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Consequently, all subsequent appearances of head in another keyframe will only require a few bytes of reference and placement data, not all the shape information Flash will only rewrite this information when something changes Adding a keyframe and changing nothing only adds 2 bytes for the keyframe However, if, in this new keyframe, you move head to a new position the reference will now be something like head placed at 45,51 and this will animate the head Furthermore, because head is a symbol, you can also scale it ( head placed at 45,51, scaled 110 percent ), rotate it ( head placed at 45,51, scaled 110 percent, rotated 45 degrees ) and modify its color instance ( head placed at 45,51, scaled 110 percent, rotated 45 degrees, tinted with light blue 20 percent ).

XML (Extensible Markup Language) is a language with user-defined tags that give context to data. You can use XML to store and transfer data in a platform-independent format while still retaining both the values as well as the significance of those values in a universally understood structure. XML looks similar to HTML in structure, but more strictly enforces rules by which the language must be structured. XML that adheres to the rules is known as well-formed XML. Using the XML object, you can use ActionScript to create, send, load, and parse XML documents. LoadVars offers an alternative to the MovieClip object loadVariables() method. LoadVars is advantageous because, among other things, it allows for an onLoad() method that is called when data is loaded. LoadVars and XML objects send and load data in the same ways. Each allows you to define an onLoad() method that is called automatically when the data is loaded. The difference between the LoadVars and XML objects is in the format of the data that they handle. XML objects handle XML data, and LoadVars objects handle data in name-value pairs.

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Combining the mask and object into the masked object shown in Figure 13-34 is as simple as selecting the gradient, choosing Edit Cut, and then choosing Modify Mask Paste as Mask. The background object is now showing through the mask. All the objects appear to be part of the same image, rather than distinct objects. Of course, the vector mask is still editable. The three separate variations on the Fireworks logo in Figure 13-35 are on separate layers. The Big Crinkley Logo has holes in it where the background shows through, and its Bevel effect raises it off the canvas and provides a feeling of depth. The Real Logo quickly purloined from the Fireworks Web site or somewhere similar looks a little ragged, but will be mostly covered by the Hand-Drawn Logo, so that only its colors show through. The drop shadow and inner bevel applied to the Hand-Drawn Logo adds more depth and provides a nice transition between it and the Real Logo beneath it.

Then, you ll want to determine the time and human resources required for the entire project or concept. What role will you play in the production Will you need to hire outside contractors to work on the presentation (for example, character animators, programmers, and so on) Make sure you provide ample time to produce and thoroughly test the presentation. When you ve determined the time and resources necessary, you ll determine the costs involved. If this is an internal project for your company, then you won t be concerned about cost so much as the time involved your company reps will want to know what it will cost the company to produce the piece. For large client projects, your client will probably expect a project rate not an hourly or weekly rate. Outline a time schedule with milestone dates, at which point you ll present the client with updates on the progress of the project. It s beyond the scope of this book to explore the workflow process any further. However, there are many excellent resources for project planning. One of the best books available for learning the process of planning interactive presentations is Nicholas Iuppa s Designing Interactive Digital Media. We strongly recommend that you consult the Graphic Artists Guild Handbook of Pricing and Ethical Guidelines and the AIGA Professional Practices in Graphic Design, edited by Tad Crawford, for information on professional rates for design services.

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