All posts in Workflow

We first introduced Smart Magnet Rigs in 2013 and since then countless studios and individual animators around the world have adopted this ground-breaking approach to flexibility, efficiency and control.

With chain selection, magnetic joints and automatic clean up of arcs, Smart Magnet Rigs are unmatched in the current Flash or Animate landscape. Read more
When work on the traditional character build is completed, it can be easily upgraded to a Smart Magnet Rig. The only requirement for the flawless transition to SMR is that all elements should be properly registered.
Registration must always facilitate Forward Kinematics.

Users have a choice of three rigging methods:
  1. FreeStyle rigging, using the FreeStyle Rigging tool
  2. Classic (Full manual), using the Smart Magnet Rig panel
  3. Parented Layers to Smart Magnet Rig (Animate 2019+)*
Read more
SMR FK takes away all frustration and uncertainty from the default behavior of Flash / Animate tools. Selections become precise, fast and easy. Posing – enjoyable and intuitive.
SMR FK brings pleasure to animating and makes Flash and Animate relevant again in the second decade of 21st century.

SMR FK uses the great vector and tweening capabilities of Flash / Animate and provides a modern-day UX to an ever more demanding user base of animation professionals and enthusiasts.

SMR FK is all that Flash animators of the late 90s and early 2000s dreamed of and begged for, but never received from Macromedia or Adobe. Read more
The release of EDAP Tools v.6 Premium is not only an important step in the evolution of the Smart Magnet Rig system, but also a huge milestone in the history of Flash Animation.

After multiple failed attempts at IK by others over the years (the most notorious being Adobe's own implementation of bones), the Electric Dog team has developed and delivered a fully-fledged, flexible and polished IK system.

For the first time Flash / Animate users can enjoy the benefits of easy, fast and functional IK posing. Read more
Adobe introduced Layer Parenting in Animate 2019 and although in the ads it all looked great, it quickly became apparent to everyone that the system is plagued with bugs and the implementation leads to too many dead ends to be a sturdy production tool.
There is one thing, however, that Parented Layers do well – parented elements tween along arcs.

With the release of EDAP Tools v.6 we integrate Parented Layers into the SMR workflow.
To our users we provide a range of PL tools, which allow them to utilize all the benefits of Layer Parenting, while at the same time avoid all the dead ends. Read more
TransPosing is the process of dynamically applying matrix transformations, First Frame settings and Library Item associations to target instances, based on the matching properties of preset source instances.

In practical terms this means that carefully designed symbol-based presets of facial expressions or character poses can be saved in one container (the Reference Symbol or REF) and then dynamically TransPosed in any order onto the timeline where the actual animation is produced. The TransPosed retain all editability and the layer structure. They can be tweened or serve as the basis for new poses. Read more
A non-technical guide. Mostly...

This is not supposed to be an extensive study on the specifics of digital vector cutouts and how they differ from hand-drawn animation in regards to the application of animation principles, but there are such differences and I try to mention some of my findings.

The text is written in first person as it literally shares a personal approach and experience – a variety of techniques and methods, refined over many years to get the best results. Read more
This foundational article is an attempt to describe the process of organizing a production in its complexity, focusing on character-related specifics and trying to cast light over areas that are usually not even mentioned in books about Flash.

We will be focusing mostly on the technical aspects of Flash animation production. The creative and artistic side of the problems will rarely be addressed.

The text below assumes that readers are already animators or people with interest and knowledge of animation, its specific vocabulary, methods and practices. Read more