page 61------------------------------ZOETROPE TUTORIAL III: CELL ANIMATION

beginning at frame #1 as an overlay.  Once it's in, move to frame #5,
and load it again; then move to frame #9, and load it again.

So, now we have an animation of 21 frames, but only the first 12
contain our fishies, so let's get rid of the rest.  You already know how
to do this: adjust the Segment Range Bar in the Time menu to cover
frames #13 - #21, select To Segment as the frame mode, then press
[Del].  Answer the requester with a 'Yes', and they're gone.

Now that we've shown the concept of creating empty frames and
merging animations with Under or Over, let's demonstrate the easy way
to do it.  Kill the entier animation, then reload FISH.RIF in Normal 
mode.  Now, click on Splice and load it two more times.

Now we're moving!  Okay, back to the Time menu, adjust the Segment
Range to cover frames #3 through #9, and leave the frame mode at To
Segment.  Return to the Load/Save menu, and load MONALISA as an
underlay.  You guessed it, ZOETROPE loads the background to frames
#3 to #9.

Before you go on, click the frame mode back to To Frame.  It's always
a good idea to keep the frame mode in To Frame to avoid accidentallyi
changing a whole range of frames.  Remember, there's no undo on a
range change.  It's also a good idea to place the Load option back to
Normal after you're through with overlays or underlays.  (By the way,
overlay and underlay have no effect on Saves.)

What else can we do in the Load/Save menu?  Well, a couple of options
we'll just mention.  The .col file is nothing more than a color palette.
If you have a particluar color palette you like, save it as a .col file.
Load a .col file to change the palette in memory.

The .win file is used to save or load clip buffers.  It will also load
Delux Paint Brush files.  Let's try a clip file.  Move to a frame that
has both the fish and the background.  Let's put a small portion of the
screen in the clip buffer; press [~] (just above [Tab], same as selecting
Cut), and clip out the fish's head, along with some of the background.
Paste the clipped image elsewhere on the screen to confirm the contents o
of the clip buffer.  Now, return to the Load/Save menu, select .win,
and Save.  When the file selector comes up, enter the filename:
FISHHEAD in the File field, and press [Return].  As with all
ZOETROPE file save operations, the .win extender will automatically
be added.

page 62------------------------------ZOETROPE TUTORIAL III: CELL ANIMATION

What we've just done is save only the conents of the cli buffer to a
disk file for later access.  Before we load it back in, let's change the
contents of the cli buffer so we can be sure of the effect.  Simplyi clip
out another portion of the screen, then Move the clip buffer to be sure
that it's different than the segment we just saved.  Now, select Load
(Over and Under have no effect on .win or .col functions), and choose
FISHHEAD.WIN from the file selector box.  When the drive stops
turning, go back to the workscreen, and select Move to view the cli
buffer contents.  There's our old fish head, and it's back in its original
location.  

We'll talk about .APM in the APM f/x tutorial, following.  How about 
Ppatch?  atch is a sophisticated disk I/O function that lets you load,
edit, then save - all to the same file - sub-segments of .rif files.
You should never use it without first backing up the .rif file that you're
editing. To be especially safe, place yor backed-up .rif file on a blank
disk with plenty of room.

There should be plenty of room on the data disk we've been working
on.  On your ZOETROPE data disk is a .rif file called MRBLOB.RIF,
which was created by Steve Segal.  Before using it, copy it to your own
data disk.  There are several ways you can do this.  You could Quit
ZOETROPE to the Workbench and use the CLI Copy function to
transfer the file from one disk to another.  Or, you could select Pause
from the Menu, which will freeze ZOETROPE and place you in the
Workbench were you could use CLI to copy the file.  (To return to
ZOETROPE from the Workbench, either click on the front-to-back icon
in the upper-right of the screen, or drag the Workbench screen down,
then select Yes to 'Restore Zoetrope'.)  Or you could load the file into
memory, switch disk paths (or disks), then save the animation to the
new disk.  We'll describe the third method in detail.

Place your ZOETROPE data disk in whichever drive you've been using
for it, and load MRBLOB.RIF.  Once the entire animation is in
memory, swap the ZOETROPE data disk with your working data disk,
then save the file.  Youu are now ready to proceed.

Play the entire animation so you're familiar with it, and note the total
number of frames.  We'll be patching in frames #5 - #12, to begin with.

All right, Kill the entire animation in memory, then click on Patch in
the Load/Save menu - the Patch sub-menu appears.  The top three

page 63------------------------------ZOETROPE TUTORIAL III: CELL ANIMATION

All right, Kill the entire animation in memory, then click on Patch in
the Load/Save menu - the Patch sub-menu appears.  The top three
slider bars let us determine which portion of the .rif file we want to
load.  Adjust the Start slider to 5 (frame #5 is where we want to begin);
adjust the Frames slider to 7 (we're going to load 7 frames, starting at
frame #5); adjust the KBytes slider to about 200 (more than enough).
Click on Load Patch, select the MRBLOB.RIF file to load, and
ZOETROPE will lace only frames #5 - #12 in memory.  The frame
counter, however, will reflect the actual number of frames (#1 - #7).

Once it's loaded, take a look at the animation.  You can see that you're
art way into the animation, and only a portion of the animation is in
memory.

Now, let's do some quick editing. Select Cut from the Clip menu and
cut out some distinct portion of the picture.  (It doesn't matter which
frame, the cliped part should be about two inches square.)  Select To
All as the Frame Mode, Rotate from the Clip menu, place the mouse
cursor jst outside the lower-right corner of the clip box, and drag/rotate
the clip image to abot 350 degrees.  Release the mouse btton and
right click.  A requester asks yo if yo know what you're doing.  Sure,
why not.

Okay, play yor newly edited animation.  Before continuing, don't
forget to return to To Frame mode.

Now, bring up the Patch menu, (click on Patch in the Load/Save menu)
and click on Save.  ZOETROPE will go through some disk I/O
operations, and politely inform you of its progress.  When finished, 
your edited segment will have been inserted into the old file.  Right-
click to return to the Load/Save menu, then Load MRBLOB.RIF again.
Play the whole animation, and there's your new stuff smack in the
middle of the animation.

Let's go on aand examine that last visual effect - the Tween.

page 64------------------------------ZOETROPE TUTORIAL III: CELL ANIMATION

TWEENING

Tween got its name from the early days of animated cartoons.
Typically, a master animator at one of the major motion picture studios
- Walt Disney, MGM, or Warner Brothers - would draw only the
primary positions of a figure.  The expert artist would draw Mickey
Mouse with his arm outstretched, then draw him with his arm bent up
at the elbow, then draw him point at the ski.  These three drawings
represented the major movements of the figure.  The artist would then
let an apprentice animator take over to draw the 'tweens' - the frames
in-between Mickey's arm movements.

In ZOETROPE, Tween works much the same way.  When active,
Tween takes the beginning and end positions of your cut or clip buffer
contents and copies th emovements sequentially across your frames -
either your entire animation sequence (if you've select To All) or a
specific ranges of frames (if you've selected To Segment).  Tween works
with the Paste, Rotate and Stretch functions from the Clip menu, and
virtually all the image movement features in the APM f/x menu.  It
also affects various of the Pixel f/x, Color f/x, and Palette functions.
(We'll be demonstrating these in a later tutorial.)

Let's take another look at the special effect we did above.  We'll test
Tween with Rotate.  Kill any animation that may be in memory, select
a large brush, a bright color, and draw the first initial of your first name
in the center of your screen, about two inches tall.  Clip the initial
(press [Tab]), Clear the workscreen, then press [Return] to create 11
empty frames.  Finally, set the frames mode to To All (a).
Now, go back to the Clip menu and select Rotate.  As you do, you'll
see your clip buffer appear, with your initial sitting inside.  Place your 
cursor above the cli box, hold down the left mouse button, and drag
the cursor around the cli box (it can be either clockwise or counter-
clockwise).  This will rotate the clip box about its X axis, in
increments of 22.5 degrees.  When you return ot spot you originally
started from (the top), release the mouse btton, then right-click.  A
requester will appear, asking: 'Do it over all frames?'  Select Yes.

When yo select Yes, you'll see your initial being copied across all the
frames of your animation sequence. Tween is taking the incremental
movements from the Rotate command and spreading them across your
entire animation sequence.  (If you had selected a range of frames with

page 65------------------------------ZOETROPE TUTORIAL III: CELL ANIMATION

the To Segment command, Tween wouldhave spread, sequentially, the
movements across that range.)

Now, play this forward.  You'll see the letter rotating of its own accord.

You can also experiment with Tween and Paste, allowing yo to
quicklyi move an image across your screen.  Select Paste from the Clip
menu and drag the clip image to one corner of the screen.  A requester
will appear, saying: 'Do it over all frames?'  Click on Yes.

You'll see your clip box copied from its original position, moving
from its starting position to its ending position across all the frames of
your animation sequence.

Click on the Forward Play button to see the results.  You should be
rewarded with your object moving across the screen.

Note that the previous Rotation had no effect on the original clip
image, and it didn't matter which frame we started the Paste-drag from
because we were in To All frame mode.  Agaoin, if you had selected a
range of frames wiht the To Segment command, Tween would have 
spread, sequentially, the movements across that range.

What happens if we turn Tween off?  Simple: the only image pasted is
the one at the end of themovement.  Let's look.  Select Move and
reosition your image elsewhere on the screen.  Now, turn Tween off
(from the Time menu), select Rotate, and rotate the image to nay
number of degrees.  Release the image, answer Yes to the requester, and
watch the results.  The image is pasted to each frame, but only in its
last rotated position.

Turn tween back on, and take a look at the second row of the Time
menu.  To the right of the More box is the Animation Speed Control
Bar, which allows you to increase or decrease the laying speed of your
animations.  The Reference Section offers comlete details of what the
number in the slider bar stands for.  For our puroses, all we need to
know is the higher number, the slower the animation.

Set the animation speed control at 2, its fastest speed, then return to the
main menu and play your moving initial animation.  Try some higher
numbers (slower speeds).

page 66------------------------------ZOETROPE TUTORIAL III: CELL ANIMATION

Try this: Set the frame mode to To Segment, and the Segment Range 
Bar to, say, frames #4 through #7.  Now play your animation.
Because only the frames within the Segment Range Bar are played, this
can be very handy for creating a worksace while editing an animation.
You can create any number of 'junk' work frames before or after your
animation segment in whcih to create cli images, then only play back
the segment containing your animation.

Yet one more trick.  Reverse the direction of the Segment Range Bar so
that the diamond is point to the left, and the bar covers all frames of
the animation.  Now, enter the Load/Save menu, make sure you're in
To Segment mode, and save the file (call it RETRO.RIF, or 
something).  Next, change the frame mode to To Frame, and load
RETRO.RIF.  lay it back and you'llnotce it plays backward!
(Actually, it's playing forward.  It was saved backward.)

Before you continue with the next tutorial, Kill the current animation,
reset the seed to 4, and make sure the frame mode is at To Frame.

page 67------------------------------ZOETROPE TUTORIAL IV: APM F/X

                ZOETROPE TUTORIAL IV: APM F/X

ZOETROPE's most powerful feature is the APM f/x (effects) menu.
With it, you can easily animate cliped images, or entire animation
sequences, creating complex, layered animations in minutes.

The APM (Antic Pixel Mover) contains tools very similar to those
found in sophisticated, $100,000 workstations - such as the Mirage,
the Quantel Paintbox, the the Abakus DDR.  You can enlarge images,
shrink them, rotate them about multiple axes, and make them follow
elaborate, twisting paths.

Select APM f/x from the Menu drop-down and examine the menu that
appears.  It might look a little daunting, at first, but it's really very
easy to use.

The APM f/x menu has many features and otions for you to choose
from, some of which we've already covered in detail, such as the
Playback Bar in the top row, and the Segment Range Bar on the second
row.

Before we can use the APM menu, we need an image.  Either a static
image from the clip buffer, or an animation sequence.  If you haven't
already, Kill any animation in memory and make sure that you're in To
Frame mode.  Select a bright color (like red) and select the large square

page 68------------------------------ZOETROPE TUTORIAL IV: APM F/X

brush from the brush menu.  Now, turn off Filled from the Modes
men, and select Box from the Draw menu.  Place the square cursor
toward the upper-left ortion of the workscreen, and drag it to the lower-
right to create an index-card-size frame (about 3"x5").

Now, go to Menu, click on Set Font, and select a big font.  Return to
the main menu screen and select Text from the Draw menu, then go to
your workscreen.  Choose a different bright color if you wish, then
place your cursor where yo want your text to start (say, in the center, a
little to the left) and left-click.  Type in your initials in the center of the
screen. When you're finished, go up to the Clip menu, and clip your
entire workscreen, saving it in your clip buffer. This will be our
examle APM screen.

We don't plan on erasing our creation, but why not save the cli buffer
to disk.  Remember how?  Click on .win in the Load/Save menu, then click 
on Save, and give it any filename you like.

Okay, select Clear Pic, and we're ready to go to town.

TURNS

Select APM f/x (or press [A]) to bring up the APM f/x menu.  The 
first thing we're going to do in the APM is a simple turn.  You can 
accomplish a similar effect with the Rotate function, but the APM
menu allows you finer control over your images.

Once the APM f/x menuu appears, press [Return] on your keyboard,
which will add 10 blank frames to your work area.  If they aren't already
active, select All and Tween (at the far right of the APM menu, in the
upper-right corner).  When the APM f/x menu first apears, the word
Turn is highlighted (if not, click on it).  To the right, and below it is
the word Turns.  As we'll see, selecting different words in the Turn,
Size, Move, Path column affects what is displayed to the right.

Don't confuse the singular word Turn with the plural Turns.  When
Turn is selected, you are in a 'Turn mode', and may adjust the Center,
Axiss, and Turns.  The plural Turns is the number of Turns.

Move your cursor to the slider bar below the words 'Full Turns' and
click once on the arrow point left.  The number in the slider bar
should read -1, which means one turn in a clockwise direction.

page 69------------------------------ZOETROPE TUTORIAL IV: APM F/X

Turn (singular) allows you to control exactlyi how you want the
contents of your cut buffer or your entire animation sequence to rotate.
With Turn, you can set arbitrary rotation axes by using the slider bars
on the left half of the APM f/x menu.

Turn lets you arbitrarily set the Center (of rotation) of your animation,
the Axis (X-,Y- and Z-coordinates, or the three-dimensional
positioning of your work on the ZOETROPE screen), and the number of
Turns (gross rotational movement, either full or partial turns about
the animation's center).

After setting your Turns, click on Preview in the upper-left of the APM
f/x menu.  You'llnotice a full-screen wire-frame outline of your clip
box rotating clockwise about the Z axis (the clip buffer's center) across
your range of 11 frames.

As you can see, when you select Preview (after setting the APM
motion controls) it will activate a wire-frame rendition of how the
AM will move your animation based on the current APM settings.  If
you have not set any of the motion controls, the Preview function will
show a stationary box sitting on yor workscreen.

Now, let's render our animation.  Move your cursor over to Render and
left-click. Answer Yes to the requester and you'll see your clip box
appearing and disapearing as ZOETROPE renders it across the 11
frames you have allocated (your first frame, plus the 10 frames you
appended).  Render actually creates the final APM version of yor
animation, drawing it on all frames indicated by the frame mode
settings.  (APM f/x are usually used over a range of frames for
animation effects.  However, they can also be effective in To Frame
mode, when youu want to use the flexibility of the APM functions to
manipulate a clipped imate - or screen - before pasting it to the 
single frame.)

NOTE: You can Undo a Render To Frame, but you cannot Undo a 
Render To All or To Segment.  You can, however, aboart a multiple-
frame Render by pressing any key on your keyboard, or by holding
down the right mouse button.  A requester will appear, asking if you
want to abort the Render.  Left-click on Yes or No.

Now, return to the main menu screen and play your animation.  You'll
see an 11-frame animation of your clip box rotation, full-screen.

page 70------------------------------ZOETROPE TUTORIAL IV: APM F/X

This rotation is an examle of the simplest, easiest way to manipulate
an image in the APM f/x menu.

AXIS OPERATIONS

Before you return to the APM menu, clear all frames with the Clear ic
command in the Frames menu.  (Don't use the Delete Pic command,
unless you want to create 10 more frames.)  Since you are in To all
mode, a requester will apear, asking if you want to do it (clear) to all
frames.  Select Yes, the contents of every frame will be erased, then
when your workspace is clear, return to the APM menu.

Now, we're going to do something similar to the last movement, but
we're going to add a twist.  Click on Axis in the APM f/x menu and
you'll see three slider boxes appear on the right, with designator boxes
beneath them.  Axis lets you set which plane your clip box or screen
will rotate about.

The top slider bar sets the X or horizontal axis, the middle slider bar
sets the Y or vertical axis, and the bottom slider sets the Z or depth
axis.

You can set the Axes with the three slider bars on the right of the AM
f/x menu.  The three Axis sliders together represent a vector, or 3-D
location in space, about which yor artwork will be rotating.  Altering
a single axis value will not make a discernable change in rotation, but
altering two or three axes will produce interesting multi-axis rotations.

Experiment with the axis sliders individually.  We've already seen the Z
rotation.  Select the X box at the bottom left, then select Preview.
You'll see the wire-frame clip box rotating around the X axis.  Now,
select the Y box (bottom center) and then select Preview.  You'll see
the wire-frame clip box spinning about the Y axis.

Now that you've previewed the three single-axis rotations, let's look at
a double axis rotation. Click on the Y box (if you aren't set there
already), then drag the X axis slider (the top one) to a setting of 100.
Now, select Preview and take a look.  As you can see, yor clip box is
now spinning about two axes in a multi-axis rotation.  Select Render
and view the completed animation. The rotation now has a diagonal
vector since you've added one axis to another.

page 71------------------------------ZOETROPE TUTORIAL IV: APM F/X

CENTER

Now we're going to explore the Center option.  First, clear out your
animation with the Clear Pic option from the Frame menu, then go
back to the APM and click on the Y axis (which zeros the other two 
axes).  Select Center and three new slider bars will appear to the right.

Again, from the top down, the three sliders represent the X, Y, and Z
axes.  This time, they represent the setting for the center of rotation.
We're using the same coordinate system, where X and Y are at zero in
the upper-left corner of the screen, and X increases with movement to
the right, while Y increases with movement downward.  The Z axis 
remains at zero at the center of the screen, increases on movement
outward, and decreases on movement inward.

For purposes of this tutorial, we won't go into details about the
coordinates.  The Reference Section has a comlete description of the
slider coordinates.  Besides, there's an easier way to set the center.

Without touching any of the axis slider bar settings, click on the
Mouse XY box below them.  A set of crosshairs and centerpoint
coordinates will apear on your workscreen, along with a second cross
indicating the current center position.  Move the centeroint to the
upper-left quadrant of your screen (50, 50, or so you don't have to be
exact) - approximately an inch away from the left edge of your screen,
then left-click to set the new centerpoint position.  As you do, you'll be
dropped back to the APM menu, where you'll see the new coordinates
appearing in the slider bar indicator boxes.

Go up to Preview and select it.  You'll see your clip box rotating about
the new centeroint - the one you just set manually with Mouse XY.
After you've reviewed the movement, go u and select Render, and
play the animation.

When you're finished, clear out all your frames and return to the APM
menu.  Note:  Selecting Default will set your center of rotation to be
the center of the cli box (if you are in Clip mode) or the center of your
screen (if you are in Sequence mode).

page 72------------------------------ZOETROPE TUTORIAL IV: APM F/X

SIZE

Now we're going to exeriment with Size. Size allows you to shrink
or expand your artwork, any or all of your frames.  You can also select
a specific vanishing point (Center) where you want your art to shrink to
or expand from, and the Scale (the amount your artwork will shrink or
expand.)

First, left-click on Clear (and Yes in the requester) to clear out all of
your APM settings, then select Size. As you do, two indicator boxes
and two slider bars appear on the right side of the APM menu.

The Reduce and the Enlarge indicators work the the Size Ratio box
(the box with the number, under Scale, when Size is activiated).  When 
you set a scale, the new size of your artowkr is equal to the Reduce
factor divided by the Enlarge factor.  In mathmetical terms,s Reduce and
Enlarge are the numbers that indicate multiply and divisor  factors for an
image size, sch as your clip box.

Reduce starts out at 100.  If you move it down without altering the
Enlarge settings, it will reduce your artwork.  Enlarge starts out at 100.
If you move it down without altering the Reduce setting, it will enlarge
your artwork.

Now, drag the Reduce slider to 50.  As you alter the setting, you'll
notice the numbers changing in the box beneath the Scale indicator.  At
50, your clip box is now at .50, or 50 percent.

Select Preview.  Yo'll see your clip box shrink down across 11 frames
until it's half its original size.

Now we're going to try something a little different.  Move your cursor
up to Tween and toggle it off.  Then select Preview.  You'll see a
stationary box.  Now, select Render.

As you do, you'll see your shrunken clip box reproduced on every frame
of your animation.  By first setting the Clip/Seq box to Seq, this is
how you can shrink down entire animation sequences (necessary,
sometimes, to conserve memory).

Okay, let's try something else. Clear out all your frames and return to
the APM menu.  Toggle Tween back on, select Center, then select

page 73------------------------------ZOETROPE TUTORIAL IV: APM F/X

Mouse XY.  lace your cursor and click in the upper-left area of your
screen, about one inch from the left edge. Select Scale and make sure
Reduce is still set at 50.

Select review and, after you've seen how the effect is going to look,
select Render.

This illustrates several of the functions we've just covered.  Not only
can you shrink or enlarge your image, you can make it shrink or expand
to a secific center or vanishing point.

MOVE

Here's a way to do scrolling wipes or moving titles with ZOETROPE.
Select Clear, then select Move from the APM menu.  Move lalows you
to move your artwork in a straight path, from one point on your screen
to another.  The three slider bars that appear on the right side of the
APM f/x menu allow you to set the Move coordinate points.  Again,
the bars adjust, from top to bottom, the X, Y, and Z azes.

After you've selected Move, move the top slider all the way to the
right, then select Preview.  You'll see your cli box move off to the
right across your 11 frames.  

Okay, slide the middle bar all the way to the right, Preview it. Now
you know a nifty way to do a diagonal wipe.

Onward!  Clear your frames, go back and set the Y axis (the moddle bar)
back to 0 and slide the Z axis (bottom bar) all the way to the right.
review, and Render it. You see your image flying off in the
distance and to one side.

When you're finished, clear out your frames and return to the APM,
then click on Clear to erase your previous settings.

page 74------------------------------ZOETROPE TUTORIAL IV: APM F/X

THE PATH OPTIONS

The path options in ZOETROE allow you to move an image on a
predetermined corse, or path, about your screen.

Select Path, and four option buttons will appear in a column on the
right side of the APM f/x menu.

The first one we'll play with is Path of Points.  this allows you to set
a specific pathway on which you want to move your animation.

First, we're going to have to eliminate our venerable initials box. It's
served us nobly but we won't be needing it again.  Return to the main
screen, select a medium-sized brush fromthe Brush menu and draw a
hollow box about an inch-and-a-half square.  When you've finished
drawing it, Clip it [Tab], Kill all frames, then press [Return] twice to
make 21 blank frames.

Return to the APM and select Path of Points.  The full screen will
appear with the cursor and your clip box.  To define a path, move your
cursor around on the screen and click your left mouse button to set each
path point, connected by line segments.  For this example, make apath
going from one art of your screen to another (make it zig-zag) or else
make it in the center area of your screen, starting at the bottom and
working your way around, a rough diamond shae, say. Whatever your
ath shape, lay down about half-a-dozen points.

When your'e finished defining your ath, right-click to return to the
APM f/x menu and then select Preview.  When you do, you'll see your
clip box image moving along the path, starting from its original
position.  
When you move your artwork along this tye of ath, it will take the
same amount of time to travel between each oint.  Therefore, it will
apear to travel faster between points thatare far apart, and more slowly
between points that are close together. Try another Path of Points.
this time, cluster several oints close together, followed by several
widely spaced.  review, then Render the results.

Now, clear your frames and return to the APM menu.  Select Clocked 
Samled Path.  When you left-click again, you will see a small
representation of a spinning clock face.  The clock acts as a timer for

page 75------------------------------ZOETROPE TUTORIAL IV: APM F/X

you to se while setting your path oints.  It runs as long as your
animation sequence will run.  This is a 'real time' path mode which
you may use to plot your ath and imart a sense of 'rhythm' to your
artwork movement.

Try this.  Select Clocked Samled Path, left-click again and, quickly,
move your mouse (you don't need to hold the button).  Preview the
move before proceeding.  Render it if you wish.

To trace a Samled Path, hold down your leftmouse button and trace
out the path you want by moving your mouse cursor. Each pixel
reresents an individual path point.  Keep in mond that if yo lay down
many more points than you have frames available, your animation
might be both fast and 'jittery'.  When you release the left mouse 
button you will return to the APM.

FIRST AND MOTION

You can set your APM controls to perform a variety of wild
movements and bizarre image transformations, then save your favorite
APM settings to disk.  Thus, you can load them at any time and use
them with whatever yo have in your clip buffer.

Clear all your APM settings.  Place the ZOETROPE data disk in your
drive, and bring up the Load/Save menu.  Click on .APM, and select
Load. Look for the file called ONE.APM, and load it into memory.

Return to the APM f/x menu, and select Turn (to get out of the path
menu).  Now select Preview, and witness the effect of ONE.APM.  The
wire-frame rendition of your clip box starts out on one side of the
screen, thengoes flying off to the far right, and off into the distance.

Let's examine the APM settings we just loaded in.

On the left-hand side of the menu, is a box labeled Motion.  This is a
toggle, click on it and it changes to First.  Motion is the default
setting, and First is the optional setting.

If you are in Motion (as we have been all along) all of the special
movement settings on the right half of the APM f/x menu will be
exected over the course of your entire animation or specified range of
frames.  However, if yo are in First, all of the special movement

page 76------------------------------ZOETROPE TUTORIAL IV: APM F/X

settings on the right half of the APM f/x menu will be used to position
only the first frame - a very fancy, very recise way of placing your 
clip buffer at a particular location, then before moving it across your
screen.

The first frame of ONE.APM is almost off-screen.  Click on Motion to
toggle it to First, then select Turn. Notice that on the first frame of
our APM animation, the clip box has been rotated -117 degrees about
its Y axis.  Now, select Size.  You'll notice that the clip box starts out
at 1.00 - 100%, or normal size.  Now, select Move.  The X axis is at
-115, or the far-left of the screen.  The Y axis is 0, or normal - the
image doesn't move up or down.  The Z- (depth) axis is at -115, or
receding into the screen.

Click on First again to toggle back to Motion.  Now you'll see that the
image is moving to the right (+241 on the X axis).  Select Size, and
you'll see tha the animation is being reduced down to 10% of its
original size.

Now that you've explored these settings, you can better understand how
that first frame was positioned, and why the animation looks the way it
does.  Render it and play it a few times.  Afterwards, clear your frames,
return to the APM and alter your settings.   Add partial turns to the clip
buffer, alter the angle and axis, but be careful - it's quite easy to make
your images fly off-screen.  When you're finished, clear your frames and
then go to the main screen.

CLIP AND SEQUENCE

From the Load/Save menu, load the FOREMAN.RIF animation from 
your ZOETROPE data disk.  After it hasfinished loading, select .apm
from the Load/Save menu and Load the APM file called TWO.APM.

Play FOREMAN.RIF again to remember what it's like, then return to
the APM f/x menu.  In the lower-left corner is a box labeled Clip.
This is another toggle, like Motion/First.  Click on it, and it changes
to Seq.  If you are in Clip mode, the motion settings inthe slider boxes
on the right half of the APM f/x menu will be applied to the contents
of yor clip buffer only.  If you are in Seq(uence) mode, the motion
settings in the slider boxes on the right half of the APM f/x menu will
be applied to your entire animation sequence (either All or a Segment)
on a frame-by-frame basis.

page 77------------------------------ZOETROPE TUTORIAL IV: APM F/X

The primary difference between Clip and Seqence is that, when in Clip
mode, the APM will perform specified animation movements, or
transformations, on stationary mages (what is in your clip buffer)
while Sequence performs transformatioons on an already-existing 
animation.  In Seq mode, you are APMing each frame of your
animation sequentially, whereas in Clip Mode, you are APMing only
the contents of your clip buffer.

Make sure Seq is selected, then select Preview to examine the
TWO.APM effect.  Now, select Render.  The animation will be copied
across the entire range of frames, using the APM settings and replacing
the existing frames. This takes a bit more time than a clip APM.

After rendering the animation, play through it to see the final effect.
As the final version illustrates, you can use Sequence to produce an
additional layer of movement on alread-moving images (the animation
segment filling your entire screen), an effect equivalent to a movie
screen with images being projected on it spinning through space.

Return to the APM menu, we've got one last thing to do.

Click on Seq to toggle it back to Clip, then go to the Load/Save menu
and load THREE.APM from your ZOETROPE data disk.  After the
settings have loaded, return to the APM menu and select Render.  Don't
even bother selecting Preview.  When the rendering is finished, go to
your main menu screen and play it.

Surprise!  You'd probably forgotten about that box you had sitting in 
your clip buffer.  But ZOETROPE didn't - it rendered it on top of
your existing animation, imparting a wild, multiplanar effect to your
work.  Play through this animation, then return to the APM menu and
examine the motion settings, as you did before.

The value of this latter effect can't be understated.  Save whole libraries
of full-screen animations on disk, then reload them using different APM
settings each time to eventually create a storm of zipping, scrolling,
moving images.

page 78------------------------------ZOETROPE TUTORIAL V: COLOR F/X

                   ZOETROPE TUTORIAL V: COLOR F/X

Now that we've covered frame modes and tweening, let's see how they
afect the ZOETROPE color system.  Before we continue, we should
restore the default of ZOETROPE palette.  And there's a fast wayto do
that:  Kill any animation in memory and set the frame mode To Frame.
Select Color f/x from the Color menu, note that the Normal box is
highlighted.  Drag both ends of the Color Range Bar (fourth row) to
cover all the palette colors, then click on Render.  Press the right
mouse button to exit the Color f/x menu.  All done.

MULTIPLE PALETTES

We mentioned in passing that ZOETROPE can have a different color
palette for every frame in memory.  In its simplest form, this means
you can move to any frame and change the colors in the Palette menu
without altering the colors in the other frames.  This also means that
any palette - or portion of a palette may be applied to another frame
- or range of frames.  (If you're rusty on color theory, take a look at
the opening paragraphs in the Color portion of the Reference section
before proceeding).

Let's create a colorful screen so we can see the efects of or palette
changes.  Select the large square brush, turn on Cycle in the Color
menu, select Airbrush, and splatter the entire screen with colors (leave
some background showing).  Finally, press [Return] twice to create 21
frames of the idential picture, each with identical