ActionScript 3.0 图像处理实战教程：Foundation ActionScript 3.0 Image Effects

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"《Foundation ActionScript 3.0 图像效果》是一本深入探讨Adobe ActionScript 3.0（简称 AS3）图像处理技术的重量级书籍，由 Todd Yard 著作并享有2009年的版权。这本书专为那些想要提升AS3编程技能，尤其是图像处理领域专业人士设计，它详细介绍了如何利用ActionScript 3.0的强大功能来创建和实现各种视觉效果。书中涵盖了广泛的图像处理概念，包括但不限于滤镜、纹理映射、颜色调整、图形变换、动画和合成等。作者以清晰易懂的方式阐述理论，并配以丰富的示例代码，使读者能够迅速掌握AS3在图像处理方面的实践应用。无论是初学者还是经验丰富的开发者，都能从中找到提升自己项目中图像处理能力的宝贵资源。《Foundation ActionScript 3.0 Image Effects》遵循严格的版权法规，未经版权所有者 Todd Yard 和出版商事先许可，任何形式的复制或传播都受到限制。该书的纸质版ISBN-13为978-1-4302-1871-5，电子版则为978-1-4302-1872-2，确保了全球范围内的发行与流通。印刷及装订工作均在美国完成，同时强调了商标使用的规范性，仅在编辑性引用中提及商标名，以尊重知识产权。本书在全球范围内通过 Springer-Verlag New York, Inc. 发行，地址位于美国纽约市。获取翻译信息或进一步联系出版社，可以直接联系Apress，地址为2855 Telegraph Avenue, Suite 600, Berkeley, CA。《Foundation ActionScript 3.0 Image Effects》是开发人员的必备参考资料，无论是在学习AS3图像处理技术，还是寻求解决实际项目中的视觉特效问题，都能提供强大的支持。通过阅读这本书，读者将深入理解如何运用ActionScript 3.0语言进行高效且创新的图像处理工作。"

Corné van Dooren designed the front cover image for this book. After

taking a brief from friends of ED to create a new design for the Foundation

series, he worked at combining technological and organic forms, with the

results now appearing on this and other books’ covers.

Corné spent his childhood drawing on everything at hand and then began

exploring the infinite world of multimedia—and his journey of discov-

ery hasn’t stopped since. His mantra has always been “The only limit to

multimedia is the imagination,” a saying that keeps him moving forward

constantly.

Corné works for many international clients, writes features for multimedia magazines, reviews and

tests software, authors multimedia studies, and works on many other friends of ED books. You can

see more of his work at and contact him through his web site, sss*_knjar]j`kknaj*_ki.

If you like Corné’s work, be sure to check out his chapter in New Masters of Photoshop: Volume 2

(friends of ED, 2004).

ABOUT THE COVER IMAGE DESIGNER

I don’t think they could have come up with a better name than “Flash.” Although that name is

now applicable to an entire platform that includes much more than the Flash Player and IDE,

at the end of the day, whether you are developing in Flash or Flex Builder, and whether you

are delivering online or through AIR, the end result is still a SWF that is rendered in the Flash

Player, just as it was when Flash simply made animations. So whatever you produce—movie

or application or generative art—is still “Flash.” And boy, can it ever. From the very beginning,

Flash movies have often evoked reactions of “Wow” and, more apropos to developers like you,

“How’d they do that?”

I began working with Flash in 2000, right before the release of Flash 5. If you’re an old-timer,

you may recall that Flash 4 was still basically a timeline animation tool with only a handful of

ActionScript commands available (I liken working in ActionScript without objects and arrays to

working in Photoshop before there were layers). And yet the amount of creative and stunning

Flash work that was produced in that time with those few commands was truly exciting.

That excitement, and the fact that it could be produced with little programming knowledge,

attracted an amazing diversity of talent to Flash, from animators to programmers to graphic art-

ists to musicians. What software today could do the same? This mixture of disciplines helped to

create a community that explored this new technology from so many different points of view, a

community that openly and happily shared its collective findings. And the end result of all this

work and play and experimentation was—and still is—something to look at.

It might be an animation, a game, an application, or just something cool to ogle, but Flash

produces visuals. That’s what excited me when I first began nearly a decade ago and what has

hooked so many others as well. The Flash platform has grown tremendously, and ActionScript,

now in its third iteration, is a complex and powerful language that allows developers to create

web applications to rival those built for the desktop. And with that power comes greater and

finer control over the graphic elements in a Flash movie.

In this book, I will explore the myriad ways that ActionScript allows you to create and control

these visuals in a SWF. Whether you produce games, applications, or cartoons, or you just

want to play, this book will give you what you need to know to manipulate the pixels to your

advantage.

In the first part of this book, we will step through each of the major areas of image creation

and manipulation that ActionScript makes available to developers. We’ll start at the drawing

API, explore filters and blend modes, come to grips with BitmapData and all it provides, and

then dive in depth into new features of Flash Player 10 with 3D and Pixel Bender. Once these

xvii

INTRODUCTION

xviii

INTRODUCTION

topics are covered, we’ll look at an effects library that you can use to easily create a multi-

tude of effects through the remaining chapters of this book and beyond.

The second part of this book presents a collection of tutorials that will allow us to explore

how to apply the knowledge gained in the first part. That’s where we’ll start to have some

real fun. That’s important, because it’s the fun in creating with Flash that first drew so

many in, myself included, and it’s the fun that drives people to play, explore, and come up

with some truly wonderful and creative applications. You can still build utilitarian pieces

of software that have that Flash—not for general eye candy but to enhance usability, cre-

ate more immersive and responsive experiences, and generally produce work that goes

beyond everything else presented on the Web. This book shows you how.

Intended audience

This is not a book on object-oriented programming or ActionScript 3.0 fundamentals, nor is

it a book on the Flash or Flex Builder authoring environments (in fact, in this book, I strive

to have very little reliance at all on any specific IDE). You should come with familiarity of

how to compile a SWF and have at least intermediate knowledge of ActionScript 3.0.

With this book, I hope to explore the fun to be had when programming graphics and share

the enjoyment that I find when pushing the pixel. I was not a computer science major, nor

do I come from a programming or mathematics background—I was just enamored with

what Flash could do, and it pulled me in completely and hasn’t let go. If you are familiar

with ActionScript 3.0, are interested in all the graphic capabilities of the language, and

aren’t scared of some math here and there, then this book is for you.

Development environment

I’m an ActionScript developer. I go from using Flash to Flex Builder to the command-line

mxmlc compiler in order to compile my SWFs nearly every day. In this book, I try to pres-

ent pure ActionScript examples that can be compiled in any of the environments that do

not rely on the timeline or library in Flash or on the Flex framework.

As you go through this book, you will find that examples are presented in pure

ActionScript 3.0, usually with instructions to compile the SWF or to test the movie without

further instructions on how to do so, since this differs in each environment. In this book’s

appendix, I discuss how you would work in both Flash and Flex Builder when using this

book. You should only have to look at it once if you are not already familiar with how to

compile with your method of choice.

If you are using Flex Builder 3, you will need to go through a few additional steps to set up

the SDK that includes the new ActionScript classes available for Flash Player 10 and con-

figure Flex Builder to compile for this version of the player. If you have not already been

using these new classes, like Vector and Shader, you should have a look at the appendix

now to see how to set this all up.

xix

INTRODUCTION

For the first couple of chapters, I will point to the appendix as a reminder, but if you jump

through this book nonlinearly, you might take a peek at this appendix first.

Code comments

Code should contain helpful comments. I do not believe there is dispute over that.

However, you may notice that the code presented within this book does not contain com-

ments, at least in the chapter text itself. There are three reasons for this. First, it saves a

heck of a lot of space not having comments, and including comments within these pages

would have meant having to drop whole tutorials and present fewer examples. I wanted

to present to you as much as was possible for the page limit. Second, and this is personal

preference, when I am reading a book exploring new techniques, I often find a lot of code

comments in the book text to be overly distracting from the code I am attempting to

absorb, as the comments can double the size of code listings and make the actual code

more difficult to focus on. Finally, in this book I spend a good amount of text before and

after code listings, but outside of the actual code itself, detailing everything that is going

on within the code. Including comments would mean either cutting these larger explana-

tions or presenting redundant information.

But, as I said, code should contain helpful comments. You will find, in this book’s support

files, that all of the classes have been fully commented if you are looking at the code itself.

It is only in chapters themselves that the code is presented without the comments.

Layout conventions

To keep this book as clear and easy to follow as possible, the following text conventions

are used throughout:

Code is presented in beta`)se`pdbkjp.

New or changed code is normally presented in ^kh`beta`)se`pdbkjp.

Menu commands are written in the form

Menu ¢ Submenu ¢ Submenu.

Where I want to draw your attention to something, I’ve highlighted it like this:

Ahem, don’t say I didn’t warn you.

Sometimes code won’t fit on a single line in a book. Where this happens, I use an arrow

like this:

£.

Pdeoeo]ranu(ranuhkjcoa_pekjkb_k`apd]podkqh`^asneppaj]hh

kjpdao]iahejasepdkqp]^na]g*

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