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When you hear politicians claim that the next war is "not about the oil," rest assured: It's about the oil.
Although the revolts in the Middle East involve genuine disputes within the nations – Egypt, Libya, Syria – the superpowers – US, NATO, China, Russia – exploit these conflicts as surrogate wars over the Middle East's valuable energy resources.
In April, in a first of a series of meetings, the five members of the UN Security Council – China, Russia, France and the US, all states with nuclear weapon arsenals on their soils – insisted that Iran abide by the UN's Nuclear Non-proliferation Treaty (NPT), which Israel has refused to sign. Israel likely possesses nuclear weapons capability, which they refuse to confirm or deny.
These nations, along with their ally Israel, do not want Iran to join the nuclear weapons club. They insist that Iran abide by the UN's Nuclear Non-proliferation Treaty (NPT). Some observers find this hypocritical of the nuclear powers, which makes this a hard sell to the Iranian people and to the rest of the world.
Meanwhile, families of slain Iranian scientists have sued the US, Britain, and Israel for an alleged undeclared clandestine war inside Iran, assassinating nuclear scientists, blowing up nuclear facilities, and terrorizing the population. According to the New York Times, the US and Israel authored the Stuxnet virus that disabled Iranian nuclear plants.
For its part, Iranian President Mahmoud Ahmadinejad has inflamed conflict by disparaging Israel, denying the Holocaust, and disputing Israel's right to exist. Iran is also allegedly linked to Hezbollah attacks on Israeli civilians such as the killing of Israeli tourists in Bulgaria last July.
Greenpeace International Executive Director Kumi Naidoo wrote an open letter to Ahmadinejad and Israeli Prime Minister Benjamin Netanyahu, urging them to abandon nuclear technology all together and join the world in the development of renewable energy. Greenpeace – founded in 1971, as a peace group sailing boats into nuclear test zones – has always recognized that war is both a human rights and environmental issue.
"The high handed posturing of Iran's principle accusers, requires some scrutiny," wrote Naidoo. "Together they stand for four decades of bad faith. Under the NPT they promised to disarm… They have not done so!"
Photo 03/15/2003: Greenpeace Lebanon activists hold signs reading 'Oil kills' during a protest against the US-led war in Iraq.
The persistent war-making against Iran, Iraq, Afghanistan, Libya, and Syria is about one primary goal – a goal shared by the US, Russia, China, and the European nations – to control the world's dwindling oil supply.
Resource wars
Oil company cheerleaders proclaiming huge supplies of oil are dead wrong. Peak oil is as real as rain, and it is here now. Not 2050. Not 2020. Now.
Oil production has been flat since 2005. This is not by choice. The producers cannot increase production because new fields cannot keep pace with declining production from old fields. Every producing oil field on Earth is in decline (unless it is brand new), and peak discoveries are well behind us. The graph below, from Exxon Mobil, shows peak oil occurring now and peak discoveries 50 years ago.
Because of oil field depletion, maintaining world oil production at its current level into the future would require bringing a new Saudi Arabia (3-billion barrels annually) into full production every three years. There exists on Earth not one single promising oil field that remotely approaches those requirements.
During the last century human society burned the best half of recoverable hydrocarbons, representing 500-million years of captured sunlight. Idle societies squandered this energy on drag races, traffic jams, private jets, sprawling homes, and overheated office buildings. But more than any other single wasteful enterprise, the great industrial empires squandered this one-time storehouse of high-quality fuel fighting over that very fuel.
We won't "run out of oil" because, simply, we'll never get it all, but peak oil is here, the world's largest and best reserves are still in the Middle East, and the world's military regimes – which run on petroleum – know this.
In 2010, the US Military Joint Forces Command predicted the end of "surplus oil production capacity" and warned, "the shortfall in output could reach nearly 10-million barrels per day." The US military is concerned. At full strength in Iraq & Afghanistan, the US deployed about 190,000 soldiers, using about 10 million gallons of fuel per day, equivalent to the amount of fuel consumed each day by a city of 20 million people.
Oil has fueled and driven warfare for the last century. In 1912, on the eve of the First World War, Winston Churchill said flatly, "You have got to find the oil ... purchased regularly and cheaply in peace, and with absolute certainty in war."
Oil proved to be the primary strategic resource during World War II. During the war, the US built the world's longest pipeline – from Texas to the Atlantic – and produced about 6.3 billion barrels of oil. By comparison, Germany produced a mere 200 million barrels, about 3% of US production, much of it from expensive "synthetic oil" produced from coal.
Desperate for fuel, Germany entered North Africa and Russia in 1941 to reach the Baku oil fields in the Caspian foothills. German War Production Minister, Albert Speer, conceded in his post war interrogation that oil "was a prime motive" for these invasions. Predicting victory at Baku, Hitler declared, "Now I have oil! Proceed to India!" But Hitler's army literally ran out of gas. German supply trucks got half their normal fuel mileage in the roadless, muddy terrain. Rommel abandoned empty, fuel-gobbling tanks in the Egyptian desert west of El Alamein. "We have the bravest men," he declared, "but they are useless without enough petrol."
Japan was also desperate for oil to fuel their imperial wars in Asia. They made fuel from potatoes and pine roots, invaded the Dutch East Indies (Indonesia) to seize the oil fields, and ditched planes and pilots at sea for lack of fuel to return home. Japan also ran out of gas. Once American and British ships cut off Japan's fuel line from Indonesia, the Pacific war was over. The bombs on Hiroshima and Nagasaki were motivated by American experimental zeal and a weapons race, not by military necessity.
The new Middle-Eastern conflicts – Iraq, Afghanistan, Egypt, Syria, Libya, Iran – are still about the oil. Today, America is occupying foreign oil fields and securing pipeline routes to feed its petrol habit and reap profits. NATO allies, equally desperate for the last dregs of Earth's once great store of hydrocarbons, play along with the U.S.
Prior to the 1990 Gulf War I, Halliburton president and rightwing henchman Dick Cheney revealed, "We're there because … that part of the world controls the world supply of oil, and whoever controls the supply of oil … would have a stranglehold on ... the world economy."
So there you have it. All this bloodshed is over dwindling oil reserves. Meanwhile, war has become the largest business on Earth, worth trillions of dollars, Euros, Rubles, and Yuan every year. Most citizens think of war as a terrible dysfunction of society, but to the modern private military profiteer, war is an opportunity to get rich.
The US military began to privatize war production in 1985 with the "Logistics Civil Augmentation Program" and first used the private army to construct, maintain, and secure two petroleum pipelines in Southwest Asia.
In 2005, US Secretary of Defence, Donald Rumsfeld said, "It is clearly cost-effective to have contractors for a variety of things that military people … cannot be deployed to do." It now appears that those privatized tasks included torture, sexual abuse, political assassinations, and murder of private citizens. Pulitzer prize-winning journalist Seymour Hersh revealed Rumsfeld memos that "encouraged physical coercion and sexual humiliation of Iraqi prisoners."
In 2002, Rumsfeld lied to the US public and Congress, claiming: "We know that the Iraqi regime has chemical and biological weapons." This pretense justified a US invasion that has left nearly 1 million people dead or wounded, mostly private Iraqi citizens. Former, Iraqi Health Minister Ali al-Shemari reported 100 bodies-per-day going through the Bagdad morgue.
The civilian deaths included outright murder by US private "security" firms such as Blackwater. Private firms CACI, and Titan Corp. were central to the Abu Ghraib prison torture in 2003 and 2004. However, unlike military personnel, the private companies avoided prosecution for those crimes.
When a company like Blackwater – and its founder Erik Prince – get caught, they simply sell off the company and disappear. Blackwater employees faced US federal court charges of murdering innocent Iraqi citizens, illicit weapons-smuggling, money laundering, tax evasion, and war crimes. In 2010, Prince – who proudly compared his killing spree to the Christian Crusades – sold his companies, negotiated a $42 million fine with the US government, and moved to Abu Dhabi. The $42 million "fine" represented less than 1% of their government fees, at public expense, a minor cost of doing the dirty business.
According to a US Racketeer Influenced and Corrupt Organizations Act lawsuit over 1999 DynCorp actions in Bosnia, both DynCorp and Halliburton – ex-US-Vice-President Dick Cheney's former company – "were engaging in perverse, illegal and inhumane behavior and were illegally purchasing women, weapons, forged passports and participating in other immoral acts," that allegedly included child abductions. The Chicago Tribune reported in 2005 that lobbying groups representing "thousands of firms, including ... DynCorp International and Halliburton subsidiary KBR, both of which have been linked to trafficking-related concerns," attempted to stall legislation that would ban human trafficking by US contractors.
The survivors of war also pay a price for their proximity to the death, destruction, cruelty, and tragedy. In March 2008, US Army psychiatrist, Colonel Charles Hoge, told the U.S. Congress that almost one-third of troops on their third deployment suffer mental-illness. A study in the US Archives of Internal Medicine showed a similar one-third of returning Iraq and Afghanistan war veterans suffered psycho-social disorders, post-traumatic stress, depression, homelessness, and marital problems, including domestic violence. In 2007, 121 US soldiers killed themselves, and over two thousand others tried and seriously mutilated themselves.
The civilians in Iraq and Afghanistan have also felt these socially debilitating effects of war. In Afghanistan, ten thousand villages and their fields and surrounding environments have been obliterated, energy and water infrastructure has been destroyed, and water has been contaminated with toxins and bacteria. People have been left sick, homeless, hungry, and without resources.
On top of all this, the environment itself is a victim of war. Afghanistan forests have been destroyed directly by bombings and fire, and indirectly by refugees in need of firewood and armies selling lumber to buy guns and supplies. Migratory bird populations have dropped by 85%. Mountain leopards have lost habitat, are now endangered, and have been slaughtered by refugees, who trade them for food or safe passage.
Photo 09/19/1991: Greenpeace campaigner Paul Horsman surveying burning oil wells, Al Burgan oilfield, Kuwait.
War pollutes air, soil and water with toxins such as cyclonite, rocket propellants, and depleted uranium ammunition which causes kidney damage and cancer. The children of modern war victims – civilians and soldiers – show an increase in birth defects from depleted uranium, chemicals, and nerve agents. Abandoned landmines throughout the Middle East kill and maim men, women and children.
During the 1991 Gulf War, the fleeing Iraqi army spilled one million tons of crude oil into the Persian Gulf, killing some 25,000 migratory birds and causing smog, acid rain, and toxic fumes. When water treatment plants were destroyed, raw sewage flowed directly into the Tigris and Euphrates rivers, increasing Typhoid fever tenfold.
Death, maiming, slavery, sexual abuse, depression, homelessness and the destruction of both civil society and our ecosystems: These are the costs of war not paid by the profiteers. War remains the greatest ecological disaster and human rights tragedy on Earth.
Deep Green is Rex Weyler's column reflecting on the roots of activism, environmentalism, and Greenpeace's past, present, and future. The opinions here are his own.
Rex Weyler was a director of the original Greenpeace Foundation, the editor of the organisation's first newsletter, and a co-founder of Greenpeace International in 1979.
Deep Green is Rex's column, reflecting on the roots of activism, environmentalism, and Greenpeace's past, present, and future. The opinions here are his own.
(Unregistered) Nicholas C. Arguimbau
Yes it's about oil. But for whom? Think about these things:
1. Beginning in the early nineties, American companies began enormous investments in China. That has kept escalating. Congress is not known for zealous opposition to the wants of multinational companies that call themselves American." They need an assured oil supply IN CHINA.
2. The Vice-president of Unocal, on invitation, testified before Congress in 1998, that we must oust the Taliban because it was blocking pipeline routes across AQfghanistan to "the right markets," India AND CHINA. He explained that the Asian markets were rapidly growing whereas the European and US markets were stagnant. This was largely the result of foreign direct investment.
3. The US proceeded to negotiate with the Taliban over pipeline routes and in the final meeting, in 2001, informed them that, depending upon their willingness to permit pipelines, "you may choose between a carpet of gold and a carpet of bombs."
4. The trillion-dollar war in Afganistan that followed, was funded with a trillion-dollar bond sale to CHINA.
5. After the US ousted theTaliban, the Kabul Press announced, "CHINA won the war!"
6. The US installed Hamid Karzai, a forner Unocal consultant, who promtly approved sale to CHINA at a price of $4 billion (over a competing bid from an American company) the largest remaining undeveloped copper deposits in the world, reputedly valued $80 billion.
7. The Karzai administration has also negotiated natural gas and oil pipeline routes for moving fossil fuels to CHINA.
8. One of the functions of the US continuing military presence in Afganistan is to provide security for CHINESE industrial installations.
9. On to Iraq. The US installed a "regime change" there. The new regime held a massive oil development auction in 2009 for most of its undeveloped resources. No US oil company attended. The great preponderance of the oil went to CHINA (more specifically, to a China/Malaysia partnership).
10. While Exxon-Mobil was awarded a development of half of one major Iraqi field (the other half to go to Russia), there have been constant disputes between Exxon and Iraq, culminating this week in Exxon's abandonment of the Iraqi deal.
11. The last hope for "American oil dependence" is the Bakken shale oil field. Despite the US military impending petroleum shortage, the shale oil is currently being 100% exported, to CHINA.
12. "American" oil companies have been selling refineris and gas station chains in the US and Britain, while building refineries in India and CHINA (the "right markets," remember?)
13. All of this is presumably reassuring to "American" companies like Apple, Dell, Hewlett Packard and GM, which have established huge manufacturing facilities in CHINA and consequently need oil for the long hall, which cannot be assured unless china corners world remaining supplies.
14. The Wall Street banks (you know, the ones that financed the banruptcy of the middle class homeowners and got "bailed out" for trillions when it turned out the gazillions of suburban ticky-tacky houses weren't worth much; and you know, the ones who financed Obama's 2008 election) have multiple interlocking directorships with the major Chinese banks, which finance Chinese industrial development.
"So it's One, Two, Three, who are we fighting for?" (Country Joe McDonald). You decide.
Nicholas C. Arguimbau,
20 October, 2012 at 4:26
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(Unregistered) iakovos
Israel's Natural Gas Wars
25 September, 2014 at 23:13
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subset: commoncrawl


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Act Now takes an urgent and cooperative approach to limiting the environmental problems of tomorrow with the technology and know-how of today.
Society must change the way it perceives the relationship between humans and earth. Only then will people understand the need for a more urgent approach to sustainable living.
So says Katherine Richardson, a professor of biological oceanography and head of the Sustainability Science Centre at the University of Copenhagen. She was also Chair of the Danish Commission on Climate Change Policy.
"That change is underway, but science is telling us that this transformation in perception is happening too slowly in relation to the irreversible changes humans are causing to nature," she says.
For instance, the European Union's 20-20-20 targets aim to reduce emissions of greenhouse gases by 20 percent, increase energy efficiency in the EU by 20 percent, and to reach 20 percent of renewables in total energy consumption in the EU… but do not demand results for another eight years.
"We're here to say, 'Yes, sustainability can be profitable.'"
Lisbet Bræmer-Jensen, Act Now founder
A sense of urgency
Fortunately, plenty of solutions exist that can help today, according to Act Now. Started in June 2011, the Act Now organisation – a partnership consisting of the Climate Consortium Denmark, the Copenhagen Municipality, the Danish green think tank Concito and Grundfos – works to spread the message about existing products and solutions that can help reduce CO2 emissions at once by lowering energy consumption. Due to their energy efficiency, these products and solutions will also lead to increased profitability for the companies and individuals that use them.
"Act Now provides a platform for likeminded individuals to use the technology of today to cut energy use," says Lisbet Bræmer-Jensen, Grundfos Corporate Affairs Director, Energy & Climate Industry and founder of Act Now. "Grundfos immediately supported this initiative. We know specifically how much good can be done right here, right now. Ten percent of the world's energy goes to pumps, our expertise. Just by using better pumps, we can reduce that number by four percent, which is a drastic difference."
A variety of simple yet effective technological solutions are available now that can help minimise the harm on the environment, including energy efficient pumps, optimized heating and cooling systems and upgraded lighting. This is, in part, Act Now's goal: to let people know that more energy efficient products and solutions are out there.
"Often when you discuss climate issues, people tend to think that current technology is not good enough or rational or economically beneficial," says Martin Lidegaard, a Danish politician who has been Minister for Climate, Energy and Building since 2011. "The Act Now organisation is out to prove that actions taken now are a benefit to the climate and environment – as well as our economy."
Help from everywhere
Act Now is also spreading the message of importance of interdisciplinary cooperation; from business to academia to the political arena. Everyone is affected by climate change, so it is important that new initiatives include participants from every walk of life, says Katherine Richardson. "Organisations like Act Now – especially because they are rooted in the non-academic community – can serve as a catalyst for changing perceptions," she says.
"The climate issue is the biggest challenge that my generation of politicians is dealing with. If we fail now, it will be extremely difficult to catch up later."
Martin Lidegaard
The value of change
But it is not just partnerships that are important: the partners have to be committed to the changes they want to see, and that means getting the message out about sustainability, sharing best practices and profitability.
"Act Now wants partners that are willing to be accountable and responsible," says Lisbet Bræmer-Jensen. "Being a member is not just a ticket to a good night's sleep. You have to put your money where your mouth is. Other companies have had similar initiatives, but no one wants to change unless it's profitable. We're here to say, 'Yes, sustainability can be profitable.'"
Martin Lidegaard echoes this sentiment: "There is a tendency in public debate to think that there's a contradiction between green economic growth and sound economic thinking. But Act Now is showing that this contradiction doesn't exist. If we don't work with the market and private sectors and make good business and energy savings together, we won't be able to push as far as we would like."
Katherine Richardson points out that failing to prioritise such technology investments can have a negative impact on companies. "Maximising income on the short term can be expensive in the future," she says.
Efforts such as Act Now mark some initial steps in what will become a continuous challenge to be innovative and create solutions and products that do not harm the environment.
About Act Now
Act Now is a partnership among a growing list of partners, including Grundfos, the Copenhagen Municipality, Concito and the Copenhagen Climate Consortium. The organisation aims to increase awareness about solutions that help to reduce CO2 emissions and thus ensure profitability due to their lower energy consumption.
Act Now works to find world-class examples of energy-efficient solutions and then generate awareness among commercial decision-makers. According to Act Now, it has a unique position:
• A business-driven voice in the world of energy and climate initiatives
• Directing companies towards ways to act sustainably – now
• Finding simple solutions to complex global challenges
• Empowering decision-makers to create their own cost-beneficial solutions
• Creating win-win solutions that expand markets, while fighting climate change


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Festival organisers announced 109 features on Thursday [31], 68 of which come from first-time film-makers and 69 are world premieres. The multimedia festival is scheduled to run from Mar 8-16 in Austin, Texas.
The Midnighters feature section and short films will be announced on Feb 6 and the complete panel line-up and schedule will be made public on Feb 13.
"It's an incredible privilege to sift through so much exciting work, and every year brings new surprises," said Film Conference and Festival producer Janet Pierson. "Though trends emerge after the fact, not consciously while we're programming, much of this year's programme embraces love and the need/search/desire for connection.
"Many films reflect importantly on our culture and include intimate looks at iconic figures, and we're lucky to have a plethora of hugely entertaining and audience pleasing films. Even more thrilling is the opportunity to support so many film-makers we've followed for years who've made enormous creative leaps in their work."
The festival's main juried competition categories comprise eight Narrative Feature world premieres and eight Documentary Feature world premieres. All feature categories, except Headliners, will be eligible for category-specific Audience Awards.
The Narrative Feature Competition entries are: Awful Nice by Todd Sklar, Burma by Carlos Puga, Improvement Club by Dayna Hanson, LICKS by Jonathan Singer-Vine, The Retrieval by Chris Eska, Short Term 12 by Destin Daniel Cretton, Swim Little Fish Swim by Ruben Amar and Lola Bessis and This Is Where We Live by Josh Barrett and Marc Menchaca.
The Documentary Feature Competition entries are: 12 O'Clock Boys by Lotfy Nathan, Big Joy: The Adventures Of James Broughton by Stephen Silha and Eric Slade, Hey Bartender by Douglas Tirola, Los Wild Ones by Elise Salomon, The Short Game by Josh Greenbaum, Touba by Elizabeth Chai Vasarhelyi, We Always Lie To Strangers by A J Schnack and David Wilson and William And The Windmill by Ben Nabors.
Among the Headliners entries are Fede Alvarez's Evil Dead remake, Don Scardino's The Incredible Burt Wonderstone and Stephen Finnigan's Hawking. Narrative Spotlight entries include Joe Swanberg's Drinking Buddies, Dan Mazer's I Give It A Year[pictured], John Sayles's Go For Sisters and Sean H A Gallagher's Good Night.
Top brass received a record 2,096 feature-length submissions comprising 1,482 US and 614 international entries. The record number of 5,682 submissions in total amounted to a 7% increase over 2012. To see the full programme visit the official website.


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By Doug Winnie
10 February 2009
10 February 2009
User Level
Required products
Sample files
- Go.png (4 KB)
Adobe Flash CS4 Professional introduces a revamped animation engine that is easy to use and more powerful than previous versions. When you have mastered the basics of the engine, Flash gives you added capabilities to extend your creative possibilities.
In this article, I show you how to import artwork to Flash CS4, create an animation, and change an animation after you've created it.
Importing artwork to Flash
With Flash CS4, you can import content from multiple Adobe Creative Suite CS4 applications, including Adobe Photoshop, Adobe Illustrator, and Adobe Fireworks, as well as from Adobe InDesign CS4 and Adobe After Effects CS4.
In this example, we import artwork from Fireworks. With Fireworks CS4, you can work with both raster and vector content. Raster files (or bitmaps) become pixelated when you resize them. A photograph is an example of a raster graphic file. Vector files, on the other hand, do not pixelate when you resize them. The paths of a vector graphic simply redraw no matter how much you expand or reduce it.
In Fireworks CS4, you can create assets to import to Flash CS4. For this example, I have created a vector polygon with a gradient fill and a stroke that is grouped with a text field (see Figure 1). This Fireworks file is saved as a PNG file, which can then be imported to Flash CS4.
Figure 1. Vector graphic created with Fireworks
To import the file, you must first create a new Flash CS4 document by selecting Flash File (ActionScript 3.0) from the Create New column on the Flash startup screen.
To import the Fireworks PNG file, choose File > Import. You have two import options: you can import either to the Stage or the Library. The Stage is the main animation area for the movie you're creating with Flash. The Library is a bank of assets or graphics that are part of the project but not necessarily on the Stage. The Library contains assets that you either create in Flash or import from other applications.
Import the Fireworks PNG design to the Flash CS4 Library by choosing File > Import > Import To Library. Then browse to the file and click Import To Library. In the Import Fireworks Document dialog box, select the options shown in Figure 2.
Figure 2. Fireworks import dialog box in Flash CS4 Professional
For this example, you want to keep the vector design editable instead of converting it to a raster or bitmap design. For designs that are more complex, you may want to import as a bitmap to maintain the appearance.
When you click OK, the Fireworks asset is imported to Flash. To see the imported assets, click the Library tab. When the assets are imported, the design is automatically converted to a graphic called Go.png.
To position the graphic on the Stage, drag and drop the Go.png asset from the Library panel to the Stage. Position the object in the upper left corner. If you don't position it in the correct location initially, you can reposition it using the mouse by dragging and dropping the graphic to the correct position. Your file should look like Figure 3.
Figure 3. Starting position on the Stage for the Go graphic
Creating an animation
Now, let's say you want to make an animation that will move the asset from the upper left corner to the lower right corner.
First, you need to tell Flash that you want to tween the object. When you use a tween, you tell Flash where on the Stage you want the object in the animation to start and end. Flash will automatically fill in the frames between the start and end points that you define.
There are two types of tweening in Flash: motion and shape. Since you are moving the Go graphic instead of changing its shape, you need to create a motion tween. To do this, right-click the object in Flash and select Create Motion Tween.
Now you'll notice that the Timeline at the bottom of the application has changed.
The Timeline represents how the animation looks and behaves from the time it starts moving until it arrives at its destination. The Timeline is broken up into frames, or individual points in time, that display the animation.
By default, Flash displays individual frames at a rate of 24 per second, which means that for each second the animation is playing, 24 frames are displayed. In the Timeline, the red indicator is the playhead, which shows what frame you are currently displaying in the Flash application.
Before you added the motion tween, the Timeline was a single frame, containing the object you placed onto the Stage. When you created the tween, Flash extended the Timeline by 24 frames and positioned the playhead at the end of the tween.
Now that you are at the end of the tween, you want the Go graphic to be at the lower right corner of the Stage. To change its location, simply drag and drop the graphic to the desired location. With the playhead on frame 24, move the Go symbol to the lower right corner of the Stage (see Figure 4).
Figure 4. Setting the Go graphic's final destination in the animation
After you drop the object, you'll notice a line with dots appear from the graphic's starting location (the origin) to the final location (the destination). That line is called the motion path. It won't actually show when you publish your file, but it is a visual cue to show you the path the graphic will take as it moves from the origin to the destination.
Now that the destination has been set, you can click and drag the playhead to show the animation on the Timeline. Click and drag the playhead to frame 1, and then press Return to play the animation in Flash. You'll see the object move from the upper left to the lower right.
Now, you can preview how it will look in Flash Player. It is a good idea to test your animations in Flash Player as well as in Flash CS4, since the Flash Player preview more accurately represents the timing and actions you may use to control and update your animation. To preview in Flash Player, Choose Control > Test Movie from the main Flash menu.
Now you'll see a new window appear that displays the animation. The animation will simply loop because you haven't told the animation when to stop. We'll take care of that later.
Changing an animation after it is created
Now that you have created the initial animation, you can modify and extend it using Flash CS4. First, let's change the direction of the animation.
Your current animation moves the Go symbol from the upper left to the lower right corner of the Stage. But now you want to change the destination from the lower right corner to the upper right corner.
To make this change, make sure you're at the destination point by dragging the playhead to the last frame of the animation: frame 24.
To move the destination of the Go symbol, and therefore the direction of the animation, simply click and drag the symbol to the new desired location. For this example, move it to the upper right corner of the Stage.
Now the motion path has been updated. If you run or test the animation, the animation will now move the graphic across the Stage from left to right instead of down the Stage diagonally.
You can also change the origin of the animation using these steps, but you need to move the playhead to the first frame, or frame 1, to make that change. In this example, let's move the origin from the upper left to the lower left corner.
First, move the playhead to frame 1. Then click and drag the Go symbol to the lower left corner of the Stage.
Now the animation and the motion path reflect the new origin of the animation. You can continually update the origin and destination of your animations using the same methods. Simply move the playhead to the beginning or end of the tween and then move the object to the new desired location.
Adding midpoints to your animation
Creating point-to-point animations may be easy, but they are relatively boring. More complex animations usually have several midpoints in the tween to give the desired effect.
For instance, in this example, you may want the animation to move from corner to corner to corner, starting in the lower left, moving to the upper left, and ending in the upper right.
To do this, you need to add an intermediate location at the middle of the animation. The process is the same as setting the origin or destination points, however you now need to move the playhead to the middle of the animation.
Move the playhead to frame 12 (see Figure 5).
Figure 5. Adding an intermediate location, or midpoint, to the animation
At the bottom of the Timeline is a small text indicator that shows the current position of the playhead. You can click and drag your mouse to scrub to a specific point or double-click the indicator and enter the location manually.
Now that the playhead is at the correct location, the animation shows the symbol in the middle of the motion path. If you look carefully, you'll notice tiny dots along the motion path (see Figure 6). These dots represent the location of the object at each individual frame. There are 12 dots from the start point to the current point of the symbol because your animation is now on frame 12. The black circle in the center of the Go symbol is its registration point, which is where it positions itself relative to the location on the motion path.
Figure 6. Motion path displaying the location of the object at each frame as well as the point the object is positioned on the path
To create a new intermediate destination for the symbol, click and drag it to the upper left corner of the Stage.
You now have a three-point animation that starts in the lower left corner, moves to the upper left corner, and winds up at the upper right corner.
In the Timeline, a small black dot now appears in frame 12, which shows that you have created an intermediate location that the tween will use to create the animation. If you want to change this intermediate point, move the playhead to this point in the Timeline and then drag and drop the object. That will update the motion path with the new intermediate point.
You can continue to add intermediate points throughout the animation, with a maximum of one per frame. Just move the playhead to the desired frame and then move the object.
Changing the animation's duration
So far, you have changed the location of the graphic throughout the animation, but you haven't changed the duration. The duration is the amount of time that the animation runs. In this example, the duration of your tween is 24 frames. With a default frame rate of 24 frames per second, your animation will run for one second.
If you want to change the duration of the entire animation, you need to change the Timeline animation layer. Each tween is represented as an individual layer in Flash. To change the duration, simply drag the end of the tween to either lengthen or shorten the duration.
If you want your animation to play for two seconds at a frame rate of 24 frames per second, then lengthen it to 48 frames by moving your mouse pointer to the end of the tween in the Timeline. When the mouse icon changes to a left-right arrow, click and drag the tween to the right to extend it to frame 48.
When you let go of the mouse button, the animation will proportionally update to represent the new desired duration. You'll notice that the intermediate point has also moved to the new midpoint of the tween.
The motion path now has twice as many dots because it is now extended over 48 frames, and each dot represents where the Go graphic is on any given frame.
You can also shorten your animation back to 24 frames by clicking and dragging the left end of the tween on the Timeline back to frame 24.
Adding a curve to the motion path
Each segment of the motion path is editable as well. For instance, the animation now moves the symbol from point to point to point in a straight line. You can alter that and have the tween move the animation along a curve by simply dragging and dropping with your mouse.
Once the Go symbol has moved to the upper left corner, let's make it move to the upper right corner on a curved path instead of a straight path. To do this, just drag and drop the motion path in the second part of the tween.
Make sure you choose the selection tool (with the dark arrow icon) from the Tool menu.
Then move your mouse over the motion path along the top of the Stage. You'll see a curved line icon appear next to the mouse pointer, which means you can now drag and drop the motion path to build a curve.
Now let's create a curved path from the upper left corner down toward the center of the Stage and then up to the right corner. With the mouse pointer showing the curved line icon, click and drag the middle portion of the motion path down toward the center of the Stage (see Figure 7).
Figure 7. Changing a straight path to a curved path
When you release the mouse button, the motion path updates and shows you the curve. Now when you preview the animation, the symbol will follow the curve you just created. You can click and drag the curve again if you want to change the curve ratio between tween points.
Resizing and rotating the animation
You can also manipulate the motion path using the Transform tool. The Transform tool enables you to resize, rotate, skew, or stretch objects in Flash. You can rotate the motion path of the animation, changing the locations of the origin, intermediate, and destination points, without rotating the symbol itself.
To do this, select the motion path with the Selection tool. The path will darken to indicate that it is selected.
You can now move or reposition the motion path by clicking and dragging it. For this example, however, select the Transform tool. Make sure the motion path is selected and then choose the Transform tool.
Once you select the Transform tool, a box with squares along the edge appears around the motion path. This is called a bounding box, and the squares are called handles. If you click and drag a handle, you can resize the contents of the bounding box — which in this case is the motion path — in various directions. If you position your mouse pointer slightly outside the corner handles, the mouse pointer will change to show that you can rotate the contents of the bounding box.
When the rotation icon appears, you can click and drag to change the rotation of the motion path for the animation. For this example, click and rotate the animation 90 degrees clockwise.
Then let go of the mouse button, and you'll see that the motion path has changed (see Figure 8).
Figure 8. Rotating the direction of the animation
Now let's adjust the height of the bounding box to keep the animation within the confines of the Stage. Select the top handle and move it down. Then move the bottom handle up (see Figure 9).
Figure 9. Resizing the motion path of the animation
The animation has now been rotated and resized. If you test the animation, you'll see that its path has been updated, but the symbol itself doesn't rotate because you only modified the path, not the object on the path.
To finish the animation, all you need to do is add your stop action to the end of the Timeline. Click the New Layer button at the bottom of the Timeline to create a new layer.
Now make sure you are on the last frame of the animation, select the new layer, and create a new blank keyframe by choosing Insert > Timeline > Blank Keyframe from the main menu.
Open the Actions panel by choosing Window > Actions. Make sure you have selected the correct layer and that your playhead is on the new blank keyframe you created.In the Actions panel (see Figure 10), type the following script:
Figure 10. Adding a script to the Actions panel
When you're finished, you'll see a small a appear in the blank keyframe in the Timeline.
That's it. Now when you preview your animation, you'll see it run from start to finish and then stop instead of looping the way it did before.
Where to go from here
Now that you know the basics, you can create all kinds of animations in Flash CS4 using assets from other Adobe applications. Experiment with midpoints, curves, and size to come up with innovative ways to move graphics over time. For more information about Flash CS4 Professional, visit the Flash Developer Center.
Note: This article appeared originally in the Edge newsletter.
More Like This
- Building Preloaders and Progress Bars in Macromedia Flash
- Augmented reality with animated avatars using the 3D drawing API
- Automating tasks in Flash Professional CS5
- Using the Adobe Flash Sprite Sheet Generator
- Automating tasks in Flash Professional CS6
- Lip-syncing automatically with SmartMouth in Flash Professional
- Creating an accessible animated presentation in Flash
- Creating a simple document in Flash CS4 Professional
- Creating graphic effects using the new Deco scripts in Flash Professional CS5
- Exploring the Spring tool in Flash Professional CS5


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PEORIA, Ariz. – With less than 2½ weeks to go until the start of the season, the Padres have yet to complete their rotation and can identify only two members of the bullpen.
"We're trying to work our way through this," Padres manager Bud Black said Friday.
The bullpen situation worsened again Friday when it was learned that right-hander Mark Worrell, who was obtained from St. Louis this winter in exchange for shortstop Khalil Greene, will have elbow reconstruction surgery next week in San Diego, ending his 2009 season.
Worrell, however, was not a lock to make the Padres bullpen.
Outside of closer Heath Bell and setup man Cla Meredith, no one is.
Black did identify three relievers who have pitched well this spring – right-handers Jae Kuk Ryu and Edwin Moreno and left-hander Arturo Lopez. Moreno and Lopez came to camp as non-roster players.
Duaner Sanchez, who was signed as a free agent this week, is scheduled to make his Padres debut Saturday.
And left-hander Justin Hampson couldn't have found a better time to work a scoreless 1 1/3 innings than Friday afternoon in a 5-3 loss to the Cubs in Mesa.
While Bell has been away at the World Baseball Classic, Meredith hasn't allowed a hit or a run in five one-inning outings this spring.
Signed as a minor league free agent last summer, the 28-year-old Moreno worked a scoreless inning Friday to lower his spring ERA to 1.00. He has allowed one run on four hits over eight appearances.
"Ryu has thrown well," said Black of the 25-year-old Korean claimed off waivers from Tampa Bay in January. Ryu has allowed three earned runs in six appearances covering eight innings.
Lopez, 26, who has moved back and forth between the Padres system and the Mexican League, has a 2.57 ERA in six appearances. "He's been in and out," said Black, which is praise given some of the performances of Padres relievers this spring.
Hampson entered Friday's game with a 15.63 ERA, having given up 11 earned runs on 16 hits in less than seven innings. He issued one walk and had two strikeouts while facing five hitters.
"I needed that, it was about time," said Hampson, who has a 2.74 ERA in 74 appearances over two seasons out of the Padres bullpen. "I was finishing my slider today.
"I've been laying it out there and you learn pretty quick in a game if it's good enough, and it wasn't good enough."
Unforeseen woes
Going into spring training, Padres General Manager Kevin Towers sounded confident that two spots in the bullpen would go to Worrell and former Yankee Chris Britton.
Britton has been cut. And Worrell will be cut upon Wednesday when team physicians Jan Fronek and Hans Hoenecke perform "Tommy John" surgery.
"Our fears were confirmed when the elbow was examined," Black said.
Worrell, 26, who has a very unorthodox delivery, had a 4.13 ERA over 4 1/3 innings before being shut down Wednesday. He was 3-3 with a 2.15 ERA in 53 appearances with the Cardinals' Triple-A team in Memphis, Tenn., last season.
Rotation woes
A day after Cha Seung Baek couldn't hold a 5-0 lead against Seattle, Kevin Correia allowed four runs on eight hits in 4 2/3 innings against the Cubs. Like Baek the night before, Correia gave up a long homer.
Penciled in as the Padres' No. 3 and 4 starters, respectively, Baek and Correia have ERAs of 7.53 and 6.52 this spring.
Five of the eight hits allowed by Correia and three of the four runs scored were after two were out.
"I wish I would have pitched a little better," Correia said. "I could have had a real good outing and it turned out to be a bad outing."
– Kyle Blanks blasted a two-run homer to left-center, his fourth of the spring. He also almost beat out a routine grounder to second.
– Everth Cabrera got his second extra-base hit in as many games, flying around the bases on a triple.
– The Padres have lost five straight exhibitions and are 4-13 in Cactus League play – meaning they could be eliminated from title contention Saturday.


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Over three programs and two days, ABC devoted 15 minutes to a fawning profile of Hillary Clinton. On Wednesday's Nightline, Cynthia McFadden even compared the outgoing Secretary of State to Thomas Jefferson, hinting that Clinton could follow his footsteps to the White House.
McFadden lauded, "There was a time not so very long ago when Hillary Clinton was seen as one of the most divisive figures in American politics." Noting Clinton's high approval rating, she announced this view was "changing." In an interview that, just coincidentally occurred in front of a statue of Jefferson, the reporter embarrassingly hyped, "As Jefferson looks over our shoulder, who I would only point out, was Secretary of State who went on to become president." [See video below. MP3 audio here.]
A smiling Clinton laughed and replied only, "I've heard that. Thank you." The interview aired on Tuesday's World News, Wednesday's Nightline (now airing after midnight) and Wednesday's Good Morning America.
(For more on this interview, including video of McFadden practically begging Clinton to run for president, go here.)
Other softball questions included noting John Kerry's confirmation as her successor. McFadden dished, "Do you start to feel [relieved to be able to relax]?"
Speaking of Kerry, she mused, "What do you wish you'd known four years ago that you could pass on to him?"
McFadden did at least ask a few somewhat relevant questions. On Syria, she wondered, "You repeatedly said that President Assad needs to go...What does it take for America to intervene?"
But most of queries were exactly the type that have contributed to Clinton's high polling. It's easy to be popular when no one challenges you (or when they compare you to the author of the Declaration of Independence.)
For instance, on January 30, 2008, McFadden cooed, "When you lie awake at night...what worries you?"
A transcript of the January 30, 2013 segment is below.
CYNTHIA MCFADDEN: There was a time not so very long ago when Hillary Clinton was seen as one of the most divisive figures in American politics. But after serving four years as secretary of state under her former rival Barack Obama, for some, that seems to be changing. We return now to my interview with her today in the Jefferson room at the State Department. As she exits the public stage, for now, anyway, Secretary of State Hillary Clinton is basking in an approval rating of 66 percent, a lifetime high. But that's not to say she's without her critics. Among other things, the administration's handling of the ongoing blood bath in Syria remains highly controversial.
HILLARY CLINTON: And it's time for Assad to get out of the way. The United States believes that president Assad should step away. The world will not waiver. Assad must go.
MCFADDEN: You repeatedly said that President Assad needs to go.
CLINTON: Right.
MCFADDEN: Starting two years ago.
CLINTON: Right.
MCFADDEN: And yet, 60,000 Syrians are dead and he is still in office.
CLINTON: Right.
MCFADDEN: What does it take for America to intervene?
CLINTON: Well, I think we have been very actively involved. Until recently, there was no credible opposition coalition, and I cannot stress strongly enough how important that is. You cannot even attempt a political solution if you don't have a recognized force to counter the Assad regime.
MCFADDEN: Secretary Panetta recently told my colleague Martha Raddatz that President assad had chemical weapons ready to go, locked and loaded, ready to go. The red line used to be when he moved those chemical weapons, and now would the U.S. actually permit him to use them?
CLINTON: No, no. And President Obama has been very clear about that. We have laid down the red line on chemical weapons, because that could have far-reaching effects beyond even the street-to-street fighting that is so terrible to watch. And it could also affect other countries.
MCFADDEN: The administration has been criticized by some for having what has been referred to as an ad-hoc foreign policy, a sort of whack-a-mole. What is the Obama doctrine as you understand it?
CLINTON: Reassert American leadership. Politically and economically in the face of a very severe crisis that we inherited, which called into question American leadership. Look for every way you can to bring together coalitions so that yes, America will and must lead. It is the indispensable nation. But other countries have to step up and start taking responsibility and they are beginning to do that.
MCFADDEN: So there's no daylight between the Obama doctrine and the Hillary Clinton doctrine?
CLINTON: Well, I've been a major part of helping to shape it and to implement it. And I think it will stand the test of time.
MCFADDEN: As we sat down to talk this afternoon--
SENATOR JOE MANCHIN: The nomination of John Forbes Kerry of Massachusetts to become our new secretary of state is confirmed.
MCFADDEN: Senator Kerry has just been confirmed.
CLINTON: Yes, I'm thrilled by that!
MCFADDEN: Does that feel– Do you start to feel– [Makes a relieved hand motion]
CLINTON: I do! I do.
MCFADDEN: What do you wish you'd known four years ago that you could pass on to him?
CLINTON: I don't see how you do this job without traveling a lot. Condi Rice traveled a million miles, and I traveled nearly that and went to more countries than anybody has gone to. And why do we do that? Is it because we're glutton for punishment? No, because the United States has to show up. Nothing substitutes for demonstrating that the United States of America cares enough to be there, to be at that meeting, to represent our values.
MCFADDEN: But as of Friday, that will be John Kerry's responsibility. Saturday morning--
CLINTON: Yes.
MCFADDEN: What happens?
CLINTON: I hope I get to sleep in. I'm thinking about that. Because it will be the first time in many years when I've got no office to go to, no schedule to keep, no work to do. That will probably last a few days. And then I will be up and going with my new projects.
MCFADDEN: Thank you for much for talking to us.
CLINTON: Thank you, Cynthia. Good to talk to you.
MCFADDEN: As Jefferson looks over our shoulder, who I would only point out was Secretary of State who went on to become president.
CLINTON: I've heard that. Thank you.
MCFADDEN: Our thanks to the secretary.


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Obituary: Mengia Katharina Obermüller
Mengia Katharina Obermüller, a resident in Tahoe City since 1965, was born on March 9, 1938 in Switzerland, she grew up in the St. Moritz. She died on Dec. 18, 2012 in Los Barriles, Baja California, Mexico.
In 1959 she came to New York City and worked at the Four Season Seagrams Building at the Brassery as a waitress. In 1965 she and her friend PeeWee moved to Homewood, Lake Tahoe. There she worked for over 35 years at the Swiss Lakewood Lodge until her retirement.
She met Henry Obermüller, co-owner of the Pfeiferhaus in Tahoe City, in 1972. They married in 1974 and had a wonderful life with lots of traveling all over the world. They spent the last 20 years between Tahoe and their second home in Los Barriles. Mengia loved her second home and the people around there and became totally involved in the local community. She had a special big heart for animals and started the Humane Society to help the local area deal with their animal problems.
She found hundreds of homes for abandoned dogs and cats. Mengia donated every free minute to help others and volunteered for many organizations.
Mengia was a member of the Tahoe Hiking Club "the Trampers" for 35 years. She was also very active with the "East Cape Guild, A.C. and the Catholic Church.
Mengia leaves behind her loving husband Henry with Paloma and Kitty; sisters Betty and Rosina with their families.
A memorial service will be held at 5 p.m. on Tuesday, Jan. 1, 2013 at the Catholic Church in Los Barriles. A celebration of life will held March 9, 2013 in Los Barriles at the casa Dondlinger.
Support Local Journalism
Your support means a better informed community.


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I've posted about Catherine Quirk a little before...or Aunt Kay as family called her. My mom, aunt and uncle always spoke fondly of Aunt Kay. Sadly, Catherine died 11 years before I was born.
Catherine (Katherine) was born on 24JUL1878 to William and Mary Quirk nee Lee. She was the sixth of nine children, three of which died before reaching adulthood. She never married, but lived most of her life with her parents and siblings. She helped to raise my grandmother Mary A. Brown nee Quirk after her mother, Alice Quirk nee Blanchfield, died in 1915.
Even though my grandmother lost her mom when she was only 2 years old (was she really old enough to remember her?), it's heartening to know that her life was filled with love from her mother's Blanchfield side as well as from her father's Quirk side. Catherine may not have had children of her own, but I'm sure she looked at her niece with the love and affection of a mother.
Rest in peace, Aunt Kay.


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canaan wrote:eddysnake wrote:canaan wrote:you cats watching american horror story? i never saw the first season, but im enjoying this one.
I watched the first one and forgot to tape the rest...Spoiler:what's happening with the alien storyline? is there a werewolf?Spoiler:possessed chick, nun with a past, doctor who may have been an SS doctor, helpful psychologist who may be the most twisted, alien story may or may not have happened, chick with growths and no legs...your run of the mill horror stuff. no werewolf yet, to my knowledge.
I think I knew all that from the 1st episode, I'll hit you up at the end of the season, thanks


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Rain has been hitting Taiwan hard. As Taiwanese people check the weather, they might notice something familiar: that 3D rainfall map sure looks like something out of Neon Genesis Evangelion.
The font and the interface resemble Evangelion-style computer graphics in what looks to be a clever, viral Eva cross-promotion with Taiwan's Next Media (those people behind the quirky news animations) and the folks behind Evangelion. Shame about the flooding!
Neon Genesis Evangelion is a popular multimedia franchise that debuted in the mid-1990s as an anime. It has since launched video games, toys, and even clothes. Watch the original animes here.
天氣報告也能很有風格 壹電視3D累積雨量圖 類似EVA福音戰士顏色設計 [Aniarc]


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Table of contents
15 February 2010
Prerequisite knowledge
This article assumes a working knowledge of Flash Builder 4 and ActionScript 3 projects.
User level
Note: This article was created based on Flash Builder 4 beta. Minor changes in the description and code may be necessary before it can be applied to Flash Builder 4.
For many types of games, the user experience depends on how many pixels you can have on the screen and how fast you can move them around. When animating large numbers of DisplayObject objects, such as MovieClip or Sprite objects, Adobe Flash Player may not perform well enough for effective game play. Flash Player must traverse the display object tree and compute the rendering output for each vector-based DisplayObject. This eats up CPU cycles and can be a real bottleneck, especially on lower-end machines.
For games with many on-screen animations that can be pre-rendered into a bitmap, a technique known as blitting can provide a solution. Blitting is not the answer to every performance issue but it does enable smooth, consistent animation frame rates across a wide range of machines. The term blitting comes from the
BitBLT routine created for Xerox Alto computers. BitBLT, pronounced "bit blit," stands for bit-block (image) transfer, a technique that takes several bitmaps and combines them into one bitmap. In Flash Player it is faster to copy bitmap pixels into one rendered bitmap than to render each DisplayObject separately.
In this article, I describe the software blitting technique and provide sample code so you can apply it in ActionScript.
A game is made up of graphical assets, for example a car on a racetrack or a tree in a forest. For this article these assets will be bitmaps. A group of bitmaps put together in a single image file is called a sprite sheet. For example, a sprite sheet might contain all the frames for an animation of a character walking. The term is derived from sprite, which, in the computer graphics world, is an image or animation integrated into a larger scene. Although the blitting technique can use various sources of bitmap data, this article will focus on sprite sheets.
A sprite sheet can be a combination of all kinds of bitmaps of varying sizes. Assembling all the graphical assets in one (or a few) large image files reduces load time (it's faster to open and read one large file that contains 100 frames than it is to open and read 100 smaller files) and provides compression benefits. Typically sprite sheets will hold similarly sized bitmaps that form a sequence or animation around a particular game asset. For example, the sprite sheet used in this tutorial is made up of five columns and four rows of 40 x 40 pixel tiles, each containing a brown collector (see Figure 1).
Figure 1. Sample sprite sheet showing 20 tiles, each one sized at 40 x 40 pixels (browncollector.png)
Before you can try out the example code, you'll need to complete these steps to set up the project in Flash Builder 4:
- Download and unzip the sample files for this tutorial.
- Choose File > New > ActionScript Project to create the project.
- Type ActionScriptBlitting for the Project Name and click Finish.
- Copy the following files and folder from the sample files into the project's default package: ActionScriptBlittingPart1.as, ActionScriptBlittingPart2.as, ActionScriptBlittingPart3.as, ActionScriptBlittingPart4.as, and spritesheets. The spritesheets folder contains the PNG files used by the ActionScript examples.
- In the Package Explorer, right-click the ActionScriptBlitting project you just created and select Properties.
- In the Properties dialog box, click ActionScript Applications.
- Click Add, select ActionScriptBlittingPart1.as, and then click OK.
- Repeat Step 7 for ActionScriptBlittingPart2.as, ActionScriptBlittingPart3.as, and ActionScriptBlittingPart4.as.
- Click OK.
You now have all of the sample code in Flash Builder 4, and you'll be able to run all of the examples.
You can embed images in ActionScript through the use of the
Embed metadata tag. (Read Embedding metadata with Flash for more information.) Once they're embedded, you can create an instance of the class and attach it to the display list, as in ActionScriptBlittingPart1.as.
import flash.display.Sprite;
[SWF(width=480, height=320, frameRate=24, backgroundColor=0xE2E2E2)]
public class ActionScriptBlittingPart1 extends Sprite
public function ActionScriptBlittingPart1()
addChild(new BrownCollector());
public var BrownCollector:Class;
To run the first example, follow these steps:
- In the Package Explorer, right-click ActionScriptBlittingPart1.as and select Run Application.
- When your browser opens, you should see the entire PNG image from browncollector.png with all the tiles (see Figure 1).
- Close the browser window.
As a second step, you'll use the
Bitmap and
BitmapData Flash Player APIs to copy one tile (or frame) from the sprite sheet onto the screen. This is done by using the
BitmapData.copyPixels() method, which copies the pixels of the input bitmap data onto the bitmap instance that is making the call. Central to blitting in ActionScript, the
copyPixels() method also provides parameters to define the input bitmap region to be copied as well as how to define and merge alpha pixels.
import flash.display.Bitmap;
import flash.display.BitmapData;
import flash.display.Sprite;
import flash.geom.Point;
import flash.geom.Rectangle;
[SWF(width=480, height=320, frameRate=24, backgroundColor=0xE2E2E2)]
public class ActionScriptBlittingPart2 extends Sprite
public function ActionScriptBlittingPart2()
// Create input bitmap instance
spritesheet = (new BrownCollector() as Bitmap).bitmapData;
// Add a Bitmap to the display list that will copyPixels() to.
canvas = new BitmapData(480, 320, true, 0xFFFFFF);
addChild(new Bitmap(canvas));
rect = new Rectangle(0, 0, 40,40); // 1st Tile
//** Section 1 ** //
// rect = new Rectangle(40, 0, 40, 40); // 2nd Tile
// rect = new Rectangle(80, 0, 40, 40); // 3rd Tile
// ...
// rect = new Rectangle(160, 120, 40, 40); // 20th Tile
canvas.copyPixels(spritesheet, rect, new Point(0, 0));
//** END Section 1 **/
/** Section 2 ** //
for (var i:int = 0; i < 20; i++)
rect.x = (i % 5) * 40;
rect.y = int(i / 5) * 40;
canvas.copyPixels(spritesheet, rect, new Point(i*10, 0));
// Section 3:
// canvas.copyPixels(spritesheet, rect,
// new Point(i*10, 0), null, null, true);
//** END Section 2 **/
public var BrownCollector:Class;
public var canvas:BitmapData;
public var spritesheet:BitmapData;
public var rect:Rectangle;
To see this in action, run ActionScriptBlittingPart2.as by right-clicking it in the Package Explorer and selecting Run Application. You'll see the first tile from the sprite sheet displayed in your browser (see Figure 2).
Figure 2. ActionScriptBlittingPart2 output (with Section 1 code)
Now that you can draw one tile, why not draw all of the tiles? To draw them all, follow these steps:
- Open ActionScriptBlittingPart2.as in Flash Builder 4.
- Find the code labeled "Section 1" and comment it out.
- Find the code labeled "Section 2" and uncomment it.
- Save the file.
- Run ActionScriptBlittingPart2.as again.
The Section 2 code uses a
for loop to draw each tile offset horizontally 10 pixels from the previous tile (see Figure 3).
Figure 3. ActionScriptBlittingPart2 output (with Section 2 code)
That doesn't look quite right, and this is where the alpha parameters of
BitmapData.copyPixels() come into play. The last three parameters (
alphaPoint, and
mergeAlpha) provide different ways of handling alpha regions. Since the sprite sheet PNG already has alpha data inside the image, you don't need
alphaBitMapData or
alphaPoint. You simply need to turn on alpha merging by setting the last parameter,
mergeAlpha, to
To make this change:
- Comment out the following call to
copyPixels()in Section 2:
canvas.copyPixels(spritesheet, rect, new Point(i*10, 0));
- Uncomment the following call to
copyPixels()in Section 3:
canvas.copyPixels(spritesheet, rect, new Point(i*10, 0), null, null, true);
- Save the file.
- Run ActionScriptBlittingPart2.as again. You should see a series of overlapping tile images (see Figure 4).
Figure 4. ActionScriptBlittingPart2 output (with Section 3 code)
Now that you know how to display the bitmap data from the sprite sheet, you're ready to animate it. The code in ActionScriptBlittingPart3.as animates the brown collector image and moves it to the location of any mouse click on the Stage.
The basic idea is to use a timer that can be based on Flash Player frames, a timer, or a combination of the two. A typical approach is to use a combination of the
ENTER_FRAME event and a call to
getTimer() to control the speed of the animations across various computer environments. The code below is an excerpt from the ActionScript class ActionScriptBlittingPart3.as (line 62):
* Handles the timer
private function enterFrameHandler(event:Event):void
tickPosition = int((getTimer() % 1000) / framePeriod);
if (tickLastPosition != tickPosition)
tickLastPosition = tickPosition;
canvas.fillRect(canvasClearRect, 0x000000);
enterFrameHandler() method is fired on each
ENTER_FRAME event. The code determines the number of seconds that have elapsed since the SWF started and divides this number by
framePeriod, the period at which the game designer wants to render animation. Then if this value differs from the previous rendering frame event, the canvas is cleared and the animation is rendered.
The timing in Flash Player (sometimes described as an elastic race track) can vary and the arrival of the
ENTER_FRAME event can fluctuate significantly across different machines. Combining the event and timing check enables smooth animation at a consistent rate, even if a machine is running faster than the SWF frame rate. Also if the SWF frame rate is increased, the animation frame rate can be kept at a consistent lower rate, allowing the CPU to process other logic without rendering each frame. Either way, you'll need to strike a balance between rendering consistency and CPU utilization needs. If you push the frame rate too high, slower machines may be unable to handle it.
When you run the ActionScriptBlittingPart3.as application, you should see a small circle rotating around the brown collector.
The Flash Player
MouseEvent.MOUSE_UP event provides the x and y coordinates on the Stage of the mouse click. Using the mouse click coordinates along with the collector's current x and y position, you can move the image to a different position on the canvas with each rendering. This gives the user the ability to move it around. The code below is an excerpt from the ActionScript class ActionScriptBlittingPart3.as (line 79) showing how the animation is moved around with blitting:
* Render any bitmap data.
private function render():void
rect.x = (currentTile % 5) * 40;
rect.y = int(currentTile / 5) * 40;
collectorX += (destX-collectorX-20)/5;
collectorY += (destY-collectorY-30)/5;
canvas.copyPixels(spritesheet, rect,
new Point(collectorX, collectorY), null, null, true);
currentTile = ++currentTile % 20;
* Used to move the animation around.
private function mouseUpHandler(event:MouseEvent):void
destX = event.stageX;
destY = event.stageY;
mouseUpHandler() method stores the x and y coordinates of the mouse click as the destination. Later the
render() method determines a nonlinear delta between the collector's current position and the destination position. The delta is added back into the current position for a new position, which is then provided to the
copyPixels() method as the blitting position.
If you click in the Stage near the running animation, the collector will move towards the location of your click.
The final example integrates multiple sprite sheets on a single Stage. In the previous example, you needed to store information about where to place the bitmap data in order to move the animation. When combining animations, you will need to keep track of more than just position. In addition to position, you may need to maintain and process depth level (to determine what bitmap is shown on top when two bitmaps overlap), animation state changes, differing animation frame rates, collision detection, and more.
In ActionScriptBlittingPart4.as, the collector will be on the lowest depth level. Randomly created colored gels fall from the top of the screen. If a gel collides with a collector, a third animation is run to show the gel melting on the collector.
You probably have created animations in Flash that involve placing multiple objects on the Stage. You may have also used the mx.effects package to move or rotate an object. If objects overlapped, the z-index (depth in the display list) determined the order in which objects stacked up. While blitting, there is only one object being displayed: the destination bitmap. Since you are handling the rendering yourself, you will also need to keep track of the depth level of your objects and make sure everything is copied in the correct order.
To keep the falling colored gel animations on top of the collector, you must manage the order of blitting. In the
render() method in ActionScriptBlittingPart4.as, all gel blitting (line 138 and 144) is done after the collector has been blitted (line 110).
Each colored gel is created at a random time in the
enterFrameHandler() method. When a colored gel is created,
createGel() sets its initial properties including a random x position, a zero y position, the default state, a zero
meltFrame, and a unique name. The gel is then saves in
gels, a Dictionary instance that the
render() method loops through:
* Create a gel
private function createGel():void
var gel:Object = new Object();
gel.posX = ((Math.random() * 0xffffff) % 280) + 20
gel.posY = 0;
gel.state = "animate";
gel.meltFrame = 0;
gel.name = "gel" + gelCount++;
gels[gel.name] = gel;
The logic for moving the colored gel and changing to a melt state is located in the
render() method:
* Render any bitmap data.
private function render():void
rect.x = (currentTile % 5) * 40;
rect.y = int(currentTile / 5) * 40;
collectorX += (destX-collectorX-20)/5;
collectorY += (destY-collectorY-30)/5;
canvas.copyPixels(spritesheetCollector, rect,
new Point(collectorX, collectorY), null, null, true);
// Render Gel at half the frame rate, to slow it down
if (currentTile % 2 == 1)
rect.x = ((currentTile-1) % 5) * 40;
rect.y = int((currentTile-1) / 5) * 40;
for each (var gel:Object in gels)
// Hit Check 5 px within Y and X
if (Math.abs(gel.posY - collectorY + 6) < 14
&& Math.abs(gel.posX - collectorX) < 10)
gel.state = "melt";
if (gel.state == "melt")
// Clear out if done melting
if (gel.meltFrame < 20)
delete gels[gel.name];
rect.x = (gel.meltFrame % 5) * 40;
rect.y = int(gel.meltFrame / 5) * 40;
canvas.copyPixels(spritesheetGelMelt, rect, new Point(collectorX-1, collectorY-12), null, null, true);
canvas.copyPixels(spritesheetGel, rect, new Point(gel.posX, gel.posY), null, null, true);
gel.posY += 3;
if (gel.posY > 320)
delete gels[gel.name];
currentTile = ++currentTile % 20;
The gels are animated at half the rate of the collector by resetting the
rect value with
currentTile-1 for odd numbered frames. Next, the code loops over all colored gels on the screen and checks for a collision with the collector. If there is a collision, it changes the
state to
"melt". In this state,
render() uses the colored gel melt sprite sheet and runs off its own
meltFrame count for 20 frames. Also when a collision has occurred the collector's x and y position are used for the melting animation, so it will follow the collector if it moves away. If there is no collision, the gel is moved down by three pixels. When its y position goes past 320, it is removed. As you see, with blitting you have to handle all of the animation logic.
Where to go from here
In this article, you've learned how to create a software blitting engine. You can use these techniques in other Flash Player rendering scenarios. You may want to explore different methods of creating source bitmap data used in the blitting process. For example, you can convert DisplayObject animation frames into a Bitmap and cache them into an array.
- dieselblittingengine: Blitting engine for Flash Player 9 and later (Google Code)
- Blitting and duble-buffering for tile-based games in Flash and Flex: Part 1 of 3 (Jesse Warden)
- AS3 Basic Blitting #2 : Rotation - Part 1 (Jeff Fulton)
- Basics of tile sheet animation (or blitting) (Jeff Fulton)


text:
Visiting Mother Superior
Clip: Season 8 Episode 0 | 2m 38s
In a scene from the 2018 Holiday Special, Sister Julienne meets Mother Superior at her bedside to discuss past memories and succession.
Aired: 12/25/18Video has closed captioning.
The full episode is no longer available for online streaming. Why?
Please continue to enjoy extra(s) from this episode.


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The oil and mixed media paintings in Michael Farrar's exhibit "Travelers and Other Nurds" include invented characters that are curious and memorable...even if what they are doing isn't immediately apparent. Farrar's titles lead you a little bit further into his alternative reality where life is explored through the foibles, missteps, and clever irony of the characters he paints.
A Virginia native and recipient of multiple awards for his paintings, Farrar now works out of his studio in eastern Tennessee.
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There's a lot to know about Sarah Jessica Parker. She was in Sex And The City. She's married to Matthew Broderick. And apparently she's a huge fan of old American cars, wagons in particular. Somehow she's one of us.
In this, the season premiere of Jerry Seinfeld's wonderful Comedians In Cars Getting Coffee, Jerry takes definite non-comedian Sarah Jessica Parker out in her car: A Ford LTD Country Squire wagon. That's right: Carrie has a big old wagon. And her favorite parts seem to be the sound of the blinker and the way it kind of smells like gasoline.
Now, people run from any scent of gasoline, but in the past, that was a sign of quality engineering. How times have changed...
If you've watched CCC before, you know that Sarah Jessica Parker doesn't necessarily fit the mold of a guest. She's not a comic, but what she does have is a great rapport with Jerry. Even if you're not a fan of Sarah but you love Jerry, it's hard not to enjoy their consistent banter in this episode.
It's also hard to not love Jerry's theme song for this episode. I don't know if it's a full season plan, but it better be, because this shit is gold Jerry. It's gold.
From Crackle: Season 4 Trailer


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Robert Wollan is a senior managing director within Accenture Strategy. His role focuses on driving Strategy and Consulting work around the Salesforce.com platform, while also helping to coordinate across Accenture businesses to build our broader Salesforce.com business at scale and with improved profitability. Robert is also a member of the Accenture Global Leadership Committee.
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Robert holds a bachelor's degree in Finance & Economics from the University of St. Thomas and attended the Executive Program at the International Institute for Management Development (IMD) in Lausanne, Switzerland. He is based in Minneapolis, Minnesota.
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