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Note that the property keyframe, from this view, is still just a small diamond at frame 20 in the timeline. All you can tell at a glance is that something has changed. But even if there s less detail here, the two panels are in agreement, and the Timeline panel does give you a summary. Later in this chapter, in the Changing duration nonproportionally section, you ll see how the Timeline panel s abridged view actually makes it easier to update numerous property keyframes at once. Naturally, you can see the changed properties directly on the stage, not only because the symbol itself is stretched and moved but also because of that green dotted line that connects the current position of the symbol (specifically, its transformation point) to the position it held in frame 1. If you count them carefully, you ll see 20 dots along the line, which represent the 20 frames in this tween span. The dots are all evenly spaced apart, which tells you the tween has no easing applied. Let s check back with the Motion Editor panel again before we apply easing.

We are going to add three Silverlight default Buttons for starting the webcam, taking a snapshot, and saving the image. These will just be basic Blend UI Buttons.

Caution Proxy and business services that use custom transports can be exported like any other resources.

11. Open the Motion Editor panel. You ll see the Scale X graph as it was before, but in addition,

you ll also see the new changes reflected in the X and Y graphs, as shown in Figure 8-8.

1. In the toolbar click the Button tool. 2. Draw three Buttons on the artboard, as I have done in Figure 14-18.

However, if you import them into another OSB domain that doesn t include the custom transport, you ll get validation errors and the import will fail.

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Figure 8-8. In the Motion Editor panel, multiple tweened properties can be viewed at once. The vertical values in these graphs, along with the tooltips, change depending on the property represented. For example, the X graph starts at just above 200 on the left side (not 100, like the Scale X graph), because the symbol is positioned at 216.4 pixels on the x-axis in frame 1. On the right side of the slanted line, the tooltip reads 555.94 px, because that s where the symbol is positioned on the x-axis in frame 20. The point to take away from this is that these graphs are adaptable, and they change to suit the values of the property at hand. The X graph shows pixels, Scale X shows percentages, Rotation Z and Skew X show degrees, and so on.

If any of these graphs seem cramped to you, use the three hot text areas at the bottom left of the panel to fine-tune your view. From left to right, they adjust the vertical height of collapsed graphs (Graph Size), the vertical height of expanded graphs (Expanded Graph Size), and the horizontal width of the graphs themselves (Viewable Frames). These values apply across all graphs in the Motion Editor panel.

Objects and Timeline panel looks like what I have in Figure 14-19.

12. Open the Timeline panel, and select the keyframe at frame 20 of the timeline. 13. In the Properties panel; twirl down the Ease twirlie, if necessary; and scrub the hot text

There are many options to consider when designing a custom transport. A transport can support just inbound (proxy services), just outbound (business services), or both. It can support one-way messages or request-response exchanges. It can enforce transport-level security. Inbound transports can achieve exactly once semantics by beginning and committing transactions, while outbound transports can participate in a transaction. A transport can even define a custom message format for holding the message, and provide transformations to convert the message into a format OSB can understand (for example, XML) when needed. If you don t understand all the options discussed in the previous paragraph, don t worry. We ll be discussing these topics and more in later sections of this chapter.

value 0, by default slowly toward the left. Scrub it to approximately -10, and then let go. Scrub again to -20 or so, and then let go. Scrub again to -30, -40, and so on, until -100, which is a full ease-in. As you scrub and release in small increments, you ll see that the dots, which were evenly distributed after step 12, begin to cluster toward the lower left, as shown in Figure 8-9, which represents the beginning of the tween. You just applied an ease in, so it makes sense that the dots are packed more closely at the beginning of the tween.

bucket of the Properties panel change the Content property to Save Image. Your Buttons should now look like what I have in Figure 14-20.

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