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with motion XML. You can create an animation on the timeline, convert it into XML, optionally modify it in ActionScript to meet your needs, play the animation back without a timeline using the Flash motion package, and even go round-trip, converting motion XML back into timeline animations. You can nd these commands in the Commands menu of Flash Professional. Of course, you can also create animations using motion XML you create by hand, using the Animator class to consume the XML. However, you should also consider other animation libraries if you re going to be creating animations in code, because most of them can describe animations far more concisely. Preliminarily, I ll review some animation terminology as it relates to Flash animation. Then I ll introduce the structure of motion XML, and nally I ll investigate how to use the fl.motion package.

Sample Number 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 64.030 63.995 63.988 64.002 63.992 64.009 63.995 63.985 64.008 63.998 63.994 64.004 63.983 64.006 64.012 64.000 63.994 64.006 63.984 64.000 63.988 64.004 64.010 64.015 63.982

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Two important terms are used consistently to describe animations Because this terminology carries over into motion XML and ActionScript, it begs a small review The pioneers of animation quickly discovered a concept that carries through to all modern animation processes: you have to draw a lot of pictures, and some aren t as important as others For example, picture Bugs Bunny sneezing His face goes from normal, to all twisted up, to forcefully expelling air and spittle You can, in your mind s eye (hey, he s still under copyright), picture these three key states But if the act of sneezing takes a whole second of lm, then in addition to those three key frames, you will have to draw all 21 other pictures that go in between: the frames that move his face at the right speed through those key positions.

Diameter 64.002 63.992 64.024 63.996 64.007 63.994 64.006 64.003 63.995 74.000 63.998 64.000 64.002 63.967 64.014 63.984 64.012 64.010 64.002 64.010 64.001 63.999 63.989 64.008 63.984 64.019 64.001 64.021 63.993 64.015 63.997 63.994 63.993 64.009 63.990 63.994 64.007 63.998 63.994 63.998 64.005 63.986 64.018 64.003 64.013 64.009 63.990 63.990 63.993 63.995

14 I 5

(a) Set up X and R charts for this process. If necessary, revise limits so that no observations are out-of-control. (b) Estimate the process mean and standard deviation. (c) Suppose the process speci cations are at 64 0.02. Calculate an estimate of PCR. Does the process meet a minimum capability level of PCR 1.33 (d) Calculate an estimate of PCRk. Use this ratio to draw conclusions about process capability.

The key frames are called keyframes, and the in-between frames are called tweens Animation is a ton of work, so early on in animation studios, it became the lead animator s responsibility to draw those key frames, and it was up to the junior animators to ll in the in-between frames Nowadays, animation is still a ton of work, and in-between frames are often sent to third parties to nish Now computers have made things easier for everyone With Flash Professional and other animation packages, you can set up two keyframes and have the system tween between them No interns necessary! Your brain has adapted to intuitively recognize the effects of Newton s laws Due to inertia, things always accelerate and decelerate rather than instantly switch speeds Thus, a linear tween between two positions almost always looks unnatural.

(a) Set up a P chart for this process. Is the process in statistical control (b) Suppose that instead of n 100, n 200. Use the data given to set up a P chart for this process. Revise the control limits if necessary. (c) Compare your control limits for the P charts in parts (a) and (b). Explain why they differ. Also, explain why your assessment about statistical control differs for the two sizes of n.

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