public
3 of 3 07/07/2016 08:54 PM
Onion Skin - Synfig Animation Studio http://wiki.synfig.org/Onion_Skin
Onion Skin
Language:
Onion Skin displays semi-transparent versions of previous and coming keyframes in

the canvas.
There are many ways to invoke onion skins :
1. In the Canvas Toolbar there is an Onion Skin button that toggles onion skins.
2. Main Menu > View > Toggle Onion Skin turns onion skin view on or off.
3. Canvas caret menu > View > Toggle Onion Skin turns onion skin view on or off.
4. Also, you can modify the onion skin parameters directly from the MetaData
Panel
To the left and right of this button there are input fields where you can set how many
keyframes before and after that should be visible.
Onion Skin bouton

in the canvas
toolbar
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The onion skin is activated, 2 previous and 1 next keyframe are displayed
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Doc:Following a Spline - Synfig Animation Studio http://wiki.synfig.org/Doc:Following_a_Spline
Doc:Following a Spline
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Note: There is also a slightly out-of-date tutorial on this topic at Tracking

Curves. It contains some info, particularly about link/export, which hasn't
yet been added to this new tutorial. There is also another very out-of-date
tutorial for synfig 0.61.08.
Contents
1 Introduction
2 Summary
3 Tutorial
3.1 Create the Animation
3.2 Create the Layers
3.3 Make the Arrow Move and Rotate
4 Results
5 Controlling the linear velocity
6 See also
Introduction
This tutorial will demonstrate how to make an object follow the path of an
arbitrary curve, rotating to face the direction of travel.
Summary
We're going to:
Draw a curve and an arrow

Link the arrow's Origin and Rotation to the Spline so the arrow follows the
curve
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Tutorial
This is a brief tutorial giving an example of how to use it:
Create the Animation
File > New
Create the Layers
Select the Spline Tool
enable just the Outline checkbox
draw a spline that you want the arrow to move along
click the "Make Spline" icon in the bottom left of the Tool Options Panel to create the
spline.
still in the Spline Tool, enable "Create Outline" and "Create Region" checkboxes in tool
options
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draw an arrow or whatever, pointing to the right.
Switch to the Transform Tool
select the outline, hit control-a to select all its handles except the green position
handle
drag the handle so that the arrow is centred around the green position handle
Add a Rotate Layer above the outline and region
Group the rotate, outline, and region layers
so now you've got 2 top-level layers: a curved path, and a group containing an
arrow and a rotate layer
Make the Arrow Move and Rotate
Select the group layer by clicking it in the Layers Panel

Select its green position handle by clicking on it in the WorkArea
additionally select the Rotate layer by holding Control and clicking it in
the Layers panel
additionally select the blue "rotation amount" handle by holding Ctrl
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and clicking on it in the canvas window
So now we should have 2 layers selected, and one handle from each of those 2
layers selected
Now additionally select the curved spline layer (it should be the last layer in the
Layer panel's list) by holding Ctrl and clicking on it
Right-click on the dotted line that indicates the position of the curved spline - not
on any handle, but on the dotted line between handle
From the context menu that pops up, select "Link to Spline"
See also
Command:Link_to_Spline
The arrow group should move so that its green position handle is on the spline,
and it should rotate so that the arrow points along the spline at that point
Select just the group layer, and drag its green handle around. you'll see that the
handle is constrained now to line on the spline, and that dragging it also affects
the rotation of the arrow as expected
We can now animate the arrow. turn on Animate Editing Mode by clicking the icon
in the bottom right of the canvas window.
at time 0f, drag the group layer's green position handle to one end of the
spline
at time 5s, drag the same position handle to the other end of the spline
Try "<Caret Menu> → <File> → Preview" to watch the animation.
Results
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This is the animation I ended up with:
Synfig project : Arrow-follows-bline.sifz
Controlling the linear velocity

By default, the arrow travels the whole spline with a constant velocity,
independently of the spline structure.
If you select the group layer and look at the Parameters Panel, then you'll see that
its Origin parameter is converted to "Spline Vertex" type. This is done automatically
when you do "Link to Spline" action. You can disable the "Homogenous"
subparameter and then the speed of the arrow will depend on the spline structure
- it will take the same time to move along each segment of the spline. So if there's
a long straight part then a bendy complex part, the arrow will move much faster
along the straight parts (since there will be less vertices in that part). In physics
terms, the linear velocity (that is, the speed over the spline) is not constant.
For illustration of the "Homogenous" effect see this demo

(http://www.youtube.com/watch?v=3PGXroxBcuo).
See also
Synfig forum : Following a path duplicated (http://www.synfig.org/forums
/viewtopic.php?f=8&t=4563)
Synfig forum : animate a "travel path" (http://www.synfig.org/forums
/viewtopic.php?t=2803)
Synfig forum : A path of scraps(or any other object) (http://www.synfig.org
/forums/viewtopic.php?f=8&t=9157)
Link to Spline command : Command:Link_to_Spline
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Z Depth Parameter - Synfig Animation Studio http://wiki.synfig.org/Z_Depth_Parameter
Z Depth Parameter
Language:
Warning, actually (http://www.synfig.org/issues

/thebuggenie/synfig/issues/868) broken in some
cases
Bug report #868 (http://www.synfig.org/issues
/thebuggenie/synfig/issues/868) - Z-Depth not affected
by time offset : a layer z depth parameter animation is
not affected by a time offset manipulation of the group
is included to.
This parameter can be used to change the 'depth' (order) of a layer in the layer
stack, or of a Bone in a Skeleton Layer.
By default, each canvas gives its layers zdepths which depend on their order in
the canvas. The first layer has a depth of 0, the 2nd has a depth of 1, and so on.
Zdepth may be thought of as an indication of the distance to an observer: layers

with a lower zdepth are 'nearer' to an observer than layers with a higher zdepth.
The Z Depth parameter on each layer can be used to adjust this default depth.
The value of the Z Depth parameter is added to the layer's 'natural' depth, given
by its order in its canvas.
For example, suppose we have 2 layers, first a circle, and then a rectangle. The
circle will have a 'natural' depth of 0, and the rectangle's will be 1, so the circle
will be drawn on top of the rectangle.
If we use the parameters dialog to set the rectangle's zdepth to -2, however, -2
will be added to its natural depth of 1, giving a new depth of -1, and so it will be
drawn above the circle.
The parameter can be animated, so that layers change order throughout the
animation.
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Z Depth Parameter - Synfig Animation Studio http://wiki.synfig.org/Z_Depth_Parameter
Here's an example which shows the Z Depth parameter being animated to bring
one circle in front of another at a certain point in time:
source sif file
Too Much Detail

If you want to see a more complex Z depth order animation and an explanation to
how it was done please watch this animation and this PDF file.
Animation: http://www.youtube.com/watch?v=YTpSfUthuVE
Project : complex Z depth order animation by genete File:Zdepth-balls.sifz
Explanatory PDF file: http://www.darthfurby.com/genete/synfig/Balls.pdf
Same file but ODT format: http://www.darthfurby.com/genete/synfig/Ballsv2.odt
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Time Loop Layer - Synfig Animation Studio http://wiki.synfig.org/Time_Loop_Layer
Time Loop Layer

Language:
English
Contents
1 About Time Loop Layers
2 Parameters of Time Loop Layers
2.1 Link Time (time)
2.2 Local Time (time)
2.3 Duration (time)
2.4 Only For Positive Duration (bool)
2.5 Symmetrical (bool)
3 How to loop
3.1 Breaking loop
3.1.1 Detailed explanation
4 Visualized Example
5 Contrived Example
About Time Loop Layers

The Time Loop layer can be used to repeat an animation over and over. It loops a
section of the layers below and within the same canvas over and over.
See also the Time Loop ValueNode conversion, which can be used to loop the
value of a single parameter, rather than an entire layer or group of layers.
Parameters of Time Loop Layers

These parameters, to prevent undesired modification, by default are statics.
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Once they are no more statics, like any other parameters in Synfig they can be
animated, so that they change over time. This can be confusing, so make sure you
aren't in Animate Edit Mode when working with the Time Loop layer, unless you
know what you're doing!
The parameters of the time loop layers are:
Name Value Type

Link Time 0f time
Local Time 0f time
Duration 1s time
Only For Positive Duration bool
Symmetrical bool
Link Time (time)
Start time of cycled material/child layers.
Local Time (time)
Start time of loop. (this is currently (since 120323 at least) broken and has no
effect on time loops, see http://synfig.org/forums/viewtopic.php?f=12&
t=3526#p14986 for a discussion)
Duration (time)
Number of seconds or frames that are looped in the child layer.
Only For Positive Duration (bool)
If checked and "Duration" is zero or negative, then the time loop layer is
effectively disabled, and acts as if it wasn't there.
If not checked and the Duration is zero, the Time Loop layer freezes the
animation of the children layers at the value of "Link Time".
Symmetrical (bool)
If not checked, and the current time is less than "Local Time", then "Duration" is
taken off the resulting time. This is to provide compatibility with version 0.1 of the
time loop layer.
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How to loop
The Time Loop layer repeatedly loops through the "Duration" seconds of its child
layers, from "Link Time" to "Link Time" + "Duration". "Local Time" is used to line up the
offset of the time looping. When the Time Loop layer is asked to set its time to
"Local Time", it sets the time in its child layers to be "Link Time", ie. the start of the
loop.
Breaking loop
1. In the layer's parameters of the time loop, you need to remove the 'green guy'
from Duration Parameter. Just right-click on him and set "Allow animation". 2. On the
timeline navigate to a place where you want to break the animation. And enter
the Animation Mode. 3. In the time loop parameters, set 'Duration' to "EOT"
(End-of-Time). 4. Now you have three waypoints. One before the current, we left it
as it is. One is current, we convert it to the "constant" (right-click on it -> Both ->
Constant). And one after current, this one have to be removed (right-click on it ->
Remove). 5. Now test it. Pay attention, that loop will always break at the very first
frame of you animation, so you need to break it in the right place.
Detailed explanation
'Green guy' is a guard that says "You shall not pass!" to the animation. So when
you attempt to change such parameter in animation mode it just changes the
usual way. It's done to prevent unnecessary parameters to be animated, e.g.
'Blend method'.
Setting 'Duration' to EOT. If you set it to 0f, then the whole animation will stop,
because you try to play it from 0f (local time) to 0f (duration). And EOT means it'll
continue to play your animation to the end of the time...
Removing waypoint after current one. If you skip this step, then at the next
waypoint 'Duration' parameter will be restored to the value before current
waypoint. It's a standard Synfig's behavior, but there's a magical button
somewhere that can change it.
Converting current waypoint to the constant. Without it, 'Duration' will be

smoothly interpolated from value you set to the EOT and the constant type will
just set immediately at the waypoint. Interpolation can be a bit confusing
sometimes, so you better read this: http://wiki.synfig.org/Waypoint
Visualized Example
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For example, suppose:
Link Time is 5s
Duration is 3s
Local Time' is 4s
And suppose that the Time Loop layer is applied over an existing animation. The
"Link Time" and "Duration" specify that the section from 5s to 8s in the children
layers will be looped. The "Local Time" specifies that this loop will be at the
beginning at 4s. (And so also therefore at 1s, 7s, 10s, etc).
This is how the mapping actually works:
child time
real child time
(symmetrical =
time (symmetrical = false)
true)
0 7 4
1 5 2
2 6 3
3 7 4
4 5 5 (local time = 4; link time = 5)
5 6 6
6 7 7
5 (duration = 3, so loop repeats after 3
7 5
seconds)
8 6 6
9 7 7
10 5 5
Specifying a huge number for the Duration parameter effectively turns the Time
Loop layer into a Time Shift layer. The Link Time and Local Time parameters
controls which time in the children lines up with which time in the Time Loop
layer, giving the amount of the timeshift, with both positive and negative
differences working as expected.
Contrived Example
Download and examine this example file: Time-loop-demo-0.2.sifz
It's a 10 second animation, and shows 2 circles. The top one moves linearly from
the left to the right. Its position is marked by static text digits 0 through 10.
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The other circle is an identical copy of the first one, with the same waypoints, but
it's inside an Group layer. The parameters are:
Link Time: 5s
Duration: 1.5s
Local Time: 2s
Symmetrical: true
So as time=2s, the top circle is at position 2 (local time) and the bottom circle is
at position 5 (link time):
The loop is 1.5s long, so the bottom circle is also at position 5 every 1.5 seconds
before and after this point in time, for example at t=3.5s and at t=8s:
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The following two images show the positions at t=0s and t=3s. The loop starts at
t=2s, so it's also at the start at t=0.5s. So at t=0s it's half a second before
finishing the previous loop. And at t=3s the same is true, but 2 loops later on:
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There's a rendered copy of this example on YouTube (http://www.youtube.com

/watch?v=WyYLd7319Gw), and it's also available for download: Time-loop-
demo-0.2.avi.
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Doc:Rescale Animations - Synfig Animation Studio http://wiki.synfig.org/Doc:Rescale_Animations
Doc:Rescale Animations
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Contents
1 Introduction
2 Group the layers
3 Understanding what are we rescaling
4 Using the Group layer
5 Examples
5.1 Enlarge a portion of animation at the end
6 TO DO
Introduction
To rescale an animation means to modify the initial and final times when a portion
of animation is shown. Imagine that you have created a complex animation for
certain objects, but when you watch it with the rest of the backgrounds or other
animated objects, it seems to be "out of time" (too late, too soon, too slow or too
quick). You would like to modify the animation smoothly from one time segment
[A-B] to other [C-D]. But how?...
You could think about moving the waypoints one by one and rescale the animation
manually. Although it is possible, for the majority of the times it would be tedious
and fruitless.
With Synfig it is easy to do.
Group the layers

First of all you need to group the layers that are going to be rescaled in time.
We'll need to make use of the Time Offset Parameter of the Group layer.
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Understanding what are we rescaling

For example, say we want to rescale from [A-B] to [C-D]. So what we want is that
when the original animation reaches the A time then the new animation would
reach it at time C instead. Similarly for B and D. But if you move the animation in
that way, what happens to the frames before frame A that are now before C? And
what happens to frames after B that are now after D? Unless precautions are
taken, they're rescaled too. Is that what we want? In the most general case we
would like the frames 0f to A' (A'<A) and B' to the end of the animation (B'>B) to
be untouched.
There are some conditions that the rescaled time segment [A-B], the desired time
segment [C-D] and the untouched segments [0f-A'] and [B'- end] must fulfil:
1. Frame A must be smaller than frame B. (Obviously)

2. Frame C must be smaller than D.
3. Frame A' must be smaller than A
4. Frame B' must be greater than B
5. Frames C and D must be smaller than B' and bigger than A'
(this diagram was done in Synfig :D)
Using the Group layer

Now we know what are rescaling, then let's modify the animation to make those
changes on it.
Go to the Group layer you have obtained in the first step and go to its Time Offset
Parameter. Insert the following waypoints in the animation of that parameter:
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1. At frame A', insert a value of 0f. This will maintain this frame untouched (and
the ones that are before also, if there are no more waypoints there).
2. At frame C, insert the result of subtracting from the time value at frame A,
the time value at frame C (that is C-A in time units). It could be positive or
negative. In the sample diagram it is negative and corresponds to -2s6f (if
the animation is at 24fps and we assume that each division in the diagram is
a second.)
3. At frame D, insert the result of subtracting from the time value at frame B,
the time value at frame D (that is D-B in time units). It could be positive or
negative. In the sample diagram is negative and corresponds to -18f (if the
animation is at 24 fps and we assume that each division in the diagram is a
second.)
4. At frame B', insert a value of 0f. This will maintain this frame untouched (and
the ones that are after also, if there are no more waypoints there).
IMPORTANT: all the inserted waypoints must have linear interpolation. If not,
you will change the original timing of the animation. To make it easy, just select
Linear on the default interpolation parameter on the tool box window.
Examples
Enlarge a portion of animation at the end
In this case, the animation segment [A-B] is rescaled to [C-D] but A=C and D>B.
You can see that in the original animation, the black circle has a constant velocity
and the red rescaled one has the following motion:
1. From A' to A, the animation is not touched (in fact A' can be the same as A
because C is not smaller than A)
2. From A=C to B, the rescaled animation is slowed down to reach B position at
the same time the original animation reaches D. So the time segment [A-B] is
rescaled to [C-D]. We've enlarged the time segment so the rescaled
animation is slower.
3. From B to B' the rescaled animation accelerates to reach the B' mark at the
same time than the original. We've shortened the time from B to B' so the
rescaled animation is quicker. It was done by setting the waypoint in the
frame D to 0f, which forces the rescaled animation run to reach the original
animation.
4. From B' to the end, the animation is the same.
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Both the original animation and the scaled animation use linear movement, but
the scaled animation is done in three linear steps. In the original animation (black
circle) the time and the position are the same. Hopefully this clarifies the
example.
TO DO
Fix links to other wiki pages. Include an animation sample (in progress). Insert a
table with the waypoints (time and value) of the offset parameter.
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Time Offset Parameter - Synfig Animation Studio http://wiki.synfig.org/Time_Offset_Parameter
Time Offset Parameter

Language:
English
The "Time Offset Parameter" is a parameter of the Group Layer. It brings the
animation of the entire contents of the referenced layer forward by the given
value. Using negative values it is possible to delay the grouped layer, too.
Note that the "Time Offset Parameter" applies to the contents of the Group Layer, not
to the layer itself. So if the parameters of the Group Layer itself are animated,
such as its Origin Parameter, the "Time Offset Parameter" won't cause them to
change.
The "Time Offset" can be animated, just like any other parameter, so it can be used
in various non-obvious ways:
Repeat: Set the offset to 0s at 0s and to -10s at 10s, and the first 10 seconds
of the encapsulated layer will play twice (at 0s through 10s, and 10 through
20s). At 20s it will continue to play as normal, but delayed by 10s.
Fast Forward: Set the offset to 0s at 0s and to 10s at 5s, and the first 10
seconds of the encapsulated layer will play at double speed (at 0s through
5s). After 5s it will continue to play at normal speed.
Reverse: Set the offset to 10s at 0s, and to -10s at 10s, and the first 10
seconds of the encapsulated layer will play backwards. After 10s, it will play
forward, from the beginning.
Examples
See Time-offset-demo.sifz for an example of each of the above.
See this example for another use of the Time Offset Parameter, exploring the Time
Loop Layer.
Control the animation speed of a Group
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Time Offset Parameter - Synfig Animation Studio http://wiki.synfig.org/Time_Offset_Parameter
Convert the "Time Offset Parameter" to linear, and it will offers two sub parameters:
"Rate" & "Offset"
Stop the animation : Setting the "Rate" to -1s.

Slow down it : Setting it to something between -1s and 0s.
Play reversed : Set the "Rate" less than -1s.
Play accelerated : Set the "Rate" up than 0s.
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Doc:Walk Cycle - Synfig Animation Studio http://wiki.synfig.org/Doc:Walk_Cycle
Doc:Walk Cycle
(Redirected from Walk Cycle)
Language:
English • español • français • русский
Somes of the screenshots needs to be updated with 0.64.0
The List File

One of the less obvious features of Synfig is buried in the Import Image layer. In addition to being
able to import some basic still image file types, it will also accept a 'lst' file. This list file is simply a
text file consisting of a framerate followed by a list of images to display. (If no framerate is
supplied a default rate of 15 Frames per Second (FPS) is used.)
An example, provided by Voria Studios, takes 4 still images of a character in various stages of a
walk cycle. These images are shown at 4 FPS to give a sequence that when repeated, show a man
walking.
Here are the images
Frame 1 Frame 2 Frame 3 Frame 4
And here is the beginning of the 'lst' file.

FPS 4
frame_01.jpg
frame_02.jpg
frame_03.jpg
frame_04.jpg
frame_01.jpg
frame_02.jpg
frame_03.jpg
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frame_04.jpg
frame_01.jpg
frame_02.jpg
frame_03.jpg
frame_04.jpg
...
Constructing a Walk cycle

Let's take a look at how we can use these images to create a complete walk cycle for a character
in Synfig.
Start with a new canvas and add a timeline of several seconds with the default framerate of 24
FPS. On the canvas, select the Caret > Layer, New layer, Other, Import Image.
This creates a new Import Image layer, but nothing will show up until the filename is selected. Go
to the Parameters Panel and scroll down to Filename. There you can navigate to the '.lst' file and
select open. Now you should see the first image in the list. Moving forward along the timeline will
show successive images from the list every 6 frames. You can preview or render these as is and
get a low frame rate animation.
But the result doesn't look very smooth, and the images are not very flexible. (The images can be
translated, rotated and stretched, but no elements within the images can be changed.) To make a
fully editable character we need to trace over it with Synfig elements such as Splines.
I work with a drawing tablet, so the easiest solution for me is to use the Draw Tool. Move back to
frame 0, select the draw tool and trace over the character. I find it easiest to break the character
down into several regions (Head, Left Arm, Right Arm, Torso, Left Leg, Right Leg). As a helpful
tip, if the shape didn't come out quite right, go to the layer menu and uncheck the region
checkbox - this will allow you to see the image below as you drag the handles around to correct
your line.
Once you've finished Frame 0, move along the timeframe to Frame 6. Instead of tracing, this time
we're going to take the existing elements and reposition them to match the image. Again, turning
off the region layers will allow you to see the image below as you edit them. Use the rotate and
translate tools to reposition the body parts, adjusting the line handles for fine tuning. [Don't forget
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to switch to "Animate Editing Mode" as explained in Animation Basics.]
Repeat for Frames 12 & 18, then you can turn off the Import Image layer (uncheck the checkbox
in the layer menu). Now, even though we've only drawn 4 keyframes, by the power of Synfig, we
can render a smooth 24 frames of man walking. Add a 1 second timeloop layer on top, and the
man will pace on the spot for the length of your animation.
Adding Translation layer will enable your character to walk from one side of the canvas to the
other (or moonwalk backwards if you're so inclined.)
Here is a zipfile with the list file, 4 still images, and the finished Synfig file. Unzip them in the
same directory and open the newwalk.sif file with synfig.
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Categories: Tutorials Tutorials Advanced ImportArt NewTerminology

mercilessly and redistributed at will, then do not submit it to this wiki. You are also promising
us that you wrote this yourself, or copied it from a public domain or similar free resource. Do
not submit copyrighted work without permission!
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Doc:Cut-out Animation using Group Transformati... http://wiki.synfig.org/Doc:Cut-out_Animation_usi...
Doc:Cut-out Animation using Group Transformation Widget

Language:
English
This tutorial describe how to create cut-out style animations. You will obtain some kind of animation like this one:
Contents
1 Preparing the material
2 Importing the cut out images
3 Grouping the parts
4 Setting pivot points
Preparing the material 5 Building limb hierarchy
6 Assemble the character
For a cut-out animation we will need some images that represent the moving parts of the animation. For this example we will use a Simpsons like 7 Tip
boy. You can take the images from this file.
The SIF-file of the complete final version of this tutorial can be found here.
Each part of the body (head, arms, legs, etc.) is a single PNG file. (In the split image, the individual images are composited in a bigger one). Try to set all the files to have the same
horizontal and vertical dimensions so all the images can fit one over the other to create the character without the need to adjust their sizes or positions. It will help later to import each
image into Synfig.
Usually cut-out style animations use image art instead of vector art to create the animation, but you can easily use Synfig to design all the body parts that you need for your character.
Importing the cut out images

This is as simple as going to the main menu and select "<File> → <Import>" and choose the proper file for each part of the character. After repeating this process for each of the image files
of your character you should obtain what is shown below:
A character split into parts
Grouping the parts

After importing the PNG images Synfig automatically places them in a Switch Group Layer (A1). We have to turn the switch layers into normal Group Layers first.
From the Layers Panel, open each switch layer by clicking on the little plus sign in front of it (A2). Then Control-click on each PNG file (A3). Press Ctrl X to cut the files out of the
switch layers. Control-click on each of the remaining switch layers (A4) and delete them by clicking the bucket icon (A5). Press Ctrl V to paste the original PNG files back into the
Layers Panel (A6).
Now we will group the PNG files. Select and right click the first PNG file (A7) in the Layers Panel, choose "Group" (A8) and give it the same name as the PNG file but put pivot in front of
it. After you have done that with all the PNG files your Layers Panel should look like the last image on the right in picture A. If not then move the groups up or down using the arrows
(A9).
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PICTURE A
Setting pivot points
PICTURE B: The Group Transformation Widget
We are going to animate the parts of our character by using the Group Transformation Widget. If we click on a group in the Layers Panel then we can see the Group Transformation
Widget on the canvas picture (B).To rotate the parts of our character we have to set a pivot point for each part. The Group Transformation Widget will rotate the part using the pivot
point as the origin for the rotation.
We will start with the hip. Select the pivotHip group in the Layers Panel (C1). The Group Transformation Widget of the pivotHip group is not in the position where we want it to be so
on the canvas we press Ctrl and drag the bottom left green Handle of the Group Transformation Widget to the position on the hip where we want to have our pivot point (C2). That's it!
We just have set our first pivot point. Do the same for all the other parts of the character. Just select the next group in the Layers Panel, press Ctrl and drag the bottom left green
handle of the corresponding Group Transformation Widget to the correct position.
When finished, Control select all layers in the Layers Panel (C3) and your canvas should look like (C4) showing all the group transformation widgets with all pivot points in place. To
rotate a part just select its corresponding group in the Layers Panel and drag the blue (rotation) handle of the Group Transformation Widget and the part should rotate around its pivot
point. Note that the parts are not connected. When we rotate the hip then the body, head and arms don't rotate alongside it yet. That is because we still have to assemble the parts to
get a fully animated character.
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PICTURE C: Setting pivot points
Building limb hierarchy

We are now going to connect the body, the head and the arms to the hip so that when we rotate the hip all the other parts rotate alongside with it.
Before we can do that we first have to Export two values that belong to the pivotHip group so that we can Link them to the other parts. Select the pivotHip group in the Layers Panel
(D1) and then go to the Parameters Panel (D2) and open up the Group Transformation Widget information by clicking the little plus in front of it (D3).
Select and right click on "Offset" (D4), choose "Export" (D5) and name the exported value pivotHip. Then, select and right click on "Angle" (D6), choose "Export" (D7) and name the
exported value angleHip. Now, open the Library Panel (D8) and click on the little plus sign (D9) in front of "ValueBase Nodes", you will see our two exported values pivotHip (D10) and
angleHip (D11).
PICTURE D: Exporting values
First we will connect the right arm to the hip. Select the pivotRightarm group in the Layers Panel (E1), right click and choose group. Name the group rightArm(E2). Now go to the
Library Panel and select the pivotHip ValueBase Node (E3). Go to the Parameters Panel, open the Group Transformation Widget information by clicking the little plus in front of it and
right click on "Offset" (E4) and choose "Connect" (E5).
The arm will move slightly downwards (E6) but we will correct that later when we assemble the character. Now go to the Library Panel again and select the angleHip ValueBase Node
(E7). With the rightArm group still selected go to the Parameters Panel, open up the Group Transformation Widget information by clicking the little plus in front of it (it's probably still
open) and right click on Angle (E8) and choose connect (E9). We now have a group called rightArm that is connected to the hips origin and angle, and a subgroup pivotRightarm that
rotates around its own pivot point. When we select the pivotHip group in the Layers Panel and rotate it with the blue handle of the Group Transformation Widget the hip will rotate and
the right arm will rotate alongside with it. When we select the pivotRightarm group and rotate its blue handle then the arm will rotate independently from the hip. After you tried both
rotations just press undo until you get to the original layout.
Now we will have to do the same for the body, the head and the left arm. Select the pivotBody group in the Layers Panel, right click and choose group and name the group Body. Select
the new Body group and connect the origin and angle of its Group Transformation Widget to the corresponding exported ValueBase Nodes. Don't forget to select the right ValueBase
Node in the Library Panel before you connect them. After you finished with the head and the left arm the Layers Panel will look like picture F.
3 of 5 07/07/2016 08:56 PM
PICTURE E: Building Limb Hierarchy
PICTURE F
Assemble the character
PICTURE G
Now that all parts are connected it is time to assemble our character, because it kind of looks messy at the moment.
Select the pivotBody group in the Layers Panel and drag the bottom left green handle (do not press space!) until the body is in the right place above the hip. Do the same for the
pivotHead group, the pivotLeftarm group, the pivotRightarm group, the pivotRightleg group and the pivotLeftleg group. Remember not to press space when you align the parts
into position or you will change the pivot point. When finished our character should look like picture (G).
We have to be able to move the entire character including the legs so select all groups in the Layers Panel, right click and choose group and call the group Character. When we select
the group Character we can use its Layers Panel to transform the entire character.
4 of 5 07/07/2016 08:56 PM
PICTURE H
To animate the character we just have to select a pivot group and rotate it using the blue Handle of the Group Transformation Widget. To make all the pivot groups easily accessible we
will put the pivot group in a set so that they are free from any clutter coming from the Layers Panel. To do so go to the Layers Panel and control click on all groups that have the word
pivot in it (H1), right click and select "Add Layers" to Set (H2). Name the set pivot.
When we go to the Sets Panel and open the pivot set by clicking on the little plus in front of it we will see all pivot groups lined up (H3). All we have to do is double click on a group to
get the Group Transformation Widget of the corresponding part that we want to animate.
Tip
Elbow and wrist joints or knee and ankle joints do not have to be connected to the exported ValueBase Nodes of the pivotHip group because it is enough that you put them in a
subgroup and they will rotate properly.
Language:
English
Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Cut-out_Animation_using_Group_Transformation_Widget&oldid=21444"

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5 of 5 07/07/2016 08:56 PM
Preview - Synfig Animation Studio http://wiki.synfig.org/Doc:Preview
Preview
Language:
English
Introduction
Contents
Rendering a
long or 1 Introduction
complicated 2 Previewing an animation
animation can 3 The Preview Options Dialog
take a while. 3.1 General Settings
You may need 3.1.1 Quality
to do several 3.1.2 Frames per second (FPS)
renders before
3.1.3 Use Cairo render
you are happy
3.2 Time Settings
with your finished animation.
3.2.1 Begin Time
Therefore, before you render your
3.2.2 End Time
animation, it's a good idea to
preview all or just a part of it at 4 The Preview Window
lower quality to save time. 4.1 Preview Image
4.2 Frame Display
You may also find that working on 4.3 Slider
your animation by looking at a 4.4 Buttons
render in a normal media player is
not very useful. You will see time
displayed in fractions of a second instead of as frame numbers and moving
backwards and forwards (scrubbing) can be difficult.
Synfig Studio has a very flexible preview tool that solves both of these problems.
Previewing an animation
There are two ways to preview the animation in your current canvas:
You can press the canvas window toolbar Preview button , or

you can open the Canvas Menu using the Canvas Menu Caret button and
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then select "File → Preview".
If you do either of these things the Preview Options dialog will appear.
The Preview Options Dialog

The Preview Options dialog looks like this:
It is divided into two sections: "General Settings" and "Time Settings". They are
described below. When you have finished adjusting these settings you can click
"Preview" and Synfig Studio will start rendering your preview and open the Preview
Window. If you want to close the Preview Options dialog box without starting to
render a preview you can click "Cancel" or press Escape .
General Settings
The "General Settings" allow you to adjust the quality of your preview – its size and
its frame rate.
Normally, to save time, previews are smaller and have a lower frame rate than the
original animation. But, because Synfig Studio is so flexible, you can actually
render a preview with a higher frame rate and a larger size than the canvas you
are working on!
Quality
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The "Quality" spin box allows you to increase or decrease the quality of your
preview.
You can enter a number directly into the "Quality" spin box, or use the spin box
arrows to increase or decrease it. You can enter a value between "0.10" (lower
quality) and "5.0" (highest quality).
Frames per second (FPS)
The "Frames per second" spin box allows you to increase or decrease the frame rate -
the number of frames per second your preview will have.
The number in the "Frames per second" spin box is a floating point number with one
decimal place, so you can specify the frame rate accurate to a tenth of a second.
You can enter your frame rate setting directly into the "Frames per second" spin box,
or use the spin box arrows to increase or decrease it. You can enter a "Frames per
second" setting between "1.0" and "120.0".
The default frame rate setting in the "Frames per second" spin box is the frame rate
of the canvas you are previewing divided by 2.
Tip
When you are animating you'll probably want to look at
previews often. To save time, we recommend that you
normally use a "Frames per second" setting that is less
than the frame rate of your finished animation when
previewing your work. We think a "Frames per second"
setting that is half of your final frame rate is a good
compromise between preview rendering speed and
quality.
Use Cairo render
This check box let use choose between two rendering method of the preview.
Check the "Use Cairo render" check box, the preview will be rendered with the
the Cairo render engine (introduced in synfig 0.64.0)
Do not check the "Use Cairo render" check box, the Synfig internal render
engine will be used to render the preview
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Time Settings
The "Time Settings" allow you to specify which point in time you want your preview
to begin and end. You don't have to adjust these settings – if you don't adjust them
the entire duration specified in the Canvas Properties Dialog for your canvas will
be previewed.
However, for complicated animations it can save a lot of time if you just preview a
small section.
Begin Time
If you want to your preview to begin at a time that is not the beginning of you
canvas (0f) then:
1. Check the "Begin Time" check box

2. Enter a time value in the "Begin Time" entry field.
Entering Time Values

To input a time value you enter one or more floating
point numbers separated by a space. You can add a
time unit suffix immediately after each number. The
time unit suffixes are h (hours), m (minutes), s
(seconds) and f (frames). If you don't add a suffix to a
number it is treated as a frame value. The numbers you
enter are added together and then converted into a
single time value in hours, minutes, seconds and
frames.
Here are some valid time values:
34 (Synfig Studio will treat this as 34f)

3.5s
3s 3s 3s (these will be added together to become
9s)
0.5m 2f
3s 34f
0.75h 3f
0.5f
Don't forget that the number of frames per second for

your canvas is specified in the Canvas Properties
Dialog and may change from canvas to canvas.
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End Time
If you want to your preview to end at a time before the end of the canvas you
want to preview then:
1. Check the "End Time" check box

2. Enter a time value in the "End Time" entry field.
Note
You can set a "Begin Time" and "End Time" that are after
the "End Time" of your current canvas. The Preview
Image in the Preview Window will display the last
frame of the canvas you are previewing for all frames
that occur after the last frame of your current canvas if
you do this.
You can also set a negative "Begin Time" and "End Time"
that are before the "Start Time" of your current canvas.
The Preview Image in the Preview Window will display
the first frame of the canvas you are previewing for all
frames that occur before the first frame of your current
canvas if you do this.
We let you do this because we're planning to make

previewing frames that are outside the duration of your
current canvas do something useful in a later version
of Synfig Studio.
Bug
In Synfig 0.63.04 and before you can specify an "End
Time" that's before the "Begin Time". This is a bug and
we'll fix it soon.
The Preview Window

When you click "Preview" in the Preview Options dialog your preview will start to
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render and the Preview Window will appear:
Preview Window of backdrop.sifz project from Synfig examples
The progress of your preview render is shown at the bottom of the Preview
Window in the status bar. The "Last Rendered" time shows you the last frame of your
preview that has been rendered. When the "Last Rendered" time equals the "End Time"
you set in the Preview Options dialog your preview has finished rendering.
Bugs
In Synfig 0.63.04 and before you'll find that
sometimes, due to rounding errors, the final "Last
Rendered" time will be one frame past your "End Time".
We'll fix this soon. In Synfig 0.63.04 the Preview
Window always appears above all the Canvas windows.
This is a bug and we've fixed it in the next version.
6 of 11 07/07/2016 08:57 PM
You don't have to wait for your preview to finish rendering before you start to look
at it – you can preview the frames that have been rendered so far.
You can close the Preview Window at any time by pressing Escape , pressing
Alt F4 or clicking the "Close" button in the top corner of the Preview Window.
Preview Image
The Preview Image shows you frames from your preview render. The Preview
Image is scaled to fit into the Preview Window. This means you may need to adjust
the size of the Preview Window to see the Preview Image properly.
Note
We know it can be difficult to size your Preview
Window so you see the Preview Image at the exact size
you rendered it. We are planning to add a combo box to
help you size the Preview Image precisely in a later
version of Synfig Studio.
Frame Display
There is a red frame display to the top left of the Preview Image. It looks like this:
The Frame Display tells you which frame the Preview Image is displaying.
Note
The Frame Display will not show you the time values of
frames that do not exist in the canvas you are
previewing:
if the Preview Image is displaying frames that

occur before the "Start Time" of the canvas you are
previewing, the Frame Display will show you the
"Start Time" of the canvas you are previewing
if the Preview Image is displaying frames that

occur after the "End Time" of the canvas you are
previewing, the Frame Display will show you the
"End Time" of the canvas you are previewing
7 of 11 07/07/2016 08:57 PM
Although the Frame Display is not updated, the Slider

and Preview Image will continue to work as normal.
Bug
In Synfig 0.63.04 and before you'll find that
occassionally, due to rounding errors, the frame display
will display a frame number that is incorrect. We've
fixed this for the next version.
Slider
There is a Slider beneath the Preview Image. It looks like this:
You use it to do something that traditional animators call "rolling" or "flipping"

their drawings. This is where animators use their fingers to flip through several
drawings on paper quickly to look at movement.
The box the Slider sits on represents the duration of the currently available
preview – the number of preview frames that have been rendered so far. The
position of the Slider on this box shows you where the frame shown in the
Preview Image appears within the currently available preview.
There are three ways you can use the Slider:
1. you can move your mouse anywhere over the box the Slider sits on and move
the Slider with your mouse wheel
2. you move your mouse over the Slider, hold down the left mouse button and
then move your mouse left and right
3. if the Slider has focus (see below) you can also use the ← → keys to move it
backwards and forwards. You can give the Slider focus by pressing ⇆ Tab
until it gains focus or by clicking on it with your mouse
Slider has focus

Slider does not have focus
Buttons
There is a row of buttons under the Slider. You can press the buttons with your
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mouse or you can press ⇆ Tab until one of the buttons has focus (see below).
Button has focus
Button does not have focus
Once one of the buttons has focus you can use ← → to move between the buttons
and Space to press them.
The buttons are all explained below:
Press the Previous Frame button to see

the frame before the currently
Previous displayed frame. If the Preview Image
Frame button is showing you the first frame of your
preview render, the Previous Frame
button does nothing.
When the Play / Pause button looks like
this , press it to play your preview
render starting from the currently
Play / Pause displayed frame.
button
When the Play / Pause button looks like
this , press it to pause your preview
render at the currently displayed frame.
Press the Next Frame button to see the

frame after the currently displayed
Next Frame frame. If the Preview Image is showing
button you the last frame of your preview
render, the Next Frame button does
nothing.
When the button looks like this ,
press it to stop the preview render
playing in an endless loop when you
Loop / Don't play it with the Play / Pause button.
Loop button
When the button looks like this ,
press it to make the preview render
play in an endless loop when you play it
9 of 11 07/07/2016 08:57 PM
with the Play / Pause button.
If you press this button it will stop any

more frames of the preview render
from being rendered. After you do this,
the Slider will represent the duration of
Halt Render
your preview render from "Begin Time" to
button
"End Time" but the Frame Display will
stop at last frame actually rendered. If
the preview render has already finished
rendering this button does nothing.
Re-preview reshows the Preview
Re-preview
Options dialog and allows you to do a
button
new preview with different settings.
Erase When you press this button all the
Rendered rendered frames are erased. The Frame
Frames Display and the Preview Image
button disappear.
Editing this text field you can manually
Zoom adjust the zoom quantity of the preview.
selection text The dropdown box contains defined
entry field value : 50%, 100%, 200% and Fit.
dropdown When "Fit" is choosed in the dropdown
box box, the preview image is automatically
resized to the preview window size.
Language:
English
Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Preview&

oldid=21720"
Categories: Glossary Canvas Window Manual NewTerminology

10 of 11 07/07/2016 08:57 PM

permission!
11 of 11 07/07/2016 08:57 PM
Render options - Synfig Animation Studio http://wiki.synfig.org/Render_options
Render options
Language:
English
Contents
1 Intro to render
2 Target
3 Results
4 Rendering to Video
5 Notes
5.1 note 1 - wtf is yuv?
5.2 note 2 - how to render for TV formats
Intro to render
Rendering an animation in Synfig can be done in two way, by the Command Line Interface (CLI) or through the Render Dialog
Target
Here are the file Target that can be rendered
"bmp" - Bitmap
"cairopng" - portable Network graphics - images with lossless compression rendered by cairo library
"dv" - digital video
"ffmpeg" - render video files with ffmpeg - several codec profiles are provided and you can choose the video bitrate.
"Flash video FLV / Sorenson Spark / Sorenson H.263"
"H.263+ / H.263 version 2"
"Huffyuv / HuffYUV" - lossless video codec
"Libtheora" - Free lossy video compression format. See also Theora (https://en.wikipedia.org/wiki/Theora) at wikipedia.
"H.264 / AVC / MPEG4-AVC"
"H.264 / AVC / MPEG4-AVC (lossless)" - The resulting file is compatible with Sony Vegas and other software based on QuickTime AVC
decoders.
- Each video frame or interlaced field of a digital video sequence is compressed separately as a JPEG image. See
"MJPEG (Motion Jpeg)"
also Motion JPEG (https://en.wikipedia.org/wiki/Motion_JPEG) at wikipedia.
"gif" - graphic interchange format

"imagemagick" - image manipulation program
"jpeg" - Joint Photographic Expert Group - still format suited to photographs
"magick++" - TODO writeme
"null" - Dummy file for rendering engine testing?
"null-tile" - Dummy file for rendering engine testing?
"png" - portable Network graphics - still images with lossless compression
"png-spritesheet" - portable Network graphics - collection of poses in a unique image, can be arranged horizontally or vertically.
"ppm" - portable pixmap - still image using very basic format
"yuv420p" - Still image format designed to preserve the images luminance
Results
Target type Extension Helper app Linux support Windows support Mac OSX support
.bmp->bmp .bmp->bmp .bmp-ok (text layer .bmp-ok, but

.dv->dv_trgt OK (but correct in 983) text layers
.mpg->ffmpeg_trg text layers .dv- n/a upside down
Determined
Auto .gif->gif upside .mpg-crash synfig 5
by extension
.miff->imagemagick_trgt down) 5 .gif-ok, .dv-crash
.jpg->jpeg_trgt .dv->dv OK (imagemagick)animated synfig
.avi->Target_LibAVCodec .mpg->mpg gif crashes (983) .mpg-crash
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synfig
.gif-ok, also
OK animated gif
.gif->gif OK .miff-crash
.miff->OK synfig
(only last .jpg-ok
frame?) .avi-crash
.miff-single frame ok,
.jpg->jpg synfig
animated crash synfig
OK .mng-"unable
(983)
.mng->mng_trgt .avi->crash to create
.jpg-ok
.exr->exr_trgt 1 target for...
.avi- n/a
.png->png_trgt .mng-> not .mov-"unable
.mng- n/a
.ppm->ppm render 3 to create
.exr-ok
.yuv->yuv .exr->exr target for...
.png-ok
OK .exr-"unable
.ppm-ok
.png->png to create
yuv-ok 2
OK target for...
.ppm->ppm .png-ok
OK .ppm-ok
.yuv->yuv yuv-render a
OK? 2 file in
unknown
format
Yes (but text

Yes (Text layers correct in ok, but text layers
bmp bmp Native layers upside
983) upside down 5
down) 5
N/A - encodedv not
dv dv encodedv Yes Yes
supported under Windows
It renders .mpg
ffmpeg mpg ffmpeg .avi, .mov and Yes Yes
.flv
yes (animated
gif gif native yes (animated gifs also) ok
gifs also)
imagemagick miff imagemagick Yes Yes Yes

Yes (animated
magick++ gif native Yes Yes
gifs, optimized)
jpeg jpg native Yes Yes Yes
N/A - libav support not
libav avi libavcodec Yes compiled into the Windows ?
version.
null n/a n/a n/a n/a n/a
null-tile n/a n/a n/a n/a n/a
open-exr exr native Yes Yes Yes
png png native*.mpg-> Yes Yes Yes
png-spritesheet png Yes Yes Yes
ppm ppm native Yes Yes Yes
yuv420p yuv native Yes (.avi) Yes (.avi) Yes (.avi)
Rendering to Video
Rendering to video directly from Synfig under Windows Operating Systems presents some challenges.
If you want to render to anything other than .mpg with "ffmpeg", you'll want to save a series of images that represent your animation, to a still
format that ffmpeg can read. I recommend "png". Whilst you can render to any size image, if you're going to show your video on
Youtube*.mpg->, you may want to take that into account when you render.
If you set up your render like
"Image Size"
Width 320 Xres 72.0 Physical width 4.44

Height 240 Yres 72.0 Physical Height 3.33
Image span 10.0000
"Image Area"
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Top left X : -4 Y : 3

Bottom right X : 4 Y : -3
You will get a series of .png files in your output

directory. Open a command prompt, cd to that
directory, then use ffmpeg to assemble these png
files into the video stream of your choice. for
example -
C:\output>ffmpeg -r 15 -i rfrac%04d.png -f flv

fractal.flv
creates a Flash video file of with the same

framerate as used on Youtube. You should be able
to submit it to Youtube without the need for the
Youtube servers to have to re-compress it.
Notes
note 1 - wtf is yuv?
The yuv file is rendered but it seems to have a

not compatible format. See the console output
when try to convert to a avi using ffmepg.
ffmpeg -i RenderTest.yuv -sameq RenderTest.avi FFmpeg

version SVN-rUNKNOWN, Copyright (c) 2000-2004 Fabrice
Bellard
configuration: --enable-gpl --enable-pp --enable-pthreads --enable-vorbis --en

libavutil version: 0d.49.0.0
libavcodec version: 0d.51.11.0
libavformat version: 0d.50.5.0
built on Sep 20 2006 00:26:15, gcc: 4.1.2 20060906 (prerelease) (Ubuntu 4.1.1-1
picture size invalid (0x0)
[rawvideo @ 0xb7f47c30]Could not find codec parameters (Video: rawvideo, yuv420p
RenderTest.yuv: could not find codec parameters
I can watch a .yuv animation. You need to specify the size it was rendered at - that doesn't seem to be part of the file format:
animate -size 480x270 file.yuv
I can single-step through a .yuv animation, using SPACE to step forward and BACKSPACE to step back through the frames:
display -size 480x270 file.yuv
I can also convert a .yuv to a series of .png files. This makes file-0.png through file-23.png for a 24 frame animation:
convert -size 480x270 file.yuv file.png
I also discovered that ffmpeg will happily convert a .yuv to .avi if you just tell it the image dimensions:
ffmpeg -s 480x270 -i file.yuv file.avi
svn r980 adds headers to created .yuv files, so you no longer need to specify the size when using them. -- dooglus 21:50, 25 October 2007
(EDT)
Mmmm I can play yuv files with mplayer and with ffplay. Also I can convert a yuv file to an avi (or whatever ffmpeg can encode) without
telling the video size. I think it depends on how ffmpeg was compiled. Genete 11:59, 4 June 2008 (EDT)
note 2 - how to render for TV formats
If you need to render stills (pngs) for something where the final format does not have square pixels, such as PAL or NTSC DV, you can use
the approach outlined below.
0) Select png format as you would otherwise
1) Use square pixel when you edit it in synfig (1024x576 for PAL 16:9 and 768x576 for PAL 4:3. (Pixelgeek calculates this to be 958x540 for
anamorphic and 720x540 for SD NTSC)
2) Just before rendering, in canvas property->Other->Locks and links, set checkboxes for Image Aspect and Image Span, and uncheck Pixel
Aspect (Depending on synfig version, this may possibly be the options dialog for File|Render, at least it is for me)
3) Change back to the Image settings
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4) Change resolution to 720x576 for PAL, 720*480 for NTSC
5) Render
That should produce stills with the right "pixel aspect". When viewed on the PC using square pixels, a circle will appear as an oval. When
viewed on a TV with the right pixelaspect, the circle will become a circle.
Language:
English
Retrieved from "http://wiki.synfig.org/index.php?title=Render_options&oldid=20842"
Categories: Render NewTerminology

Content of this Synfig Studio Documentation Wiki is available under the terms of Creative Commons Attribution-Share Alike 3.0 license.
By contributing here you agree that the same license will be applied to your writing. If you do not want your writing to be edited
mercilessly and redistributed at will, then do not submit it to this wiki. You are also promising us that you wrote this yourself, or copied
it from a public domain or similar free resource. Do not submit copyrighted work without permission!
4 of 4 07/07/2016 08:58 PM
Render Dialog - Synfig Animation Studio http://wiki.synfig.org/Render_dialog
Render Dialog
Language:
Contents
1 Let's have an in-depth look at it.
1.1 Global information
1.2 Image tab
1.3 Time tab
1.4 Other tab
1.5 Resizing the Canvas
1.6 Resizing the Canvas and keep aspect
1.7 Expanding the Canvas
2 See Also
What rendering involve?

If you want to have a quick summary of what rendering an animation
involve take a look to the Rendering Walk Through page
The "Render Dialog" lets you render your animation. It can be reached through the Canvas Menu Caret
"<File> → Render".
Let's have an in-depth look at it.

Global information
Target
Filename - Here you can set desired output filename and also a custom path to the render.
1 of 5 07/07/2016 08:58 PM
Target - Set your output format. At "Auto" the format is decided by the filename suffix. If
none is present png-format is default.
Settings
Quality - Set the quality of the render. Quality changes behavior of some layers, not all of
them. For example Motion Blur layer renders more subsamples based on quality values in
intervals. Quality 3 and 1 are mostly the same in all cases, so if 3 is enough, then leave as
3.
Default quality is 3.
1 is highest quality but with longest render time.
9 is lowest quality but renders faster.
0 is even lower than 9 and seems to disable apha channels as well.
Anti-Aliasing - Set the amount of anti-aliasing. Accepts values between 1 and 31, although
values above 3 is very subtle improvements and hard to notice it's also hugely increases
the render time.
31 is higtest anti-aliasing amout but with longest render time.
1 is lowest anti-aliasing amout but renders faster.
Render current frame only - With this ticked only one frame is rendered; the current one.
Extract Alpha - When checked, two videos files are rendered. The normal output file(s)
indicated by Filename plus another(s) you can easily identify by the alpha suffix. This
file(s) will contains the transparency data of your project that you can use as a mask when
compositing.
Then there are three tabs, we're starting with;
Image tab
In the Image tab you can set:
Image Size
Width - set width of render in pixels.
Height - set height of render in pixels.
- Toggle button to fix pixel ratio.
XRes - set horizontal resolution to calculate the physical size (do not affect the size of the
content).
YRes - set vertical resolution to calculate the physical size (do not affect the size of the
content).
- Toggle button to fix resolution ratio.
Physical Width - set physical printing size of render. (Calculated from Width/XRes).
Physical Height - set physical printing size of render. (Calculated from Height/YRes).
2 of 5 07/07/2016 08:58 PM
Image Size Ratio - Label displaying the current image size ratio.
Image Area - sets the portion of the workarea to be rendered.
Top Left X/Y: - set where in the workarea top left of render starts.
Bottom Right X/Y - set where in the workarea bottom right of render starts.
Image Span - diagonal size of the portion of the workarea ("Top Left (X/Y)"² +"Bottom Right
(X/Y)"² ="Image Span"² )
Time tab
Time Settings
Frames per second - set render framerate. Only applicable when rendering to movie-file,
not image sequences.
Start Time - set where in your timeline rendered sequence will start.
End Time - set where in your timeline rendered sequence will end.
Duration - set the duration of the animation.
Other tab
TODO writeme (explain how to use "other tab" parameters and share info from Template:PropertiesOtherTab )
Locks and Links

Image Width
Image Height
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Image Aspect
Image Span
Pixel Width
Pixel Height
Pixel Aspect
Focus Point
Focus Point X:/Y:
Resizing the Canvas
In the "Other" tab, uncheck all of the "Locks and Links":
Then edit Image "Width" and "Height". This will resize the canvas, stretching it's contents in the process.
Resizing the Canvas and keep aspect
In the "Other" tab, check "Image Aspect", "Image Span", "Pixel Aspect", in "Locks and Links".
Then edit Image "Width" and "Height". This will resize the canvas, adjusting it's contents keeping the
aspect. That's mean that even if you change the "Image Size Ratio", a square before is a square after.
Expanding the Canvas
In the "Other" tab, check only "Pixel Aspect" in "Locks and Links":
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Then edit Image "Width" and "Height". This will expand the canvas, keeping it's contents at the same
size but adding extra space at the top/bottom and left/right.
Please note that since this dialog caused confusion, even among some very experienced people, here
are some unofficial thoughts about image dimensions.
See Also
Quick summary of what rendering involve : Rendering Walk Through
"How Do I" section : How Do I:Render
Language:
Retrieved from "http://wiki.synfig.org/index.php?title=Render_dialog&oldid=21776"
Categories: Dialogs Render NewTerminology

license will be applied to your writing. If you do not want your writing to be edited mercilessly
and redistributed at will, then do not submit it to this wiki. You are also promising us that you
wrote this yourself, or copied it from a public domain or similar free resource. Do not submit
5 of 5 07/07/2016 08:58 PM
Sif2svg - Synfig Animation Studio http://wiki.synfig.org/Sif2svg
Sif2svg
Language:
English
This project is abandoned, but feel free to get in contact if you want to restart it. :)
Contents
1 What is it?
1.1 Objective
1.2 Prerequisites
1.3 Transforming a Synfig file into a SVG
1.4 Result
1.5 Limitations
What is it?
This uses an XSLT 2.0 stylesheet to transform Synfig XML to SVG XML.
Objective
Turn an Synfig animation into a SVG file for export.
Prerequisites
1. Be sure that you have an XSLT processor (xsltproc, Firefox, etc.)

2. Download sif2svg.xsl from here (https://linkmauve.fr/dev/synfig/sif2svg/)
Transforming a Synfig file into a SVG
Enter the following command (replace your_output.svg by the path of the SVG
file):
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Sif2svg - Synfig Animation Studio http://wiki.synfig.org/Sif2svg
xsltproc sif2svg.xsl your_input.sif > your_output.svg
Result
If the conversion has been successful, the result will be written to the file
your_input.svg, in the current folder. You can open this file in Inkscape, or Firefox,
or Whatever.
Limitations
Compressed Synfig files (sifz) must be gunzipped first.

All sif elements aren’t supported, so it may have a lot of glitchs.
Language:
English
Retrieved from "http://wiki.synfig.org/index.php?title=Sif2svg&oldid=21178"

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Preferences Dialog - Synfig Animation Studio http://wiki.synfig.org/Preferences_Dialog
Preferences Dialog
Language:
English
Contents
1 Purpose of the Preferences Dialog
2 Gamma Tab
2.1 Color representation
2.2 Red, Green, Blue
2.3 Black level
3 Miscellaneous tab
3.1 Time Stamp
3.2 Unit System
3.3 Recent Files
3.4 Automatic Backup Interval
3.5 Browser command
3.6 Brush Presets Path
3.7 Visually Linear Color Selection
3.8 Restrict Real Value Handles to the Top Right Quadrant
3.9 Scale New Imported Images to Fit Canvas
3.10 Use Only a Single Thread (Windows only)
3.11 Use dark UI theme
4 Document Tab
4.1 New Document filename prefix
4.2 New Document X and Y sizes
4.3 New Document FPS
5 Render Tab
5.1 Image Sequence Separator String
5.2 Use Cairo render on Navigator
5.3 Use Cairo render on WorkArea
Purpose of the Preferences Dialog
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The Preferences Dialog allows the user set certain properties and preferences
that are globally adopted by the application and used by all the Documents
opened or to be opened. The Preferences Dialog is organized in Tabs allowing
modify the properties or preferences by meaningful groups.
Gamma Tab
Color representation
The gamma tab controls how the color representation in Synfig Studio is managed
while editing a Document. There is a gamma pattern diagram on the top to let the
user visually know how the gamma modifications would look in the color space.
Red, Green, Blue
In the middle there are three color sliders that control the gamma for each
separate channel. Default values for those sliders are 2.2 for each color.
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Depending on the gamma adjustment you have in your monitor or output device,
you may want to change those values to be more appropriate.
Black level
Below those sliders there is a Black level selector. It is used to calibrate your
output device to show the black color as black. Most of the time you'll need this
value set to 0.0.
Miscellaneous tab
This tab groups some miscellaneous global preferences for the application. All of
them would affect new files opened or created after they have been changed.
Time Stamp
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This selection menu allows to set the time format used in the application. It would
affect how all time parameters and information you see in Synfig Studio are
shown. Although internally all the time values are stored as seconds, you can see
the time in other formats:
HH:MM:SS.FF. This is a fixed format that shows always the time in

hours:minutes:seconds.frames with two significant digits minimum.
Examples: 123:45:58.13, 00:00:04.23
(HHh MMm SSs) FFf . This is a flexible format that would use the needed
space to show the time using the correct derived unit. Examples: 123h 45m
58s 13f, 4s 23f. Notice that the second time only use the needed derived
units (seconds) not using minutes or hours like in the previous type.
(HHhMMmSSs)FFf. This one works exactly like the previous one but in a
more compact format (no spaces). Examples: 123h45m58s13f, 4s23f.
HHh MMm SSs FFf. This is like the default one but in a fixed format like the
first one. Examples: 123h 45m 58s 13f, 00h 00m 04s 23f.
HHhMMmSSsFFf. I think you can imagine how does this one works.
Examples: 123h45m58s13f, 00h00m04s23f.
FFf. (default) This one shows all the times in frames. (There is a bug here
because it doesn't work properly) Examples: 10693405f, 119f, assuming that
the frames per second are set to 24.
Unit System
This drop down list allows change the global preference to the unit system that
the user would want to use in any opened or created documents. Although all the
vector dimensions are stored internally in synfig as units there are unit
conversions to other systems to make editing more friendly or appropriate to the
values that the user has from the model. Available Unit Systems are:
points (pt)
units (u)
pixels (px) (default)
inches (in)
meters (m)
centimeters (cm)
millimeters (mm)
See the Unit System in action to know the equivalence between those units.
Recent Files
This spin button entry box allows the user to define how many recent files are
shown when the Toolbox>File>Recent Files menu option is selected. Maximum
value is set to 50 and minimum to 1. Default is 25.
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Automatic Backup Interval
Synfig studio may crash (an infrequent thing lately), or you may have lost power
or killed the program for any reason. Synfig Studio does a security copy of the
current working document and would ask to recover it the next time you run the
program. It can be set to a minimum of 1 second and does not have a maximum.
Set it to 0s to disable the automatic backup. Default value is 3m.
Browser command
This entry box allows the user select the name of your preferred browser. Set
there the name of the binary to execute when Synfig Studio need to invoke the
external browser (for example when clicking on the help menu items). The default
value for Unix like system is "xdg-open" and "open" for Windows and MacOs.
Brush Presets Path
Allow to configure where to look at brushes for the Brush Tool
Visually Linear Color Selection
This Wikipedia (http://en.wikipedia.org/wiki/RGB_color_model#Nonlinearity)

article talks about how color output is non-linear, that if 0 is black and 100 is
white, then 50 is only about 22 percent of the brightness of white, rather than
50% as you might expect.
In Synfig Studio there is an option (on by default) to make sure that if you ask for
50, you get 50% of the brightness of white.
If you turn this option off, everything will go back to its non-linear, yet strangely
comfortable and familiar mode.
Restrict Real Value Handles to the Top Right Quadrant
This is a feature that makes the manipulation of the real value handles easier in
certain situations. Real value handles are the ones that can manage any kind of
real number (if it is implemented in the layer interface). For example Circle
Radius is controlled by a Real Value Handle. Also the Outlines Width are
controlled by this kind of handles. If you have to set the real value exactly to 0.0 it
becomes especially difficult to do with the normal behavior of the real value
handles. If you set this parameter on, the position of the handle is restricted to be
in the top right quadrant of the 2D space. In this way you can set the real value to
any number and also easily reach the value of 0.0 just dragging the handle to the
left bottom part of your 2D space.
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Scale New Imported Images to Fit Canvas
When you import images, check this option if you want they fit the Canvas size.
Use Only a Single Thread (Windows only)
When checked, this option obligates to the renderer to use only a single thread to
do the render of the scene on the screen. Keeping this enables performs the
stability of Synfig Studio in the Windows platform. Uncheck this option would
cause the program to hang or crash more frequently.
Use dark UI theme
Synfig is shipped with two user interface theme : a light and a dark one. By
default, the light one is used, if you want to switch to the dark one, just check "Use
dark UI theme"
Document Tab
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This tab groups some Document global preferences for the application. All of
them would affect new files opened or created after they have been changed.
New Document filename prefix
This option sets the prefix of the newly created Documents in Synfig Studio. A
sequential number, starting with 1, will be added to it for each new file you create
in a Synfig Studio session. This is particularly useful if you're working in a project
with several files.
New Document X and Y sizes
In those spin buttons entries you can set the preferred X and Y dimensions in
pixels of newly created documents. This is useful if you're working with a certain
resolution and want to keep all the file exactly the same without the tedious task
of editing the particular dimensions of each newly created file. Image Area (in
units) are calculated accordingly to the correspondence between pixels and units
(60 pixels = 1 unit). Default values are X=480 and Y=270 pixels.
There is also a drop down list of predefined resolutions according to the

standards of the digital industry. Default resolution is "480x270 Web 480x HD".
New Document FPS
In this spin buttons entry you can set the preferred frames per second of newly
created documents.
There is also a drop down list of predefined resolutions according to the

standards of the digital industry.
Render Tab
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Image Sequence Separator String
When the render is configured to sequence image output, this string will be used
to separate the image name part of the filename from the index part.
Use Cairo render on Navigator
When checked, the Cairo renderer is used in the Navigator Panel.
Use Cairo render on WorkArea
When checked, the Cairo renderer is used in the WorkArea and so in the Canvas.
Language:
English
Retrieved from "http://wiki.synfig.org/index.php?title=Preferences_Dialog&
8 of 9 07/07/2016 08:59 PM
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9 of 9 07/07/2016 08:59 PM
Unit System - Synfig Animation Studio http://wiki.synfig.org/Unit_System
Unit System
Language:
English
Selecting "Edit > Preferences Dialog > System." lets you set the unit system, with
choices:
units (u)
pixels (px)
points (pt)
inches (in)
metres (m)
centimeters (cm)
millimeters (mm)
The conversions are:
1cm = 0.01m = 10mm

1in = 2.54cm
1in = 72pt
1u = (image width in pixels)/(image area width)px
1in = (res)px
The default document is 480 x 270 pixels and has an image area from (-4,2.25) to
(4,-2.25), giving an image area of 8 x 4.5 units, so by default 1 unit is 480 / 8 = 60
pixels.
At an XRes = YRes = 36, 1in = 72pt = 36px = 0.6u.
At an XRes = YRes = 72, 1in = 72pt = 72px = 1.2u.
Another example, linking all 7 units:
72 DPI: (1m = 100cm = 1000mm = 39.37in = 2834.65pt) = (2834.65px = 47.24u)

36 DPI: (1m = 100cm = 1000mm = 39.37in = 2834.65pt) = (1417.32px = 23.62u)
1 of 2 07/07/2016 09:00 PM
Unit System - Synfig Animation Studio http://wiki.synfig.org/Unit_System
Language:
English
Retrieved from "http://wiki.synfig.org/index.php?title=Unit_System&

oldid=21342"

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Image Dimensions - Synfig Animation Studio http://wiki.synfig.org/Image_Dimensions
Notice: Missing <code>texvccheck</code> executable. Please see

math/README to configure. in /home/synfigru/public_html/wiki/extensions
/Math/MathInputCheckTexvc.php on line 65
Image Dimensions
Language:
English
Disclaimer: This page's content is not official and not guaranteed to be free of
mistakes. At the moment, it's even only a sum of personal thoughts to cast a
bit of light onto synfig's image dimensions handling.
Contents
1 Describing the fields of the Canvas Properties Dialog
1.1 The Other tab
1.2 The Image tab
2 Effects of the Image Area
3 Possible intended effects of out-of-ratio image areas
4 Feature wishlist to simplify working across documents
5 See also
Describing the fields of the Canvas Properties

Dialog
The user access the image dimensions in the Canvas Properties Dialog.
The Other tab
1 of 5 07/07/2016 09:01 PM
Here some properties can simply be locked (such that they can't be changed) and
linked (so that changes in one entry simultaneously change other entries as well).
The Image tab
Obviously here the image dimensions can be set. There seem to be basically three
groups of fields to edit:
The on-screen size(?)

The fields Width and Height tell synfigstudio how many pixels the image shall
cover at a zoom level of 100%.
The physical size

The physical width and height should tell how big the image is on some
physical media. That could be when printing out images on paper, or maybe
even on transparencies or film. Not all file formats can save this on
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exporting/rendering images.
The mysterious Image Area

Given as two points (upper-left and lower-right corner) which also define the
image span (Pythagoras: ). The unit seems to be not pixels but
units, which are at 60 pixels each. If the ratio of the image size and image
area dimensions are off, for example circles will appear as an ellipse (see
image). These settings seem to influence how large one Image Size pixel is
being rendered. This might be useful when one has to deal with non-square
output pixels.
Effects of the Image Area
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Somehow the image area setting seems to be saved when copy&pasting between
image, see also bug #2116947 (http://sourceforge.net/tracker
/index.php?func=detail&aid=2116947&group_id=144022&atid=757416).
Possible intended effects of out-of-ratio image

areas
As mentioned above, different ratios might be needed when then output needs to
be specified in pixels, but those pixels are not squares. That might happen for
several kinds of media, such as videos encoded in some PAL formats or for dvds.
For further reading, look at Wikipedia (http://en.wikipedia.org
/wiki/Pixel_aspect_ratio).
Still, it is probably consensus that the image, as shown on screen while editing
should look as closely as possible like when viewed by the final audience. So, while
specifying a different output resolution at rendering time may well be wanted,
synfigstudio should (for the majority of monitors) show square pixels, i.e. circles
should stay circles.
Feature wishlist to simplify working across

documents
See also
Explanation by dooglus (http://www.mail-archive.com/synfig-
devl@lists.sourceforge.net/msg01514.html) on the synfig-dev mailing list.
Language:
English
Retrieved from "http://wiki.synfig.org/index.php?title=Image_Dimensions&

oldid=18032"

Content of this Synfig Studio Documentation Wiki is available under the terms
of Creative Commons Attribution-Share Alike 3.0 license. By contributing here
you agree that the same license will be applied to your writing. If you do not
want your writing to be edited mercilessly and redistributed at will, then do
4 of 5 07/07/2016 09:01 PM
not submit it to this wiki. You are also promising us that you wrote this
yourself, or copied it from a public domain or similar free resource. Do not
submit copyrighted work without permission!
5 of 5 07/07/2016 09:01 PM
Canvas Properties Dialog - Synfig Animation Studio http://wiki.synfig.org/Canvas_Properties_Dialog
Canvas Properties Dialog

Language:
English • српски / srpski
Contents
1 Description
2 Image tab
2.1 Changing Canvas origin
2.2 Origin to Top Left Corner
3 Time tab
4 Other tab
4.1 Resizing the Canvas
4.2 Resizing the Canvas and keep aspect
4.3 Expanding the Canvas
Description
This Canvas Properties dialog is used to establish the properties of the current main canvas. To
change these parameters while working on a project, go to the caret menu, select 'edit' and then
'properties'. Or you can alternatively use the keyboard shortcut F8.
This dialog is composed of a header (upper part) and three tabs : Image, Time and Other.
automatic display
If you have defined the
SYNFIG_ENABLE_NEW_CANVAS_EDIT_PROPERTIES environment
variable, then this will automatically be displayed when you start a
new project.
In the upper part of main dialog you can set:
Canvas Info
Name - Name of the project
Description - Short description, license , authors...
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Image tab
In the Image tab you can set:
Image Size
Width - set width of render in pixels.
Height - set height of render in pixels.
- Toggle button to fix pixel ratio.
XRes - set horizontal resolution to calculate the physical size (do not affect the size of the
content).
YRes - set vertical resolution to calculate the physical size (do not affect the size of the
content).
- Toggle button to fix resolution ratio.
Physical Width - set physical printing size of render. (Calculated from Width/XRes).
Physical Height - set physical printing size of render. (Calculated from Height/YRes).
Image Size Ratio - Label displaying the current image size ratio.
Image Area - sets the portion of the workarea to be rendered.
Top Left X/Y: - set where in the workarea top left of render starts.
Bottom Right X/Y - set where in the workarea bottom right of render starts.
Image Span - diagonal size of the portion of the workarea ("Top Left (X/Y)"² +"Bottom Right
(X/Y)"² ="Image Span"² )
Changing Canvas origin
Par default, the origin (the point with x = 0 and y = 0 coordinate) for new created Canvas is set
visually to the center.
Adjusting the "Top Left (X/Y)" and "Bottom Right (X/Y)" coordinate without changing the difference
between the two point (the vector), you can translate the Canvas origin.
Origin to Top Left Corner
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Starting from the upper Image Area example, if you want to set the origin to the top left corner, in
Canvas Properties Dialog set "Image Area" "Top Left" X and Y to 0 and "Bottom Right" X to 8 and Y 4,5
new_bottom_right_x = ABS(old_top_left_x) + old_bottom_right_x

new_bottom_right_y = old_top_left_y + ABS(old_bottom_right_y)
Time tab
In the Time tab you can set:
Time Settings
Frames per second - set render framerate. Only applicable when rendering to movie-file,
not image sequences.
Start Time - set where in your timeline rendered sequence will start.
End Time - set where in your timeline rendered sequence will end.
Duration - set the duration of the animation.
Other tab
In the Other tab you can set:
TODO writeme (explain how to use "other tab" parameters and share info from Template:PropertiesOtherTab )
3 of 5 07/07/2016 09:01 PM
Locks and Links

Image Width
Image Height
Image Aspect
Image Span
Pixel Width
Pixel Height
Pixel Aspect
Focus Point
Focus Point X:/Y:
Resizing the Canvas
In the "Other" tab, uncheck all of the "Locks and Links":
Then edit Image "Width" and "Height". This will resize the canvas, stretching it's contents in the process.
Resizing the Canvas and keep aspect
In the "Other" tab, check "Image Aspect", "Image Span", "Pixel Aspect", in "Locks and Links".
Then edit Image "Width" and "Height". This will resize the canvas, adjusting it's contents keeping the
aspect. That's mean that even if you change the "Image Size Ratio", a square before is a square after.
Expanding the Canvas
In the "Other" tab, check only "Pixel Aspect" in "Locks and Links":
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Then edit Image "Width" and "Height". This will expand the canvas, keeping it's contents at the same
size but adding extra space at the top/bottom and left/right.
Please note that since this dialog caused confusion, even among some very experienced people, here
are some unofficial thoughts about image dimensions.
Language:
English • српски / srpski
Retrieved from "http://wiki.synfig.org/index.php?title=Canvas_Properties_Dialog&oldid=20611"
Categories: Dialogs NewTerminology

license will be applied to your writing. If you do not want your writing to be edited mercilessly
and redistributed at will, then do not submit it to this wiki. You are also promising us that you
wrote this yourself, or copied it from a public domain or similar free resource. Do not submit
5 of 5 07/07/2016 09:01 PM
Environment Variables - Synfig Animation Studio http://wiki.synfig.org/Environment_Variables
Language:
English
Several environment variables can be set to affect the behavior of Synfig Studio:
variable description
If no documents are specified
when synfig is run, it will create a
SYNFIG_DISABLE_AUTOMATIC_DOCUMENT_CREATION
new blank document unless this
variable is set.
When a new document is created,
the Canvas Properties Dialog will
SYNFIG_ENABLE_NEW_CANVAS_EDIT_PROPERTIES
only be shown if this variable is
set.
These three variables, when set,
disable various steps of the
animated gif optimization process
SYNFIG_DISABLE_OPTIMIZE in the magick++ module. Namely:
SYNFIG_DISABLE_OPTIMIZE_TRANS disable optimization completely,
SYNFIG_DISABLE_REMOVE_DUPS disable optimization of transparent
pixels, and disable the removal of
adjacent duplicate frames
respectively.
SYNFIG_DISABLE_DRAW These can be used to disable the
SYNFIG_DISABLE_POLYGON named tools from being shown in
SYNFIG_DISABLE_SKETCH the Toolbox.
If set, this enables the (mostly
SYNFIG_ENABLE_WIDTH
broken) Width Tool in the Toolbox.
These are used to change the
header and row heights in the
SYNFIG_TIMETRACK_HEADER_HEIGHT Time Track Panel. This is
SYNFIG_TIMETRACK_ROW_HEIGHT sometimes needed to make the
timetrack panel rows line up with
the parameter panel's rows.
When set, this makes the splash
SYNFIG_DISABLE_POPUP_WINDOWS screen and "one moment please"
popup windows behave like
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regular windows - ie. they can be

minimized, and covered by other
windows.
When set, the workarea is always
rendered using the scanline
renderer, rather than being broken
SYNFIG_DISABLE_TILE_RENDER up into small square tiles which
are rendered separately. This is
overridden by
SYNFIG_FORCE_TILE_RENDER.
When set, the workarea is always
rendered using the tile renderer,
SYNFIG_FORCE_TILE_RENDER rather than being rendered in a
single block. This overrides
SYNFIG_DISABLE_TILE_RENDER.
For debugging, this draws a red
SYNFIG_SHOW_TILE_OUTLINES outline around each tile when
using the tile renderer.
Allow the right-click context menu
SYNFIG_ENABLE_POPUP_MENU_IN_ALL_TOOLS to be used in all the various tool
states.
Specifies where to load the list of
SYNFIG_MODULE_LIST
dynamic modules from.
Specifies the path to the synfig
resources. It should be the
SYNFIG_ROOT directory which contains
share/pixmaps/synfigstudio/ -
usually /usr or /usr/local.
When set, unselect all layers
before creating a new layer in any
of the tools (other than the Draw
SYNFIG_TOOLS_CLEAR_SELECTION
Tool, which always leaves selected
layers selected so that their
Handles can be linked to).
Some window managers fail to
associate synfig's panels with the
toolbox. Setting this can help. It
seems to work quite well on
SYNFIG_TRANSIENT_DIALOGS Windows too, preventing the
panels from taking up space on the
task bar, but be careful not to
minimize any of the panels, it can
cause problems.
Logs the sequence of destructions
SYNFIG_DEBUG_DESTRUCTORS that go on when closing things
down.
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When editing a Time field, start

SYNFIG_SHOW_FULL_TIME_ON_FOCUS with the full formatted time, ie. "0h
0m 1s 0f" rather than "1s".
Added on to the stored position of
each panel when studio starts up.
SYNFIG_WINDOW_POSITION_X_OFFSET
Used to combat the pixel-by-pixel
SYNFIG_WINDOW_POSITION_Y_OFFSET
drifting that happens with some
window managers.
In Group Layers, show waypoints
for the Canvas parameter itself,
SYNFIG_SHOW_CANVAS_PARAM_WAYPOINTS rather than for the canvas that is
the parameter's value.
Experimental.
In the Draw Tool, if you make a
very fast stroke, it's not used.
Synfig Studio always used to leave
the unused stroke on the display
until a longer stroke was made.
SYNFIG_KEEP_ABORTED_DRAW_LINES
SVN r1689 changed things so that
these short strokes are
immediately hidden. Setting this
variable restores the previous
behavior.
Before starting to render a tree of
layers, Synfig makes an optimized
copy of the layer tree, omitting any
layers that currently have an
SYNFIG_DISABLE_OPTIMIZE_LAYER_TREE amount of 0. The aim is to make
the render go faster, but it may
introduce some instability into the
application. Set this variable to
disable the optimization step.
Language:
English
Retrieved from "http://wiki.synfig.org/index.php?title=Environment_Variables&oldid=20111"

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Synfig Studio vs Synfig - Synfig Animation Studio http://wiki.synfig.org/Doc:Synfig_Studio_vs_Synfig
Synfig Studio vs Synfig

Language:
In the Synfig Project there are two main tools:
Synfig: The command line renderer

Synfig Studio: The graphical user interface (GUI)
Both applications use the synfig libraries to render the output animation. The first
one (Synfig) just converts an animation composition into a movie file and the
second one (Synfig Studio) is a GUI that helps the user to create the animation
composition and save it to a source file.
Synfig Animation file format

It is not the interest of this article to show you the synfig animation file format.
For the moment you should only need to know that the file extension is .sif and
that it is an XML formatted text file. For space saving it is saved and loaded in
gzip format under the extension of .sifz. If you're interested in learning more
about synfig file format or want to contribute to its definition visit this page.
Synfig the CLI renderer

Although Synfig CLI (command line interface) is an independent application from
Synfig Studio it is worth it to have it installed in your system. In fact, both share
the same libraries to produce the output renders, one (the GUI) to the screen
output and also to the file output and the other (the CLI) just the file output. The
syntax of usage is the typical one with optional parameters that just need an input
file and an output filename in most of the cases. One of the things that makes
synfig CLI great is the ability to render large files without take your computer
with your attention. Also if the render is quite long and there is any possible error
(for example power supply) you can always continue rendering later, using the
CLI, where the animation render ended (this is only possible if you use an image
sequence render target). It is explained in some of the tips of the Tips page. Also,
for modern computers with several cores, if you tell to the renderer the proper
values, you can run several simultaneous instances to drastically decrease the
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render time. It has not been developed yet but it is possible to create render
farms to decrease render time for huge movies.
Understanding and learning the Synfig CLI syntax is not very difficult. Once you
understand the basic concepts of Synfig by using Synfig Studio you will dominate
the Synfig CLI quickly.
Synfig Studio
Synfig Studio is a graphical user interface that is used to create new animations.
With Synfig Studio you can:
Create a new animation from scratch.

Import external resources: single images, image sequences, other vectorial
files (SVG) and even videos (at the moment through ffmpeg).
Export the animation into a movie file or into a animated graphic or a image
sequence.
Edit several files at the same time.
Reference external sif files and create a macro composition.
Preview the animation.
Redo and undo the operations performed during edition.
Synfig Studio interface is a bit complex when you watch it for the very first time.
But after a while, and after learning the animation work flow you feel comfortable
with, you'll understand "why things are like that" ;-)
If you're impatient and want to go straight to knowing the interface of Synfig

Studio see this quick visual overview. But it is more interesting to discover, step
by step, the meaning of the Synfig Studio components and its usage.
Further reading:
Principles of Animation with Synfig Studio

Synfig Studio Work Flow
Advanced Techniques
Language:

/index.php?title=Doc:Synfig_Studio_vs_Synfig&oldid=21671"
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Doc:Synfig CLI Syntax - Synfig Animation Studio http://wiki.synfig.org/Doc:Synfig_CLI_Syntax
Doc:Synfig CLI Syntax

Language:
syntax: synfig [DEFAULT OPTIONS] ([SIF FILE] [SPECIFIC OPTIONS])...
-t <output type> Specify output target (Default:unknown)

-w <pixel width> Set the image width (Use zero for file default)
-h <pixel height> Set the image height (Use zero for file default)
-s <image dist> Set the diagonal size of image window (Span)
-a <1...30> Set antialias amount for parametric renderer.
-Q <0...10> Specify image quality for accelerated renderer (default=2)
-g <amount> Gamma (default=2.2)
-v Verbose Output (add more for more verbosity)
-q Quiet mode (No progress/time-remaining display)
-c <canvas id> Render the canvas with the given id instead of the root.
-o <output file> Specify output filename
-T <# of threads> Enable multithreaded renderer using specified # of threads
-b Print Benchmarks
-x Shortcut for "--extract-alpha"
--fps <framerate> Set the frame rate
--time <time> Render a single frame at <seconds>
--begin-time <time> Set the starting time
--start-time <time> Set the starting time
--end-time <time> Set the ending time
--dpi <res> Set the physical resolution (dots-per-inch)
--dpi-x <res> Set the physical X resolution (dots-per-inch)
--dpi-y <res> Set the physical Y resolution (dots-per-inch)
--extract-alpha Allows to extract alpha information into separate "alpha" suffixed file
--list-canvases List the exported canvases in the composition
--canvas-info <fields> Print out specified details of the root canvas
--append <filename> Append layers in <filename> to composition
--layer-info <layer> Print out layer's description, parameter info, etc.
--layers Print out the list of available layers
--targets Print out the list of available targets
--importers Print out the list of available importers
--valuenodes Print out the list of available ValueNodes
--modules Print out the list of loaded modules
--version Print out version information
--info Print out misc build information
--license Print out license information
(copied from the output of synfig --help .)
synfig 0.62.00
Revision: 20100103
Branch: master
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Doc:Synfig CLI Syntax - Synfig Animation Studio http://wiki.synfig.org/Doc:Synfig_CLI_Syntax
Revision ID: fb90766f1019b0f6038b7004b250502f4833d4e2
Compiled on Jan 4 2010 with GCC 4.3.3

Copyright (c) 2001-2005 Robert B. Quattlebaum Jr., Adrian Bentley
(copied from the output of synfig--info might be different in your version.)
Example
to render myanimation.sifz to myanimation.ogg
synfig myanimation.sifz -t ffmpeg -vc mpeg4 -vb 1000 -o myanimation.ogg
to know which codecs are available instead of mpeg4. Replace 1000 by the
desired bitrate
synfig --target-video-codecs
The Environment Variables text that used to be here has been moved.
Language:
Retrieved from "http://wiki.synfig.org/index.php?title=Doc:Synfig_CLI_Syntax&

oldid=19855"

permission!
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Dev:Build Instructions - Synfig Animation Studio http://wiki.synfig.org/Dev:Build_Instructions
Dev:Build Instructions
(Redirected from Doc:Build Instructions)
Some information may be outdated, please have a look in the forums at the build
thread (http://www.synfig.org/forums/viewforum.php?f=13) to get fresh data...
Contents
1 Scripts provided with the source code
1.1 Staged boost library
1.2 Debug build
2 Notes
3 System-specific instructions
4 System wide build Instructions
4.1 ETL
4.2 synfig-core
4.3 synfig-studio
5 finalizing
6 Build script examples
6.1 Linux
6.2 Mac OSX
Scripts provided with the source code

Within the source code we provide two automatic package scripts. They are used
to generate the library independent packages for Linux or Mac OSX. Since the
scripts ship all the needed libraries in a single package the size of the packages
are higher compared to the typical deb or rpm package. That's not the case for
dmg package for OSX because in general they bundle all needed libraries in the
dmg image.
You can find those scripts under the autobuild folder from the source code. There
are usage instruction inside each script allowing resuming builds (reusing the
current downloaded libraries) and specific options to just compile and build the
binaries without package them.
Note that for Fedora 24 (at least), you must define a password for root user in
order to run synfigstudio-linux-build.sh, otherwise su authentication failure will
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occur. If needed add it with sudo su - then passwd
Staged boost library
To use the autobuild scripts with a staged boost library, you will need to define
environment variables:
$ export BOOST_ROOT=/my/boost/path
$ export CPLUS_INCLUDE_PATH="$CPLUS_INCLUDE_PATH:$BOOST_ROOT/include"
$ export LD_LIBRARY_PATH="$LD_LIBRARY_PATH:$BOOST_ROOT/lib"
Debug build
Consider, that you can run in the following way to enable debug:
$ DEBUG=1 ./synfigstudio-linux-build.sh
In this case you can combine debug with other modes:
$ DEBUG=1 ./synfigstudio-linux-build.sh quick # just invokes "make install" for every component
$ DEBUG=1 ./synfigstudio-linux-build.sh synfig # builds synfig-core only
$ DEBUG=1 ./synfigstudio-linux-build.sh synfigstudio # builds synfig-studio only
Notes
If you are using the released versions instead of GIT, none of the libtoolize or
autoreconf steps are necessary. For released versions, "./configure && make
&& sudo make install" should be enough.
If you are using packages for synfig's dependencies, you want the
development packages not the main packages. Check below for your
distribution's packages.
Please read the source code page to check out the latest code. Please also
check the download page and the FAQ to find out about any issues that you
may run into along the way.
Some Linux/BSD distros (Like Gentoo Linux) have a pkg-config that doesn't
look in /usr/local/lib/pkgconfig by default. So if you are installing in anywhere
other than the system pkg-config path, please run "export
PKG_CONFIG_PATH=/usr/local/lib/pkgconfig" or similar before building or
installing anything.
Don't use automake 1.4, there are problems with it.
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Using automake 1.9, 'make install' seems to re-link and re-install all the
synfig core modules every time whether they have changed or not. If you
intend to build code repetitively you can export export CXX="/usr/bin/ccache
/usr/bin/g++". This allows to not rebuild the already build modules so they
taken from the cache.
After you obtain the source code using the git repository, you obtain a single
'synfig' folder where the three main modules (etl, synfig-core and synfig-
studio) are up to date. The trunk folder has been removed in the git
tree. Please modify the build instructions for other platforms.
If you want to test a particular branch of the repository do the following:
~/synfig$ git branch -r
You'll obtain a list of the remote branches that exists in the repo. For example:
origin/HEAD
origin/genete_bones
origin/genete_canvasview
origin/genete_master
origin/genete_onionskin
origin/genete_scale_reverse
origin/genete_setup_dialog
origin/genete_svg
origin/gerco_opengl
origin/master
origin/uiomae_opengl
origin/zelgadis_cia
origin/zelgadis_master
Then to properly checkout a remote branch you have to create a local branch to
track a particular remote branch and checkout it. For example:
~/synfig$ git branch --track test_canvas origin/genete_canvasview

~/synfig$ git checkout test_canvas
Your code is ready to be built on that branch.
The CVS requirement is only because the autopoint program run by

autoreconf needs CVS. You can avoid the need for CVS by disabling the
translation/gettext stuff in configure.ac.
If you don't want to install to a system-wide directory using sudo, run

something like these commands before starting:
prefix=$(pwd)/install
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export PKG_CONFIG_PATH="$prefix/lib/pkgconfig"
export PATH=$(pwd)/synfig-core/src/tool/.libs:$PATH
export CXX="/usr/bin/ccache /usr/bin/g++"
export PKG_CONFIG_PATH="$prefix/lib/pkgconfig" allows to find the

linking libraries.
export PATH=$(pwd)/synfig-core/src/tool/.libs:$PATH allows
synfigstudio find the correct * libraries to render the icons for the
toolbox etc.
export CXX="/usr/bin/ccache /usr/bin/g++" allows to use the cache to
avoid rebuilding.
And when you run ./configure, run it with
--prefix $prefix
and don't use sudo when you do make install.
See the automatic building script attached.
System-specific instructions
Please update them including the new GIT repo.
Gentoo: ebuilds are available for both release versions and GIT
MacOS X: instructions for building with the GTK+ Aqua port are available.
PCLinuxOS: build instructions
Windows: instructions for building with mingw in MSYS2 are available.
System wide build Instructions

ETL
ETL is a template library, there is nothing to build really, it just needs to be

installed.
Requires: autoconf automake
Debian: build-essential autoconf automake libtool

OS X: already included with Mac OS X
Type the following commands at the directory where you cloned the git repo
$ cd synfig/ETL
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$ autoreconf --install --force

$ ./configure
$ sudo make install
synfig-core
Requires: ETL (etl-dev, already installed if you successfully built etl), libxml++,
libsigc++, libltdl, libtool, gettext, autopoint (part of gettext-dev), cvs, boost-
program-options
Debian: etl-dev libxml++2.6-dev libsigc++-2.0-dev libltdl3-dev libtool gettext

cvs autopoint
Fedora: ETL-devel libxml++-devel libsigc++20-devel libtool-ltdl-devel libtool
gettext-devel cvs
Gentoo: dev-cpp/ETL dev-cpp/libxmlpp dev-libs/libsigc++ dev-util/cvs
If you are using ./configure --prefix="$PREFIX" to configure synfig, do
not install dev-cpp/ETL.
OS X use glibtoolize instead of libtoolize, as Apple renamed it.
Note: libpng isn't required to build synfig, but if you build synfig without PNG
support and go on to build synfigstudio, that step will fail (because the build
process for synfigstudio uses synfig to create .png icon files). The package is
libpng12-dev on Debian or media-libs/libpng on Gentoo.
Note: the 'configure.ac' file in the synfig-core directory doesn't work with libtool
version 2, as shipped with ubuntu 8.10. To work around the problem until a
proper fix is found, comment out line 622 or thereabouts (it says
"AC_CONFIG_SUBDIRS(libltdl)") by putting a "#" at the front of the line. The line
is required for older versions of libtool, as shipped with other distributions. DO it
straight with this command:
sed -i 's/ÂC_CONFIG_SUBDIRS/# AC_CONFIG_SUBDIRS/' synfig-core/configure.ac
Optional: libpng, libmng, libjpeg, libfreetype, libfontconfig, libopenexr,

libavcodec, libmagick++, vimage (MacOS only, proprietary)
Debian: libpng12-dev libmng-dev libjpeg62-dev libfreetype6-dev

libfontconfig1-dev libopenexr-dev libavcodec-dev libavformat-dev
libswscale-dev libmagick++9-dev
Gentoo: sys-devel/libtool media-libs/libpng media-libs/libmng media-libs/jpeg
media-libs/freetype media-libs/fontconfig media-libs/openexr media-libs/tiff
Ubuntu (since Jaunty): Same libraries as Debian but do not use
libmagick++9-dev, use graphicsmagick-libmagick-dev-compat instead.
Runtime: encodedv (from libdv), ffmpeg, convert (from imagemagick)
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Debian: libdv-bin ffmpeg imagemagick

Gentoo: media-libs/libdv media-video/ffmpeg media-gfx/imagemagick
$ cd synfig/synfig-core
$ libtoolize --copy --force
$ autoreconf --install --force
$ ./configure
$ make
$ sudo make install
Note:
Don't use --enable-half, it is slow.

If ETL was installed in a non-standard directory using --prefix=<location>, it
suffices to run the configure script with an updated PKG_CONFIG_PATH
environment variable. E.g.:
PKG_CONFIG_PATH=${PKG_CONFIG_PATH}:/my/install/prefix/lib/pkgconfig
./configure --prefix=/my/install/prefix
synfig-studio
Requires: ETL (etl-dev, already installed if you successfully built etl), synfig
(libsynfig-dev, already installed if you successfully built synfig-core), gtkmm >=
2.4, gtk >= 2.0, glibmm, libsigc++, libltdl, libtool, gettext, cvs, intltool, libboost
>= 1.53, libcairo >= 1.12
Debian: etl-dev libsynfig-dev libgtkmm-2.4-dev libgtk2.0-dev libglibmm-

2.4-dev libsigc++-2.0-dev libltdl3-dev libtool gettext cvs
Gentoo: virtual/ETL virtual/synfig dev-cpp/gtkmm-2.4 dev-libs/libsigc++
sys-devel/libtool
If you are using ./configure --prefix="$PREFIX" to configure
synfigstudio, do not install virtual/ETL or virtual/synfig.
Optional: fonts (for the images), FMOD (http://www.fmod.org) (version 3.x,

proprietary)
Debian: ttf-freefont ttf-dejavu ttf-dustin

Gentoo: freefonts dejavu
$ cd synfig/synfig-studio
$ ./bootstrap.sh
$ ./configure
$ make
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$ sudo make install
finalizing
Depending on where you installed synfig to, you might have to tell your system
where the libraries can be found. That can be done via the following command:
$ sudo ldconfig
Build script examples

If you want to build a binary for testing or debugging proposes you can run one of
the following scripts:
The binaries are installed at $(pwd)/install/bin. Alter the script according to your
preferences.
Your system must satisfy synfig's build requirements, the script won't do it for
you. Also be sure what git branch are you building each time. In some cases you'll
need to make clean on each folder first.
Be sure that you have ccache installed on your system because you will get
errors otherwise.
Linux
#!/bin/sh
CPUS=4
# Uncomment this line if you want to use ccache
# export CXX="/usr/bin/ccache g++-snapshot"
cd ETL &&
autoreconf --install --force &&
./configure --prefix $prefix &&
make --debug=b install &&
\
cd ../synfig-core &&
libtoolize --copy --force &&
./configure --prefix $prefix --enable-optimization=0 --enable-debug &&
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make --debug=b -j $CPUS install &&

\
cd ../synfig-studio &&
./bootstrap.sh &&
make --debug=b -j $CPUS install
With libboost no standard installation to /personal/boost/install/path/ :
#!/bin/sh
#move to synfig folder (to get the script out from git)
cd synfig
CPUS=2
cd ETL &&
make install &&
\
libtoolize --ltdl --copy --force &&
./configure --with-boost=/personal/boost/install/path/boost_1_55_0 --enable-optimization=0 --prefix $prefix --enable
make -j $CPUS install &&
\
intltoolize --force --copy &&
./configure --enable-optimization=0 --prefix $prefix --enable-debug &&
make -j $CPUS install
Mac OSX
#!/bin/sh
CPUS=4
export ACLOCAL_FLAGS="-I $prefix/share/aclocal"
# Uncomment those line if you want to use g++ instead of the native clang
# compiler and preprocessor
#export CXX="/opt/local/bin/ccache /usr/bin/g++"
#export CPP="/usr/bin/cpp"
export CPPFLAGS="-I/opt/local/include"
export LDFLAGS="-L/opt/local/lib"
cd ETL &&
make --debug=b install &&
\
libtoolize --copy --force &&
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make --debug=b -j $CPUS install &&

\
./bootstrap.sh &&
make --debug=b -j $CPUS install
Retrieved from "http://wiki.synfig.org/index.php?title=Dev:Build_Instructions&

oldid=22074"
Category: Manual

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Doc:How Do I - Synfig Animation Studio http://wiki.synfig.org/Doc:How_Do_I
Doc:How Do I
Language:
English • español • français
Feel free to add your own questions here or contact us with them. Or put them on the Wiki Wish List.
Contents
1 Graphic User Interface (gui)
1.1 Dock windows together?
1.2 Restore Default Layout
2 Artwork Composition
2.1 Insert some text?
2.2 Show or hide a layer, or fade the effect of a blur?
2.3 Fill an outline?
2.4 Close a Spline?
2.5 Extend a Spline?
2.6 Join two Spline?
2.7 Draw a rectangle with a given width and height?
2.8 Draw a rectangle with rounded corners ?
2.9 Make linked Spline vertices not affected by Rotate layer?
2.10 Create dashed outlines?
2.11 Move an Image Layer Origin
2.12 Use an image as a fill color?
3 Import Artwork
3.1 Use an external bitmap?
3.2 Import filmstrip image ?
3.3 Use an external Vector?
3.4 Import a movie into Synfig?
3.4.1 Script (linux)
3.4.2 Manually
3.4.2.1 Audio
4 Animate
4.1 Make objects go behind each other, without moving layers?
4.2 Use a boolean parameter to hide a layer ?
4.3 How do I transform grouped objects?
4.4 Copy a complex convert combination between parameters of different layers?
4.5 Make an existing animation run at half speed?
4.6 Flip when no possible with Mirror Tool
4.7 Create Custom switch controllers
5 Render
5.1 Render to AVI with higher quality?
5.1.1 Using raw video
5.1.2 Rendering through a .png sequence.
5.1.3 Possible settings for ffmpeg
5.2 Render an animation with transparent (alpha) background ?
5.2.1 Synfig's Extract alpha way
5.2.2 PNG images sequence way
6 Others
6.1 Increase performance by optimizing during compilation time?
6.2 Unpacking sifz-files
6.3 Fix a not well formed document
6.4 Granted Wishes
6.4.1 General outline / Polygon-based Outline / "Set Tangents to Zero" button
6.4.2 Recursive Waypoint Manipulation
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6.4.3 Tweening for images developed in other imaging programs

6.4.4 Auto-link option in Draw Tool
6.4.5 Character Animation Tools
6.4.6 Remove the thin line from stitched regions
Graphic User Interface (gui)

Dock windows together?
To dock (join) separate windows (Panel into one you must drag the tab icons (the Panel tab) for each of the tools
into another window.
You can create subdivisions inside the windows by dragging the Panel tab into the Placement Widget.
Tool tabs inside the window can be arranged by dragging them on top of one another, therefore changing the
order.
see also Interface.
Restore Default Layout

From File Menu (Toolbox) use the Reset to Default Setup Values
Artwork Composition
Insert some text?
Use the Text Tool or right click on your Canvas and choose "<Layer> → <New> → Other → Text" .
You can also create some text from your svg (http://en.wikipedia.org/wiki/Scalable_Vector_Graphics) software preferred
editor (inkscape (http://inkscape.org) for example) , create some text and import it into synfig.
Show or hide a layer, or fade the effect of a blur?

In the Parameters Panel, look for an option labeled Amount - this controls how much of the blended result of the layer
is composited with the blend of the layers beneath it.
In other words, for a typical layer, this will 'fade it out'. For a Blur Layer set to "Straight", this will fade between the
blurred version and the unblurred version of the canvas. If you want it to become less blurry, adjust the Blur Layer's
'size' parameter.
If you want to affect multiple layers at the same time, you have several options :
You can Group your layers and use the group's Amount Parameter,
Export one of the layers Amount Parameter and link others layer's Amount,
Linking all layer's Amount. Select the layers you want to affect in the Layers Panel, right click to Amount in the
Parameters Panel and choose "Link".
Fill an outline?
(Requested by Karlb)
Select the outline, choose "Make Region" command from the Canvas Layer Menu
Also, there are several other and manual options:
One way is to link a new region layer to the outline's shape.

1. Select the outline you want to fill.
2. In the Parameters Panel, right-click the Vertices parameter, select "Export", enter a name for the shape, and
hit return. This will export the shape of the outline, making it visible in the Library Panel.
3. In the Library panel, open the ValueBase Nodes tree and select the name you just saved the shape as.
4. From the Layer Menu (either context-click on the Layers Panel or use the Canvas Menu Caret) create a new
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Region Layer by selecting "New Layer -> Geometry -> Region". Ensure that the created layer is selected.
5. In the parameter dialog, right-click the Vertices parameter and click "Connect".
6. Now, if you don't need exported shape, you can unexport it: right click name of the shape in the Library panel
and click "Unexport".
Similar to the above, but using a different method:
1. Create a new region layer as above, and leave it selected.
2. Don't make any changes to the outline layer, which you want to fill! (see the Tier 5 on the Linking page for
details).
3. Select both layers in the Layers Panel This will display only the parameters shared by both layers in the
Parameters Panel.
4. Context-click on the Vertices Parameter, and select Link.
5. The Region Layer will snap to the shape of the Outline Layer.
When you create an outline with the Spline Tool that you intend to be a filled area as well, make sure you select
the Fill checkbox in the tool options dialog. Obviously, this doesn't help much if you realize later that you needed a
fill here.
If you are using the Draw Tool, there is a button at the bottom of the tool options dialog labeled "Fill Last Stroke",
which creates a new Region Layer and links its shape to the previously drawn outline. Unfortunately, it doesn't
work as of Synfig Studio v0.61.04. It has been fixed in the current SVN version of the code.
Create a region with the same number of handles, and manually link each handle. If you want a region that
depends on multiple outline layers, this is really your only choice for now.
Use the draw tool, select only the outline to fill, draw a stroke roughly following the outline and make sure you're
holding the Control key when you left go of the mouse button at the end of the stroke. This doesn't work 100%
right at the moment.
Close a Spline?
Right click on the starting point and then click on loop Spline.
Note: It doesn't work unless the initial point has a tangent - ie the first segment is curved. But you can hide tangent
handles (shortcut Alt 3 , or "Caret Menu > View > Show/Hide handles > Show tangent handles") and process as
described. Don't forget to press (shortcut Alt 3 ) after that to show tangent handles again.
Extend a Spline?
The Draw Tool has an option to "Extend" a spline.
Also, you may be interest inserting an Item? . Right click on the spline segment you want to extend and choose "Insert
Item - Smart". This will add an extra vector point to the line which is basically the same as "extending" it.
Join two Spline?

For joining two splines together, place one endpoint above the other, select the end points of both splines (shortcut
Ctrl Leftclick , ⌘ Cmd Leftclick on the mac, and draw a bounding box over the area to select both points), right click on
one of them and choosing "Link" in the menu. The two lines will be joined, but you also need to link the bezier handles
of each endpoint. To do that, extend each bezier handle so they are visible, select both, right click one of them and
choose "Link Opposite". Then right click on the orange spline point that the bezier handles are connected to and choose
"Merge Tangents". Then the two lines will function as one line.
Draw a rectangle with a given width and height?

I was asked on IRC how to specify the width and height of a rectangle, rather than having to specify the position of two
opposite corners. Here's how:
draw a rectangle
go to the Parameters Panel
right-click the 'point 1' parameter and Export
give it a name, "p1" say
right-click the 'point 2' parameter and Convert to Add
(that's saying that rather than specifying the absolute position of the other point, you want synfig to calculate it
for you)
(it will make 2 new sub-parameters for 'point 2', and the value used for point 2 will be their sum so we want to tell
it to use 'point 1' and your (width,height))
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open up the sub-parameters of 'point 2' by clicking the triangle to its left
go to the Library Panel, open up the values and select the one you exported earlier (p1)
right-click the "LHS" parameter in the parameters dialog and Connect it
then enter the width and height you want in the 'RHS' parameter
Draw a rectangle with rounded corners ?

Draw a rectangle using the Rectangle Tool. Draw circle (Circle Tool) and use each corner point of the rectangle as the
center. Select the rectangle, right click on it and select "Insert item and keep shape" where the outline of the circle crosses
the outline of the rectangle.
Then remove the cornerpoint (right click on Region Layer, select "Remove item, smart")
tip by darkspace65 from the forum (http://www.synfig.org/forums/viewtopic.php?f=11&t=9159)
Make linked Spline vertices not affected by Rotate layer?

Look at the http://dooglus.rincevent.net/synfig/logs/2008/%23synfig-2008-02-07.log See also: Convert.
Create dashed outlines?

The Advanced Outline Layer has an option for dashed lines.
If you want to make simple dashed outlines manually the way is proceed like this:
Create a Curve Gradient and an Outline over the same Spline using the Spline Tool options. Check both Outline
and Gradient at the Tool Options Panel.
Raise up the gradient layer (it is created below the Outline Layer).
Modify the gradient Blend Method parameter to be Straight Onto. That would render the gradient onto the outline
width. Also it wouldn't render the outline, so transparent portions of the gradient are transparent.
Check the 'Perpendicular' parameter of the Curve Gradient Layer.
Convert the Gradient Parameter of the Curve Gradient Layer to be one of those types: Stripes or Repeat Gradient.
Modify the properties of the sub parameters to achieve the desired effect.
You may be interested also in Brushes.
Move an Image Layer Origin

When images are imported, the Image Layer is automatically grouped in a Switch Group Layer and with Group
Transformation Widget you got an Origin Parameter.
If your image is not grouped, just do, and you will take advantage of Group Layer or Switch Group Layer parameters !
Also, to be exhaustive, yes, the Image Layer doesn't have an Origin Parameter, but (...often a but with synfig isn't it ?...)
selecting both handles of the Image to move them together is similar of moving image origin. Nota, to select all the
Image Layer handles, use the shortcut Ctrl A !
Use an image as a fill color?

Make a new object (outline, region, squares, circles, polygons all work) Import the image you want as the fill color, and
put it on the layer underneath your object. Set the blend method of the image (using the Parameters Panel) to "onto" or
"straight onto". Group the object and the fill color image, otherwise everything below the image will have the same fill
color. Be sure to have a look at what the other composite options do as well.
Import Artwork
Check generic informations and all 'Import Artwork' related documentation page from the Import Art category.
Use an external bitmap?

From the main or caret menu, choose "<File> → Import". PNG with alpha channel works fine.
To animate it without accidental stretching, right-click on the layer and choose "Group Layer" action. Using the
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Group Transformation Widget you can then animate the Group Layer instead of the Image Layer's bounding box.
Import filmstrip image ?

To import a series of images (TGA, etc) as frames of an animation, on a layer, use 'lst' files of a list of images. I've used
this to develop a walk cycle. See Walk cycle for an example.
Use an external Vector?

Synfig doesn't yet support vector import because no-one has written an import process yet. You can use the Svg2synfig
converter, or import it as a bitmap and trace over it in synfig. If you want to implement vector import we would gladly
accept your patch.
Import a movie into Synfig?

Script (linux)
File:Convert-movie-to-png-seq.sh : Nautilus (Gnome file manager) script which creates a png-sequence from a given
movie file and creates a list-file which you can then import into Synfig. By rylleman , Synfig forum thread
(http://synfig.org/forums/viewtopic.php?f=2&t=470&start=0&st=0&sk=t&sd=a) for more info.
See also : ListImporter
Manually
To import manually a movie into synfig there is only one option for the moment: Extract an image sequence and of
sound file from the movie and import them using ListImporter and Sound Layer.
Before you can load the image sequence you have to extract it from the movie. There are several software to do that
but a straight and easy way is to use mplayer:
mplayer mymovie.avi -vo png:z=1 -ss seconds-start -endpos duration
where "seconds-start" are the seconds where you want to extract form and "duration" is the number of seconds you want
to extract from "mymovie.avi". Also the image format specified in this case is "png" but "jpeg" or "tga" can be used also. See
mplayer manual page (http://www.mplayerhq.hu/DOCS/man/en/mplayer.1.html) for more info.
It would extract a set of files of the selected section of the movie. Each file takes the frame number padded with
leading zeros as name.
Add a line specifying the frame rate at the beginning of the text file (if the movie was 25 fps):
echo FPS 25 > mymovie.lst
and put all the filenames into a ".lst" file just type this in the folder where the files are:
ls *.png >> mymovie.lst
Audio
Extract audio of a movie and import them using Sound Layer.
mplayer mymovie.avi -ao pcm:mymovie.wav -ss seconds-start -endpos duration
Animate
Make objects go behind each other, without moving layers?
You'll notice each layer you make has a number in the "Z Depth" column in the Layers Panel. Say you have 3 layers, they
5 of 13 07/07/2016 09:03 PM
will be numbered 2 (lowest, e.g. a square) 1 (eg a circle) 0 (highest, the default, e.g. a line).
In order to make layer 1, the circle, pass behind layer 2, the square, in the Parameters Panel, change its "Z Depth" to be
3 or more. The "Z Depth" of the circle needs to be greater than 2 in order to be behind the square. To make the square
on top of everything, you'd change its "Z Depth" to -1 or less.
Positive numbers on the z axis go into the screen, and negative numbers go out of the screen, towards the viewer.
It is possible to animate this effect, but each layer is discrete. They seem to go from lower than -9999 to more than
9999.
In addition, objects in grouped layers can only go behind other objects in the same grouped layer. However an grouped
layer can go behind another grouped layer.
Check additional informations in Z Depth Parameter page.
Use a boolean parameter to hide a layer ?

You can use set the amount's layer parameter to Constant Interpolation.
Or you can convert the Amount Parameter to a Switch value and give 0 and 1 to the Linked OFF/ON values.
How do I transform grouped objects?

Right click on the Grouped object in the Layer dialog and choose "select all child layers". Then you select the
handles you want to transform (usually just all of them, like for rotating the object), and the rotate or scale tool
and do the work.
Copy a complex convert combination between parameters of different

layers?
For example: you want to copy a complicated conversion type that you have in one parameter from a layer, to other
parameter (maybe not a root parameter, but a sub-parameter) of other layer. If you export the complicated conversion
type from the original layer and then go to the other layer and select Connect (right click and the exported and the
parameter both selected) then you have the parameter form the second layer to be exactly the same than the original
one. But there is a drawback: if you modify one of the sub-parameters in the complicated conversion type (e.g. you
change the value of one of them) then automatically the same sub-parameter of the other layer is changed.
How can you copy the conversion but allow modify the sub-parameters independently on each layer?
Once you have achieved the complex conversion type in the original layer, don't export the root parameter! If you have
done yet unexport it. (Why?. You will understand it later.) Now duplicate the original layer. Then you should obtain the
same layer with the same conversion type placed at the same parameter (but not exported). NOW export the parameter
from the duplicated layer. Then go to the (sub) parameter of the layer where you want to copy the complex conversion
type and Connect it to the just exported parameter form the duplicated layer. Now delete the duplicated layer (!). Then
the exported ValueNode still undeleted and the layer where you wanted to copy the complex convert type have a (sub)
parameter connected to it. You can unexport the ValueNode or not. It is up to you. But notice that the conversion type
is already copied into other (sub) parameter of other layer and they are independent as well as you can change one of
them (by modifying the sub-parameters) and the other remains untouched.
Make an existing animation run at half speed?

If you have an animation that runs from 0s to 10s and you want it to run at half speed from 0s to 20s, how can you do
that?
Either: group it, and use the 'time offset' parameter in the group layer to slow it down:
Right-click 'time offset' in the group layer, convert>linear, rate -0.5 offset 0. That means offset the time by
-0.5 seconds per second - or in other words, run at half speed
Or, putting waypoints on the 'time offset' param would work too: 0 at 0s and -10 at 20s. (The choice between
using a linear convert and valuenodes is entirely up to you. They both achieve the same result in this simple
case).
Or: use a Time Loop Layer. The first method seems better and more intuitive in this case, but there are ways of
getting the same effect from the Time Loop layer. Perhaps the Time Loop layer is better if the animation doesn't
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run from 0s, but from some other time. Anyway: put a Time Loop layer over the layers you wish to slow down, and:
Either: set duration to 0, local time to 0, convert->linear the link time and set rate to 0.5 - this slows the
animation down *to* 50% of its original speed; use bigger rates to slow it down less
Or: set duration to 1h (*), link time to 0, convert->linear the local time and set rate to 0.5 - this slows the
animation down *by* 50%; use bigger rates to slow it down more
(*) if your animation is longer than 1h then set this parameter to EOT (End Of Time) what is the same as Infinite (INF)
for a real number but for a time parameter.
Flip when no possible with Mirror Tool

The more secure way to achieve that on complex compositions is to place a Stretch Layer onto the composition and set
its "Amount" value to this:
Amount = (1, 1) does nothing

Amount = (1, -1) mirror by x axis
Amount = (-1, 1) mirror by y axis
Amount = (-1, -1) mirror by x and y axis
Maybe you will need also to take a look at How do I transform grouped objects?
(Note: if you have pixels as Synfig system units you have to remember that 1 Synfig unit is equal to 60 pixels by
default)
Create Custom switch controllers
Make a 12 point red star.

On top of the red star make a yellow 3 point star.
Select the yellow star and grey out the "Origin", "Inner Radius" and "Outer Radiu"s points (right click on the
points and convert them to "Greyed").
Leave the blue "Angle" point as it is.
Select the group that contains the drawings to be switched (in the attached example it is the hands folder). Note,
that this can be an external imported file, which adds a possibility to use library of hands!
In the parameters panel enable "Z-Range" checkbox.
Right-click on "Z-Range Position" and convert it to "Integer".
Click the little triangle next to "Z-Range Position" to open it and right click on "Link" and export the value and
name it "switch-pos" or whatever.
Select the yellow star.

In the Parameters Panel right click on "Angle" and convert it to "Scale".
Click on the little triangle next to "Angl"e to open it and convert the link to "Integer" and change the amount in
"Scalar" to "30".
Click on the little triangle next to "Link" to open it and connect the second link to the exported "switch-pos" value.
Your switch controller is now active. Rotate the controller to change the hand shapes in the hands folder.
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And here’s the sample file: File:CustomSwitchControler.sifz
(Originaly writen by [Dirk Baeten (https://plus.google.com/u/0/100974854123198382898)])
See also : https://youtu.be/_uRFFOqkwEw
Render
Render to AVI with higher quality?
Using raw video
The module used by Synfig to render AVI files is ffmpeg. For the moment there is not interface to control ffmpeg
options so you render with a fixed bitrate and quality. If you want the maximum quality in your AVI file, follow these
steps:
Render your animation to yuv420p format. To do that select that target at the drop down list of the render dialog
and add the ".yuv" extension to your animation name (without quotes).
Once rendered (it would produce a huge size yuv file) you can quickly convert it to AVI using this command:
ffmpeg -i animation.yuv -sameq animation.avi
Change the animation file name to your one.
Rendering through a .png sequence.
Render your sif to png sequence
mkdir render
synfig my_animation.sifz -o render/frame.png
Then convert it to movie with ffmpeg
ffmpeg -r <frame rate> -i render/frame.%04d.png <more settings from ffmpeg's manual> my_animation.mp4
Possible settings for ffmpeg
Possible settings for converting the png sequence from synfig into a video using ffmpeg, from the ffmpeg manual
(http://www.ffmpeg.org/ffmpeg-doc.html), are
for a low quality flv file (eg: for streaming from low bandwidth server)
ffmpeg -r <frame rate> -i render/frame.%04d.png -f flv my_animation.flv
for a high quality flv file (2 pass encoding, eg: to be uploaded on youtube)
ffmpeg -r <frame rate> -i render/frame.%04d.png -f flv -b 2M -s y -pass 1 -passlogfile log_file video.flv

ffmpeg -r <frame rate> -i render/frame.%04d.png -f flv -b 2M -s y -pass 2 -passlogfile log_file video.flv
flvtool2 -UP video.flv
for mid quality H264 mp4 file (try to change CRF from 15 -high quality- to 25 -generally satisfactory for
animations-). H264 codec requires both width and height of source frames to be multiples of 16.
ffmpeg -r <frame rate> -i render/frame.%04d.png -crf 25 -vcodec libx264 -vpre hq my_animation.mp4
for high quality H264 mp4 file (2 pass encoding)
ffmpeg -y -r <frame rate> -i render/frame.%04d.png -r 30000/1001 -b 2M -bt 4M -vcodec libx264 -pass 1 -vpre fastfirstpass -an my_animation.mp4
ffmpeg -r <frame rate> -i render/frame.%04d.png -crf 25 -vcodec libx264 -vpre hq my_animation.mp4
replace the second pass above with the following to include an AAC audio stream
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ffmpeg -i <audio file> -r <frame rate> -i render/frame.%04d.png -crf 25 -vcodec libx264 -vpre hq -acodec libfaac -ac 2 -ar 48000 -ab 192k my_animation.mp4
If you need nice open source format without any tweaks you may try ffmpeg2theora:
ffmpeg2theora render/frame.%04d.png --inputfps <frame rate> -o my_animation.ogg
png takes less disk space then yuv. --AkhIL 21:38, 9 April 2008 (EDT)
If you want you can also use mplayer (http://www.mplayerhq.hu/).
mencoder mf://render/frame.*.png -mf fps=25 -o my_animation.avi -ovc lavc -lavcopts vcodec=mpeg4
Render an animation with transparent (alpha) background ?

Synfig's Extract alpha way
You can create final and alpha mask (http://en.wikipedia.org/wiki/Alpha_compositing) video in one time direclty from
synfig.
SynfigStudio (gui) : From the Render Dialog check "Extract alpha",

Synfig (cli) : From the command line interface (CLI) use "--extract-alpha" option.
Extract Alpha - When checked, two videos files are rendered. The normal output file(s) indicated by Filename plus
another(s) you can easily identify by the alpha suffix. This file(s) will contains the transparency data of your project
that you can use as a mask when compositing.
PNG images sequence way
You also can render has "PNG (https://en.wikipedia.org/wiki/Portable_Network_Graphics)".
That will produce a "lossless (https://en.wikipedia.org/wiki/Lossless_compression)" quality image sequence, then import this
image sequence in your preferred video editor to compose the video.
You can also import the PNG image sequence in a video editor that supports video alpha channel (like Blender
(http://blender.org)) to export it has video + alpha.
Others
Increase performance by optimizing during compilation time?
I would like to know what parameters do I need to apply to configure to improve performance. Genete 11:04, 9 April
2008 (EDT)
To optimize program you should set two environment variables
export CFLAGS=""
export CXXFLAGS="${CFLAGS}"
First flag will be "-O3" (ow three). "-02" is normal optimization. "-03" is hard optimization.
Now you should get info about your CPU
cat /proc/cpuinfo
find your cpu model name
now go to man gcc and search "-mtune"
find your cpu and add "-mtune=your-cpu -march=your-cpu" to CFLAGS.
Then look at flags from /proc/cpuinfo and search it in gcc manual For example I have 3dnow. So I can find "-m3dnow".
For sse I can find "-msse" and "-mfpmath=sse" (can make program unstable).
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Finaly you may add "-ffast-math" to disable math checks. But it can make program unstable.
For my AthlonXP I'm using this flags:
export CFLAGS="-O3 -pipe -mtune=athlon-xp -march=athlon-xp -mmmx -msse -m3dnow -mfpmath=sse -ffast-math -funsigned-char -fno-strict-aliasing"
--AkhIL 12:05, 9 April 2008 (EDT)
For my Pentium3 i use the line:
export CFLAGS="-O3 -pipe -mtune=pentium3 -march=pentium3 -msse -mfpmath=sse -funsigned-char -fno-strict-aliasing"

The additional switches -mmmx and -ffast-math does seem to not yield any gain in computing performance! So you
could leave them out. --SvH 03:46, 20 May 2008 (EDT)
Unpacking sifz-files
Synfigs file format sifz is a packed sif xml-file (https://en.wikipedia.org/wiki/XML) which can be edited in a text editor
and eventually fix each section easily. You cannot however directly unpack the sifz file.
Rename the file with the extension .sif.gz and you'll be able to unpack it.
1. Rename your file from "myfile.sifz" to "myfile.sif.gz". The extension "gz" tells to the OS that it is a compressed file.
2. Now use your convenient application to uncompress the file to "myfile.sif". Unrar for windows will do the job.
3. Then you can edit it on a text editor. (Notepad++ is excellent for that)
Fix a not well formed document

Good to know you had a backup. If something like this happens again you can try to fix it manually with the following
instructions:
1. SIFZ format is just a gzipped XML file, so rename the file to .sif.gz.
2. Extract it.
3. You'll see a .sif file, open it with any XML editor (a text editor with Syntax highlighting (https://en.wikipedia.org
/wiki/Syntax_highlighting) capacities (see also Comparison of text editors (https://en.wikipedia.org
/wiki/Comparison_of_text_editors)))
4. Find a problem line (Synfig will tell you the line number).
5. Fix the problem. Usually, it isn't hard, because XML is pretty human-readable so look for some trash in values,
extremely big/low parameters, messed tags, etc.
6. Save file.
7. Open with Synfig and if everything is OK save it back as .sifz.
Granted Wishes
General outline / Polygon-based Outline / "Set Tangents to Zero" button
(3.5) I'm no artist, thus my primary form of art is stick figures, not to mention, many interesting animations are done in
stick-figure style. Stick figures must be perfectly straight to get the effect across, so when I'm making an outline using
B-Curves, it is too time consuming to set the tangents to 0 each time. Similarly, outlines of other shapes like squares,
circles and so forth would be very useful. Whichever of the above is easiest, please implement right away.
--Dragontamer 02:35, 19 November 2007 (EST)
For perfectly straight lines, click without moving the mouse. You will get a single point with no tangents. Outline
shapes would require some development, particularly with some thought given to backward compatibility. A
workaround you might consider is to create a duplicate shape with a different color and make the top one slightly
smaller, so the outline of the one below shows. Pxegeek 21:58, 19 November 2007 (EST)
Well, in general, whenever I click on a point to edit it (say, to make it move somewhere in animation mode),
there is a decent chance that I click on a tangent instead. Then, if I want to right click the point itself, I
usually right click the tangent marker instead. It isn't that big a deal, but simplicity at the cost of power
generally is a good thing, especially when it will save a few mouse clicks.
As for the outlines, yeah, I've tried that and it is a decent solution for now, although it is no replacement for a
real outline. I am going to also experiment with a clamp to see if I can make the center of the shape have
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100% alpha... but I don't have synfig on the computer I'm on right now. Thanks for the tips Pxegeek.
--Dragontamer 01:58, 27 November 2007 (EST)
You can press Alt+3 to hide tangent handles. --Zelgadis 09:27, 27 November 2007 (EST)
What to do when I've made a mistake and added tangents to a point wich had none initially ? How can I "remove"
tangents ? The only way I see is to go to the "param" panel, look for the correct tangent, and manually enter a zero
value for its lengh.--Grondilu 22:34, 13 April 2010 (UTC)
Recursive Waypoint Manipulation
(4) it is really tiresome to revert changes to waypoints created by manipulating tangent/position handles or change
their interpolation functions. making it possible to right-click-modify the waypoint shown for objects that have some
waypoint in a referenced sub-object would be great! -- timonator 2007-06-01
You can do it in two ways: changing the interpolation method of the waypoint of group layer or editing the
keyframe properties. The first allow to modify the waypoints interpolation method for all the waypoints of all the
parameters of all the layers that are inside the group layer layer. You can right click on the left or right part of the
waypoint to edit by a context menu the left or the right interpolation method of the waipoints. The second method
would add and modify all the parameters that have any waypoint in the animation. See Keyframe for more detail.
--Genete 13:10, 29 October 2007 (EDT)
Tweening for images developed in other imaging programs
It's obvious I am a beginner at image movement, but morphing is not enough: movement across the page is needed.
Thanks for listening. Comwell
Imported images can be moved across the page. They can also be scaled, rotated and deformed. Was there a specific
example you had in mind? pxegeek
I also would like a way to tween images that have been drawn in other programs. I've had trouble drawing with
Spline tool and the drawing tool in Synfig, and I'd rather just draw with a paint brush (like the one in Photoshop).
Another problem I have is that Synfig tends to shut down on me every 20 minutes or so, and it's really frustrating
even with the auto recover feature, because my sketches disappear. It'd be nice if I'm able to draw all of the
keyframes in Photoshop or another image program and import it to Synfig so that Synfig can tween and animate
them. Thank you. Huina
You CAN use images, drawn in other programs. Just select "File->Import" from canvas menu --Zelgadis 01:39,
24 November 2007 (EST)
But how do you animate using images from other sources? I tried to make 2 keyframes with 2 different
images, and it doesn't animate. It just stays as 1 picture for the entire render. The closest thing I saw to
importing images from another source into Synfig and having it animate is the Walking Cycle Tutorial,
but I would still have to trace the images to make it animate. As I said earlier, I'm not entirely fond of
using the draw/Spline tool. Huina
Huina, there's no way to do what you want right now. Interpolating between two images that are
not created in Synfig is well beyond its scope right now. However, what you could do is take an
image and separate elements of the picture onto different layers (e.g. have a picture of an arm and
another of the rest of the body) and you can move those around, stretch and rotate them. (If you're
familiar with the work of Terry Gilliam on Monty Python you'll know what I mean) I don't know how
feasible it is to implement your request (I suspect some heavy lifting). We'll keep it on the list, but
don't hold your breath. Pxegeek 19:57, 24 November 2007 (EST)
I think, you hardly find any other animation package which allow you to do such things. You could
use a special tools for this task, like xmorph (http://xmorph.sourceforge.net/). But to do the tween
between two bitmap images you STILL need to set points. It's not tracing, but very similar. Anyway,
result may be poor and I'd better suggest to use technique, described in Walking Cycle Tutorial or
which the Pxegeek meant. --Zelgadis 02:08, 25 November 2007 (EST)
There is a technique called "optical flow". It takes two input frames and calculates the movement of
each individual pixel between the frames, allowing interpolation to be done. Here's an example:
http://www.fxguide.com/article333.html. It doesn't require setting of control points, but it has
problems it's own set of problems: http://www.fxguide.com/article333.html. --Yoyobuae 13:32, 3
February 2008 (EST)
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Auto-link option in Draw Tool
(4) so that you can draw a line, and have its endpoint automatically link to a handle - or if Auto-connect is off, you can
get a line object linked to the end of another line object. / I missed this too, it even should be like that by default I
think. Maxy 13:22, 25 Apr 2006 (PDT)
Isn't this done already? We don't have line objects, but Splines are automatically linked to if auto-connect is on.
Am I missing something? -- dooglus 17:29, 27 September 2007 (EDT)
To clarify dooglus' comments - If you have an outline created by the draw tool highlighted in the layer dialog
and the auto-extend checkbox is checked, then you can continue drawing with the draw tool in that same
layer. Splines created with the Spline tool cannot be extended once a different tool or layer is selected.
Pxegeek 23:46, 12 October 2007 (EDT)
A line is a line - Synfig doesn't remember whether it was created with the Spline tool or the Draw tool -
so you can extend Splines created with the Spline tool using the draw tool. Just make sure the line is
selected (so that its handles are visible), not looped (so that it has end points to extend from), enable the
draw tool, check 'auto extend' and start drawing at one of its end handles. dooglus 05:47, 13 October
2007 (EDT)
So this sounds like it is already done. But on a related note, being able to open an existing Spline in the Spline tool to
extend it would be useful. -- dooglus 04:51, 29 January 2008 (EST)
Character Animation Tools
I have seen some interesting methods for helping character design/animation in different 2d/3d software. Hash's
animation master has 'poses' which are extremes of a model, for example smiling and frowning, once you add these
extremes ot a set you can use slider to create a pose that somewhere inbetween. The real power of this is when you
have serveral different poses on the same object, a face say, you can easily come up with new facial expressions. Maybe
something similar could be done with synfig using layers and sets, the implementation could something similar to
Moho's switch layers. --Triclops 09:52, 9 Aug 2006 (PDT)
Have you read this tutorial? Reuse Animations. It is very close to the Switch layer of Moho/Anime Studio. Also You
can change the Canvas parameter to any other canvas dynamically in the time line by clicking on it and selecting
other exported canvas. Other option is convert the canvas to a Switch type and alternate between two different
canvas. --Genete 13:26, 29 October 2007 (EDT)
Fixed by Switch Group Layer
Remove the thin line from stitched regions
When you stitch or sew two regions together with the same color (or different even?) it can appear a thin line in the
common edge that reveals the background color (see the problem here). This is due to that the antialiasing effect is
keeping the background pixels information and displays it on the region. To solve this issue it is needed to:
1) Uncheck all the antialias parameter of all the regions involved

2) Add a Supersample Layer over the layers that has the antialiasing parameter disabled. A value of 4 for the
height and width values is usually enough. Maybe you need to check "Alpha Safe" for better results.
3) Render normally.
This tip is particularly useful when you want to have a region over and under other composition at the same time.
SAMPLE SHOWING THE THIN LINE REMOVED THIN LINE AFTER SUPER SAMPLE
12 of 13 07/07/2016 09:03 PM
It has the draw back that intermediate layers has to be super sampled too (line the planet in the example) because the
super sample has to be done at the same time to the involved regions (the back and top half rings).
Language:
English • español • français
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Pages with too many expensive parser function calls

Attribution-Share Alike 3.0 license. By contributing here you agree that the same license will be applied to your
writing. If you do not want your writing to be edited mercilessly and redistributed at will, then do not submit it to
this wiki. You are also promising us that you wrote this yourself, or copied it from a public domain or similar free
13 of 13 07/07/2016 09:03 PM
FAQ - Synfig Animation Studio http://wiki.synfig.org/FAQ
FAQ
Language:
Contents
1 General FAQs
1.1 Who is synfigbot at the Synfig IRC channel?
1.2 Why are the CIA in the Synfig IRC channel?
2 FAQs relating to the current Synfig release
2.1 What is the status of the MacOS package?
2.2 Is there any Flash/SWF support?
2.3 What is Synfig Studio native file format?
2.4 Why doesn't synfig use SVG format?
2.5 Procedure entry point ... could not be located?
2.6 libsynfig-0.dll was not found
2.7 Can I do anything to improve the stability of synfigstudio?
2.7.1 How do I do this on Windows?
2.7.2 How do I do this on Linux?
2.8 Why can't I get sound to work?
2.9 What about Jack audio server ?
2.10 How do I render moving pictures from Synfig under Windows
2.11 I have a weird problem building from source. What's up?
2.12 Why does only the first frame of my animation render?
2.13 Why no colors available besides white ?
2.14 Why don't I get the colors I'm expecting?
2.15 Why when I create more than one shape, the other one
dissapears from the canvas, but its still on the layer bar ?
2.16 Why doesn't the rotate tool rotate rectangles layers?
2.17 Tablet doesn't track as expected
2.18 Why does the Text Tool make Synfig Studio crash?
2.19 Can i change user interface language to english?
2.20 Why using skeleton deformation layer parts of the image are
disappearing?
1 of 8 07/07/2016 09:03 PM
General FAQs
Who is synfigbot at the Synfig IRC channel?
synfigbot is a bot that sits in the Synfig IRC channel (http://www.synfig.org

/cms/en/support/), not a human. It has some commands and can respond to some
of the usual questions like: "What's the latest Synfig Studio version?" One of its
funnier commands is to quote past funny comments from people at the IRC. To
make it remember a quote, just type: !q. Please be nice with it, it is still
learning. ;)
Why are the CIA in the Synfig IRC channel?
"CIA-28" and friends are bots that sit in the Synfig IRC channel and report
whenever they detect a new commit in the subversion repository, giving the
committer's name, revision number, and commit log message. The same
information for recent commits can be found on cia.vc (http://cia.vc/stats/project
/synfig). ohloh.net (http://www.ohloh.net/projects/4832?p=Synfig) has similar
pages of statistics.
FAQs relating to the current Synfig release

Many issues are documented in the bug tracker (http://www.synfig.org/issues
/thebuggenie/synfig) (new bug tracker annonce (http://www.synfig.org/cms/en
/news/new-bug-tracker/)) and on the Download page.
What is the status of the MacOS package?
Proud to build a native MacOS package, so nothing else than "official" package is
needed.
Is there any Flash/SWF support?
Unfortunately not. Patches are welcome though. Please Contact us to discuss your
plans for adding SWF support so we can give any advice needed.
What is Synfig Studio native file format?
Synfig Studio uses its own file formats: ".sif" and ".sifz". Sif is a synfig project file
while sifz is a compressed (gzipped) sif file. As Sifs are (just) human readable
XML, you can save some disk space choosing the compressed one when you save
your animations.
2 of 8 07/07/2016 09:03 PM
There is also the ".sfg" format, introduced with the Synfig Studio 1.0 release, is
the synfig package animation format. Among animation data it can store externals
images in a zip kind format.
For deep informations about the Synfig Studio native file format, have a look to
this page.
There is no (known) link between other .sif file formats (http://filext.com/file-

extension/SIF) or this one (https://en.wikipedia.org
/wiki/Standard_Interchange_Format). ...
Why doesn't synfig use SVG format?
Svg file format come from World Wide Web Consortium (http://www.w3c.org),
they <troll on>try to<troll off> take care of standards around the big net....I'm
not convicted that creating animated SVG, they were thinking in terms of film
quality animation .... like synfig aims to produce ... in other terms, Sif is more than
animated SVG.
Work has been done to implement Cairo render to Synfig that eventually would
allow to export without too much effort to SVG as well as to PDF and others back
ends. It is very simple to add SVG export just coding a similar exporter like the
current PNG one. Anyone want to code that SVG exporter?
Always taking in mind that you'll lose some native Synfig goodies in the process.
Export to SVG (animated or not) could be a great feature to have (in terms of
workflow / open format support), although you lose some features.
Procedure entry point ... could not be located?
If you are on Windows and it says "the procedure entry

point_ZN6synfig5Color7set_hexERSs could not be located in the dynamic link
library libsynfig-0.dll" that means you forgot to upgrade synfig when you
upgraded synfigstudio. Due to the dependency systems on Linux you will probably
not get this there unless your distro has broken packages. Be sure to install the
latest version of synfig and synfigstudio.
If you get the same error but with gtk, glib, iconv.dll or libxml2.dll you should look
for old versions of these DLLs in your Windows directory and rename them to
iconv.dll.bak and libxm2.dll.bak etc.
libsynfig-0.dll was not found
If you get the error message "libsynfig-0.dll was not found" please check that you
have synfig (as well as synfig studio) correctly installed.
3 of 8 07/07/2016 09:03 PM
Can I do anything to improve the stability of synfigstudio?
If you're running on a Hyperthreading or multi-core CPU (e.g Pentium 4 with

Hyperthreading or Intel Core2 Duo or Quadcore, etc.) then you may find Synfig is
more stable if you restrict it to run on only one processor. Since version 0.62.01
the stability under Windows has increased noticiably. The single thread
renderer option has been enabled by default in Synfig Studio.
How do I do this on Windows?
To do this on windows, start Synfig Studio, then press Ctrl-Shift-Esc this will start
the 'Windows Task Manager', alternatively you can press Ctrl-Alt-Del and choose
'Task Manager'. Select the processes tab, find synfigstudio.exe in the processes
list and right click on it. Choose 'Set Affinity...' and make sure only one CPU is
checked. Unfortunately, this setting isn't preserved so you either have to do this
manually each time you start Synfig Studio or use a tool such as the Tom's
Hardware Guide Task Assignment Manager (http://www.tomshardware.com
/2004/05/28/getting_more_bang_out_of_your_dual_processing_buck/index.html).
How do I do this on Linux?
On linux, you need to install schedutils.
Then run synfigstudio like this:
taskset -c 0 synfigstudio
Or if you have synfigstudio open already, run this:
taskset -p -c 0 `pgrep synfigstudio`
Why can't I get sound to work?
Synfig GUI implies that sound files can be loaded and played with the animation
previews, to aid with e.g. lip synching. Synfig relies on a helper library called MLT
(http://mltframework.org/), libavcodec and their dependencies. Sound can be
imported like other supported medias. Have a look to Sound Layer.
What about Jack audio server ?
Also you can synchronized your animation threw the JAck audio server
(http://jackaudio.org/), have a look to this video tutorial (https://www.youtube.com
/watch?v=NHFOyz2WjoA).
4 of 8 07/07/2016 09:03 PM
How do I render moving pictures from Synfig under Windows
FFMPEG is now distributed as an optional component of the Windows installer

(installed by default). If you're looking for a file to include on a web page,
rendering to an animated gif file also works (although you may want to use a
quality setting of 6 or higher to avoid rendering artifacts). For mpg, there are a
couple of options.
Use the ffmpeg render target in Synfig to render to an mpg file, or

If you want more control over the final video file, the best solution may be to
render to a sequence of png files and use a separate program, such as the
command line version of ffmpeg, to assemble them to a video file. This could
also allow you to incorporate an audio track in the same step.
Be careful where you choose to save your rendered file. If you save it to an area
where Microsoft doesn't think you should be writing (like "c:\" or "c:\Program
Files\.." etc.) it will pretend to let you, but in fact save it to another location to
save yourself. You can find it using a file search, but it won't be where you
thought it was. Be safe - save to the desktop or a folder under "c:\Users
\yourname\..."
I have a weird problem building from source. What's up?
Did you read the developer doc (http://wiki.synfig.org

/Developer_Documentation) ?
Your copy of pkg-config probably doesn't look in the right places for .pc files. If
you are installing to /usr/local, try running "export PKG_CONFIG_PATH=/usr/local
/lib/pkgconfig" before building or installing anything.
Also, you can post a message to the development mailing list

(http://sourceforge.net/p/synfig/mailman/synfig-devl/).
Why does only the first frame of my animation render?
You probably have Use current frame checked in the render dialog box.
Why no colors available besides white ?
You should have to look around the Gamma Preferences.
Check out this: "<Menu> → <Edit> → Preferences → Gamma" from the Preferences Dialog.
Be sure the three color sliders are set to 2.2

Black level in the Gamma setup should be 0 and not 100 percent
5 of 8 07/07/2016 09:03 PM
Why don't I get the colors I'm expecting?
This Wikipedia (http://en.wikipedia.org/wiki/RGB_color_model#Nonlinearity)

article talks about how color output is non-linear, that if 0 is black and 100 is
white, then 50 is only about 22 percent of the brightness of white, rather than
50% as you might expect.
In synfig there is an option (on by default) to make sure that if you ask for 50, you
get 50% of the brightness of white.
See "<Edit> → <Preferences>" which would open the Preferences Dialog. Then go to

the Misc tab and to the "Visually Linear Color Selection" checkbox. If you turn that
off, everything will go back to its non-linear, yet strangely comfortable and
familiar mode.
Why when I create more than one shape, the other one
dissapears from the canvas, but its still on the layer bar ?
Take a look to the "blend method" to check if it's set to some other one than
composite.
You like to read also New Layer Defaults and Blend Method Parameter pages.
Why doesn't the rotate tool rotate rectangles layers?
The Rotate Tool works on Handle. The Rectangle Layer works by drawing
horizontal and vertical lines between the two Handles, so when the rotate tool is
used with a rectangle it only rotates the Handles around the rotation point, but
the lines of the rectangle are still horizontal and vertical. What you are probably
looking for is the Rotate Layer.
Good to know, the Rotate Tool has an Region Layer option which allow the
behavior you might expect.
Tablet doesn't track as expected
When using some programs you may find that the mouse may not track as you
would expect. Synfig, Inkscape and Gimp are ones that I have used that will give
odd tracking. When drawing with the mouse the actual drawing is some distance
from the cursor and when you use the pen the drawing is drawn where the cursor
is. This can be easily fixed with the software that came with the tablet.
When using the tablet software that came with the graphire 4 tablet you will find
that it uses two different tracking methods for the mouse and pen and these two
tracking methods are called Mouse Mode and Pen Mode.
6 of 8 07/07/2016 09:03 PM
The Pen Mode uses absolute positioning, that means the active drawing area of
the tablet is in proportion to the whole screen. Wherever you move the pen the
cursor will move to the corresponding point on the screen, wether you drag the
pen or you pick up the pen and move it to a new location that cursor will move or
jump to where the pen is.
The Mouse Mode uses a positioning system similar to a traditional mouse where
you can pick up and slide the mouse where you wish and the cursor will follow the
mouse as it is moved. It will not jump to new locations on the screen even if you
pick up the mouse and place it in a new position on the tablet, the cursor will just
continue from it's last position.
In the case of the Wacom Graphire 4 tablet that I'm using in Windows XP I needed
to open the program called Pen Tablet and change the settings for the mouse. To
do this open Pen Tablet and you will see four tabs, click the tab marked Mouse
and you will find a box called Tracking with two options. One is Pen Mode and the
other is Mouse Mode. Select the Pen Mode and the mouse will now use absolute
positioning.
Why does the Text Tool make Synfig Studio crash?
Occassionally, some users report that Synfig Studio crashes whenever the Text
Tool is selected. This is caused by one or more of their currently installed fonts
being corrupted or containing non-standard data.
Once the these fonts are uninstalled, the Text Tool will work correctly.
Can i change user interface language to english?
Synfig respect the Operating System language, great point you can say... but
sometime users just want english user interface (helpful to follow tutos' for
example). You can do that easily using the language selection box from the
preference dialog "<File> → <Preference> → <Misc>"..
Nota: this way can force another languages.
Why using skeleton deformation layer parts of the image are

disappearing?
If parts of the image are disappearing when you enable the Skeleton Deformation
Layer (and have checked that you don't have Cairo rendering enabled), is't surely
because the image is cropped by bone influence area. You need to turn off bone
distortion layer (from the Layers Panel, select it, enable width handles ( Alt 5 )
and set the influence area for each bone.
7 of 8 07/07/2016 09:03 PM
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8 of 8 07/07/2016 09:03 PM
Window Manager Hints - Synfig Animation Studio http://wiki.synfig.org/Window_Manager_Hints
Window Manager Hints

Language:
Some window managers don't work well with synfig studio by default.
Synfig studio creates dialog windows with the 'utility' window manager hint,
which is supposed to omit them from the taskbar, but make them automatically
pop to the front when the main synfig studio window is selected, but with XFCE4
for example this doesn't happen.
It is possible to specify which window manager hint to use for canvas views,
dialog windows, and the main toolbox by editing the ~/Synfig/settings file (while
synfigstudio isn't running), as follows:
pref.canvas_view_hints=1
pref.dock_dialog_hints=1
pref.toolbox_hints=1
The possible values are:
WINDOW_TYPE_HINT_NORMAL 0
WINDOW_TYPE_HINT_DIALOG 1
WINDOW_TYPE_HINT_MENU 2
WINDOW_TYPE_HINT_TOOLBAR 3
WINDOW_TYPE_HINT_SPLASHSCREEN 4
WINDOW_TYPE_HINT_UTILITY 5
WINDOW_TYPE_HINT_DOCK 6
WINDOW_TYPE_HINT_DESKTOP 7
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Keyboard Shortcuts - Synfig Animation Studio http://wiki.synfig.org/Keyboard_Shortcuts
Keyboard Shortcuts
Language:
Here is a list of some of the keyboard shortcuts you currently have at your
disposal. These are the defaults. There is a way to customize these, but it is
currently not intuitive. Basically you need to edit the accelrc file in your synfig
settings directory (don't forget to remove the ";" at the start of a line if you want it
to be taken into account). The file refers to the glyph names of each key, these can
be found here: [1] (https://github.com/adobe-type-tools/agl-aglfn/blob/master
/glyphlist.txt) (more information here: [2] (https://en.wikipedia.org
/wiki/Adobe_Glyph_List))
Synfig settings directory :

Ubuntu GNU/Linux: /home/{username}/.synfig/
Windows XP: C:\Documents and Settings\{username}\Synfig\
Windows Vista: C:\Users\{username}\Synfig\
Mac Os: ????
Keystroke Description
Control A Select all Handles
⇧ Shift Control A Select all Layers
Copy currently selected layer(s) and put them
Control C
in the clipboard
Control D Deselect all Handles
⇧ Shift Control D Deselect all layers
Control G Toggle grid show
Import file (synfig project, image, image
Control I
sequence, sound, video)
Control L Toggle grid snap
Control N New composition
Control O Open composition
Alt O Toggle Onion Skin
Control P Play the current animation in the WorkArea
1 of 5 07/07/2016 09:04 PM
Control Q Quit Synfig Studio

Control R Redo
Control S Save
Paste the layer(s) from the clipboard above
Control V
the currently selected layer
Control W Closes the current animation document.
Cut currently selected layer(s) and put them
Control X
in the clipboard
Control Z Undo
Toggle low/high-resolution (defaults to low
Control `
resolution)
Change the current rendering quality (lower is
Control 0 ... 9
better, but 0==10)
Alt 1 Toggle display of "Position" Handles
Alt 2 Toggle display of "Vertex" Handles
Alt 3 Toggle display of "Tangent" Handles
Alt 4 Toggle display of "Radius" Handles
Toggle display of "Width" Handles (DEFAULTS
Alt 5
TO OFF)
Alt 6 Toggle display of "Angle" Handles
Control - Zoom out of Canvas (spacial zoom)
Control = Zoom in on Canvas (spacial zoom)
Control ⇧ Shift Z Zoom canvas to 100% (spacial zoom)
Control _ Zoom out of timeline (temporal zoom)
Control + Zoom in on timeline (temporal zoom)
Control , Move backward one frame
Control . Move forward one frame
Control < Move backward one second
Control > Move forward one second
Control [ Move backward to previous Keyframe
Control ] Move forward to next Keyframe
↖ Home Jump to beginning of timeline
⇥ End Jump to end of timeline
Control ( Decrease workarea pixel size
Control ) Increase workarea pixel size
Control Alt ( Decrease Amount of selected layer
2 of 5 07/07/2016 09:04 PM
Control Alt ) Increase Amount of selected layer

⇧ Shift PageUp Raise currently selected layers
⇧ Shift Pgdn Lower currently selected layers
Alt A Select Transform Tool
Alt V Select Smooth Move Tool
Alt S Select Scale Tool
Alt T Select Rotate Tool
Alt M Select Mirror Tool
Alt C Select Circle Tool
Alt R Select Rectangle Tool
Alt Q Select Star Tool
Alt G Select Gradient Tool
Alt P Select Polygon Tool
Alt B Select Spline Tool
Alt X Select Text Tool
Alt F Select Fill Tool
Alt E Select Eyedrop Tool
Alt Z Select Zoom Tool
Alt D Select Draw Tool
Alt K Select Sketch Tool
Alt W Select Width Tool
F8 Canvas Properties
F9 Render
F11 Preview
F12 Canvas Options (Grid size, etc.)
Deselect the last Tool and select Transform
Tool, if you don't have done something with it
the focus will stay in Toolbox. CAREFUL, with
Escape
Polygon Tool and Spline Tool in use, Cancel
the current process, and so the current draw,
but stay with the selected tool.
Control Delete Deletes the currently selected Canvas.
Nudge the currently selected Handle(s) one
Cursor key
pixel in the given direction
Nudge the currently selected Handle(s) ten
⇧ Shift Cursor key
pixels in the given direction
3 of 5 07/07/2016 09:04 PM
Select the immediate parent Group Layer (if

← Backspace
any) of the current selected layer.
Contents
1 Fixed Shortcuts
2 Hotkeys Visual Guide
2.1 Poster
2.2 Interactive
Fixed Shortcuts
In the Timebar, when you drag and drop a Keyframe, by holding Alt key
when releasing the mouse button will adjust the length (not the time).
In the Graphs Panel, Ctrl + mouse wheel : Change zoom factor
Hotkeys Visual Guide

Poster
need to be revised a little ;-)
A good way to learn all this shortcuts is putting them in front of your eyes all the
time. Because of that, we bring to you a beautiful "Hotkeys Visual Guide" that you
can use as a poster.
PNG Version -
SVN2011
We offer you two print sizes (both in PDF):
4 of 5 07/07/2016 09:04 PM
A4 Version (http://download.tuxfamily.org/synfig/wiki/images/c/cd/Hotkeys-
visual-guide-SVN2011-A4.pdf)
[A3 Version]
And these are the source files in SVG format:
A4 Version (http://download.tuxfamily.org/synfig/wiki/images/e/e1/Hotkeys-
visual-guide-SVN2011-A4.svg)
A3 Version (http://download.tuxfamily.org/synfig/wiki/images/c/c2/Hotkeys-
visual-guide-SVN2011-A3.svg)
Interactive
Learn online the synfig's shortcuts (http://andeon.github.io/askey/apps/synfig/)

with the Askey interactive app'
Askey is a virtual keyboard hosted on github-pages, created to list the shortcut

keys of open source graphic programs by Anderson Prado (AndeOn).
Give us your feedback and comments.
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Mouse Shortcuts - Synfig Animation Studio http://wiki.synfig.org/Mouse_Shortcuts
Mouse Shortcuts
Language:
Here is a list of mouse short cuts you have available. Some work combined with
keystrokes and also only works in some situations. Please if you find out more,
you know what to do!
Mouse
Keystroke Where Description
action
Wheel Over canvas Pan up/down the
<none>
up/down window view.
Zoom in/out the
Wheel Over canvas
<CTRL> view over the
up/down window
mouse position.
Wheel Over canvas Pan left/right the
<SHIFT>
up/down window view.
Hold
Middle &
drag
(under Gnome
(KDE?) you Pan the view in the
Over canvas
<none> can also direction of the
window
emulate this drag.
behavior by
pressing left
and right
together)
Zoom in/out the
Wheel Over Graph
<none> vertical scale of the
up/down Panel
graph.
Wheel Over time Zoom in/out the
<none>
up/down line bar time scale
Zoom in/out the
Wheel Over time time scale with the
<CTRL>
up/down line bar time cursor
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centered
Adds the clicked
waypoint to
Over selected waypoints
<CTRL> Left click
waypoint group (only valid
for a parameter
each time)
Delete the clicked
<ALT> or Over waypoint and the
Left click
<CTRL>+<ALT> waypoint selected waypoints
group too
Copy the clicked
waypoint and the
Left click + Over
<SHIFT> selected waypoints
drag waypoint
group to the
dragged place
Move the clicked
waypoint and the
Left click + Over
<none> selected waypoints
drag waypoint
group to the
dragged place
Over
right-top
Increases the brush
<none> Left click part of the
size by 0.25
brush size
minicanvas
Over
left-bottom
Decreases the
<none> Left click part of the
brush size by 0.25
brush size
minicanvas
Over brush Set the brush size
<none> Right click size to 3.0pt (default
minicanvas value?)
Set the brush size
Over up to the maximum
<none> Right click arrow of the value
brush size (10000000.00pt)
(not so useful?)
Over down Set the brush size
<none> Right click arrow of the to the minimum
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brush size value (0.00pt)
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Examples - Synfig Animation Studio http://wiki.synfig.org/Doc:Examples
Examples
Language:
Examples of Synfig-made animations and stills can be

found in various places, including our website
(http://www.synfig.org/en/examples), and in a
dedicated examples package
(http://download.tuxfamily.org/synfig/synfig-
examples.zip) released under the terms of GPL V3.
Many topics, techniques and ideas have been

explored over time by the community of Synfig users.
Many creators were keen enough to share the source
files of their art work for your own inspiration. You
can find it in our examples repository
(http://www.synfig.org/en/examples-repository). examples repository
Please do check the licensing terms before reusing in (http://www.synfig.org
other work. /en/examples-repository)
on the Synfig website
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The present version of Synfig is 1.0.2, however, there is no guarantee

Pages in category "Manual"

Doc:Basic Bone Tutorial

Doc:Realistic Fire Animation

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terms of Creative Commons Attribution-Share Alike 3.0 license. By

As you probably know, animation is the rapid display of a sequence of images in

A traditional frame-by-frame animation, taken from : http://ﬂipily.com

Synﬁg Studio is open-source 2D vector animation software. It is designed to

Morphing is a technique that takes two images and creates a

Although Synﬁg Studio is not directly intended to draw animation frame-by-frame,

Parabolic shot in Synﬁg's

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Default interface layout of Synﬁg Studio

Synﬁg Studio main interface components are:

The most important panels are:

Under the hood

Let's create something fun so that we can play with it!

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Categories: Manual Tutorials Tutorials Basic NewTerminology

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Setting up the workspace

Good to know : Synﬁg and time representation

Canvas Properties Dialog

Keyframes Panel and Time Track Panel

The s's and f's: Understanding the Timeline

The Keyframes Panel

Canvas Window, Keyframes Panel and Time Track Panel

Parameters Panel and Time Track Panel with green Waypoints

Rendering your animation

The Render Icon

synfig -t gif BasicKnightRider.sifz

BasicKnightRider.sifz ==> BasicKnightRider.gif: DONE

You can download the project used : File:BasicKnightRider.sifz

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Categories: Manual Tutorials Tutorials Basic Updated NewTerminology

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1. Every object or element gets its own layer.

Using layers to modify other layers

Let's continue digging further on shapes creation.

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Categories: Manual Tutorials Tutorials Basic Updated NewTerminology

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Keep in mind, however, that during this construction, there is

When you are ﬁnished placing vertices, you must exit

1. Switch to another tool. Reset Colors button in

Using tablet to draw shapes

appear at the bottom. Great.

Other ways to create Splines

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Categories: Manual Tutorials Tutorials Basic Updated NewTerminology

This page was last modiﬁed on 24 January 2016, at 17:28.

Animate the stem