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-rwxr-xr-xMaster/texmf-dist/doc/latex/animate/animate.tex37
1 files changed, 19 insertions, 18 deletions
diff --git a/Master/texmf-dist/doc/latex/animate/animate.tex b/Master/texmf-dist/doc/latex/animate/animate.tex
index 43c5831a321..2e96be9bd1c 100755
--- a/Master/texmf-dist/doc/latex/animate/animate.tex
+++ b/Master/texmf-dist/doc/latex/animate/animate.tex
@@ -60,7 +60,7 @@
\begin{document}
\title{The {\sffamily animate} Package}
-\author{Alexander Grahn \animategraphics[autoplay,loop,height=1.8ex]{8}{bye_}{0}{3}\protect\footnote{Animated GIF taken from \href{http://www.phpBB.com}{phpBB} forum software and burst into set of EPS files using \href{http://www.imagemagick.org}{ImageMagick} before embedding.}\\[1ex]\includegraphics[height=2.7ex]{mailto}}
+\author{Alexander Grahn \animategraphics[autoplay,loop,height=1.8ex]{8}{bye_}{0}{3}\protect\footnote{Animated GIF taken from \href{http://www.phpBB.com}{phpBB} forum software and burst into a set of EPS files using \href{http://www.imagemagick.org}{ImageMagick} before embedding.}\\[1ex]\includegraphics[height=2.7ex]{mailto}}
\maketitle
\begin{abstract}
@@ -94,7 +94,7 @@ The final PDF can be viewed in current Adobe Reader\textsuperscript{\scriptsize\
\end{trivlist}
\section{Installation}
-Unzip the file `animate.tds.zip' into the local TDS root directory which can be found by running `\verb+kpsewhich -var-value TEXMFLOCAL+' on the command line.
+Unzip the file \href{http://tug.ctan.org/tex-archive/install/macros/latex/contrib/animate.tds.zip}{`animate.tds.zip'} into the local TDS root directory which can be found by running `\verb+kpsewhich -var-value TEXMFLOCAL+' on the command line.
After installation, update the filename database by running `\verb+texhash+' on the command line.
@@ -283,7 +283,7 @@ timeline=<timeline file>
\end{verbatim}
\verb+<timeline file>+ is a plain text file whose contents determines the order of appearance of the embedded material during the animation. It allows to freely rearrange, repeat and overlay the material at any point of the animation. This may greatly reduce the file size of the resulting PDF, as objects that do not change between several or all frames, such as coordinate axes or labels, can be embedded once and re-used in other frames of the animation.
-If a timeline is associated with the animation, the graphics files or inline graphics embedded by \verb+\animategraphics+ and `\verb+animateinline+' no longer represent the actual frames of the animation. Rather, they are a collection of \emph{transparencies} that can be played with at will. However, it is now up to the author's responsability to construct a timeline that makes use of all those transparencies and to put them into a sensible order. In order to identify the transparencies within the timeline file, they are numbered in the order of their inclusion, starting at zero.
+If a timeline is associated with the animation, the graphics files or inline graphics embedded by \verb+\animategraphics+ and `\verb+animateinline+' no longer represent the actual frames of the animation. Rather, they are a collection of \emph{transparencies} that can be played with at will. However, it is now up to the author's responsability to construct a timeline that makes use of \emph{each} of those transparencies and to put them into a sensible order. In order to identify the transparencies within the timeline file, they are numbered in the order of their inclusion, starting at zero.
Each line of the timeline file that is not blank and which does not begin with a comment (`\verb+%+') specifies \emph{one} frame of the animation. There may be more transparencies than animation frames and vice-versa. A frame specification consists of three, colon-(\verb+:+)-separated fields:
\begin{verbatim}
@@ -307,7 +307,7 @@ Consider the two timelines
::2,0
::3,0
::4,0
- ...
+ etc...
\end{verbatim}
\normalsize
and
@@ -317,7 +317,7 @@ and
::2
::3
::4
- ...
+ etc...
\end{verbatim}
\normalsize
In the first example, transparency No. 0 appears in the foreground throughout the animation; it will never be obscured by other transparencies' content. In the second example it is put to the background, because it is the first transparency specification in the file, and stays there for the rest of the animation.
@@ -332,7 +332,6 @@ When designing the timeline, care should be taken not to include a transparency
::4,2
::5,1 % bad: transparency `1' included twice
::6
- ...
\end{verbatim}
\normalsize
Also, `animate' finds and lists transparencies that have never been used in an animation timeline. This may help to avoid dead code in the final PDF.
@@ -341,18 +340,20 @@ Also, `animate' finds and lists transparencies that have never been used in an a
The stack-like concept of animations, where transparencies are always put on top such that they overprint the content of previously deposited transparencies, can be inconvenient in certain situations. For example, it might be desirable to allow for changing the background image in the middle of an animation without affecting objects that are located in the foreground. For this purpose, transparency specifications can be grouped into \emph{layers} using the semicolon (\verb+;+) as a separator instead of the comma. This is best illustrated by an example:
\small
\begin{verbatim}
- ::0x49;2x0,3x0 % first background image, transparency `0', used in
- :: ;4x0,5x0 % the first 49 frames
- :: ;6x0,7x0
- ...
- :: ;98x0,99x0
- ::1x0;100x0,101x0 % new background image, transparency `1', until end
- :: ;102x0,103x0 % of animation
- :: ;104x0,105x0
- ...
+ % <--layer 1--> <--layer 2-->
+ %
+ :: 0x49 ; 2x0,3x0 % transparency `0' used as background
+ :: ; 4x0,5x0 % image during the first 49 frames
+ :: ; 6x0,7x0
+ etc...
+ :: ; 98x0,99x0
+ :: 1x0 ; 100x0,101x0 % transparency `1' used as new background
+ :: ; 102x0,103x0 % image until end of animation
+ :: ; 104x0,105x0
+ etc...
\end{verbatim}
\normalsize
-In this timeline, the transparencies are grouped into two layers. One is reserved for the background images, transparencies No. 0 \& 1, to be exchanged after 49 frames, and another one for the foreground objects that are successively added to the scene. As can be seen in this example, layers need not be explicitly populated; the leading semicolons just ensure the proper relationship between transparencies and animation layers. Note that \emph{without} setting up two layers, that is, by replacing the semicolons with commas, the foreground objects on transparencies 2 through 99 which have been added during the first 49 frames would be overprinted by the new background image, transparency 1, from frame 50 onward.
+In this timeline, the transparencies are grouped into two layers. One is reserved for the background images, transparencies No. 0 \& 1, to be exchanged after 49 frames, and another one for the foreground objects that are successively added to the scene. As can be seen in this example, layers need not be explicitly populated; the leading semicolons just ensure the proper assignment of transparencies to animation layers. Note that \emph{without} setting up two layers, that is, by replacing the semicolons with commas, the foreground objects (transparencies 2 through 99) which have been added during the first 49 frames would be overprinted by the new background image, transparency 1, from frame 50 onward.
See the second animation, Fig.~\ref{fig:scarab}, in Section~\ref{sect:examples} for a working example that makes use of the timeline and the layer concept.
@@ -515,9 +516,9 @@ Fig.~\ref{fig:torus} is an inline graphics example adapted from \cite{gilg05}.
\begin{center}
\begin{animateinline}[poster=last, controls, palindrome]{12}%
- \multiframe{29}{iAngle=80+10, dLinewidth=2.9pt+-0.1pt}{%
+ \multiframe{29}{iAngle=80+10, dLineWidth=2.9pt+-0.1pt}{%
%iAngle = 80, 90, ..., 360 degrees
- %dLinewidth = 2.9pt, 2.8pt, ..., 0.1pt
+ %dLineWidth = 2.9pt, 2.8pt, ..., 0.1pt
\torus{\iAngle}{\dLineWidth}%
}%
\end{animateinline}%