After Effects

I really need better ways to set the color space of footage. The color panel is annoying to get to for every file.  Here's what I want:- In the Import File Window, I wasn ta Colorspace pulldown next to the sequence options so I can set the colorspace of the file on import. Don't forget a checkbox for Preserve RGB.- In the Project panel, when you click on a file, the colorspace profile of that file is dispalyed in the file info at the top of the window. let us click on the colorspace and change it directly there. - Be able to easily change the default color space for footage as it's brought in.  

I want to use dlig, but there's no way to enable them directly in After Effects.You can't just copy and paste text from Illustrator like you can with stylistic sets, because it won't work. The only option is to outline the text in Illustrator and import it into AE, which makes it uneditable and adds a lot of extra work. AE doesn't usually let you use most of the OpenType features, which is quite annoying.I often want to use dlig in my projects, so it would be great if AE at least supported this feature.

When working with multiple text boxes in After Effects, it can be frustrating that the layer stays selected after editing. You always have to click outside the box (or press ESC) to deselect it. Would it be possible to add an option for auto-deselecting or auto-selecting the next text box? That would be a huge timesaver for those of us who work heavily with text. Another text-related issue: when linking two fields together, or when using Essential Graphics, please add support for uppercase symbols (like the *). At the moment, they don’t display correctly and will appear in lowercase when used dynamically.  

My thoughts are the Comp Panel's Footer Control Area should be responsive/wrappable to multiple lines. IT needs to intelligently wrap itself to display in a multi-line/row mode so that ALL of its controls can be seen.It's weird AFooter that it has a right section that responsively splits off from the left side, to lock onto the right edge of the panel and in in WTFooter Mode, hides one or more of the right-most controls. Please , for the sake of sanity and Clean Floors, this issue needs a quick fix. TIA

Please add this functionality throughout the app: Right click on a color swatch inside any effect or panel, to bring up a context menu with Copy and Paste possibillities. The eyedropper is not always the best solution when copy colors from e.g. one Comp to another.

Here's the scenario: I've got a keyframed action with multiple keys, and I'd like to change the speed. No problem. Just select the keyframes and ALT(win) and drag from the last keyframe.   The problem: Keyframes no longer sit exactly on any particular frame, so as I scrub/drag around on the timeline it's really easy to think my playhead is sitting on a keyframe because my timeline indicator does snap to the nearest frame. But if the keyframe is actually just 9/10th of the way to that keyframe, I won't know it, I'll make a manual value change (like typing in a Xposition), and because AE will auto-keyframe that change, now suddenly I've got two keyframes so close together that I don't discover it until I zoom all the way in on the timeline, trying to figure out why my animation suddenly jumps in value.  The request:-- Give us another modifier key to add (like SHFT-Alt) when we drag, to force all keyframes to snap to the nearest frame-- Have a default action toggle in

In "Open Recent" dialog - include File Size and Date Accessed - Date Created & Date Modified are plusses.And in Save As dialog, it will be good to have a secondary flyOut Menu showing poopular options - Same as AEPSelect FolderSurprise Me ... LIke You Always Do   🙂We already have a similar construct in Scripts > Recent Script Files - so hopefully, this doesn't involve crafting a new architecture and can be relatively quick to put out. TIA

Please make it possible to create custom folders for fonts so that users can organize them according to their needs! I think that this will be a very convenient feature cause there are a huge number of fonts and they are all different and suitable for different styles and tasks. 

Would love to see Timewarp speed values to get a higher limit over 5000!  Perhaps 10,000 or 15,000? Would be helpful when speeding in and out of slow motion video!

When using the clone stamp tool in Photoshop, after you select the source, there is a faint image of the source location that is projected into the destination brush.  This is fantastic for creating clean clone stamps!  But this is not available in the rotopaint clone stamp in After Effects--where it's even more important when doing footage cleanup/object removal.  Would you consider implementing this feature in After Effects?  Is the AFX software capable of implementing this or is it only possible to code this in Photoshop?

[Upvote if you liked the idea!]Hello, I use time remape with loopOut().But always I find that the last keyframe is at unactive time(frame), and that leaves an extra frame that is black at the end of the looping.So I was wondering why aftere effects devs still leaves it, I don't see any reason for creating the last keyframe at exactly the end of the comp, even though the end won't show any frames.I hope this change in the next after effects version.what changes basicly?when activating the time remaping at any layer, the last keyframe is on the real last frame, and no any extra frames when using loopOut().Thank you for reading! 

Dear Adobe Team,I’m a 6th Senior and aspiring creator from India who’s passionate about animation, storytelling, and educational content. I’ve been using free tools like Cavalry, Natron, and HitFilm Express to bring history, and mapping.But there’s one tool that feels like the ultimate dream: After Effects.It’s powerful, iconic, and perfect for animating numbers, overlays, and transitions. The only problem? It’s locked behind a paywall that many students like me simply can’t afford.So here’s my humble request:🎓 Make After Effects free for students.Or at least offer a limited free version for educational use. We’re not asking for all the bells and whistles—just enough to learn, experiment, and grow.Adobe, you’ve inspired generations of creators. Help us become the next wave.Sincerely,IvaanCreative Mapper, Visual Thinker. 

Introduce a “solo” toggle next to the stopwatch of keyframeable properties (e.g., Position, Scale, Rotation, Opacity) within the Timeline. This toggle would function similarly to the existing layer Solo feature.Functionality:When a property is soloed:Only soloed properties will animate.All other animated properties on that layer will be temporarily disabled (their keyframes remain untouched, just inactive for playback and preview).Soloed properties remain active during rendering/export, allowing isolated animation passes if needed.Multiple properties can be soloed at once, across the same or multiple layers — exactly like layer soloing.This feature enhances workflow focus, especially when fine-tuning easing curves or timing for a specific property without distraction from others. Why It’s Needed:In complex animations, multiple properties often have overlapping keyframes, cluttering the timeline and complicating the animation process.Users frequently need to refine one property at a tim

Hi everybody 🙂 I would really like if Camera Raw would be integrated in After Effects as an effects/plugin. The thing is, camera raw is really a great tool that adobe has develop for color correction. Unfortunatly, camera raw is only easy to use in Photoshop. If you want to use it on your footage in AE, you need first to convert it to a raw image sequence. You can only use camera raw at the moment of the import, after that when you close the window, you cannot do further adjustement. That's why I think that it would be wonderful if camera raw was use has a effect and fin it in the Effect Control pannel where it belong, a bit like mocha! It's such a great tool,  and AE lack of this type of tool for color correction. Yes, there is lumetri, but there is alot of feature in Camera Raw that Lumetri just doesn't have. Thanks alot for considering it! Marie-Christine Laniel

Hello everyone,I only use After Effects with ACES 32-bit. That's why my wish list only refers to effects that support 32-bit.I hope this will not only be helpful, but also show what could make this programme more popular.1. There is no denoiser or renoiser for the 32-bit version. And even if existing 16 effects were optimised for 32-bit, these effects would be 10 years behind the times. Currently, it is necessary to purchase DaVinci separately, add or remove noise there, and then export it to After Effects.2. The camera lens blur is far too limited. This effect needs to be updated, as absolutely every other programme offers more bokeh options than this one. Even Premiere has announced an effects library that can create better bokeh than After Effects, which is very strange. 3. Rotoskoping gets worse with every update. In my opinion, the best version is V25.1. But even this is much too slow or much too inaccurate compared to other options such as magic mask in DaVinci. Here, you ha

I feel like I might be screaming at a brick wall here, but for the love, spell check for After Effects PLEASE. Yay that it finally, sort of, came to Premiere, but for those of us who animate text for a living, having to type everything out into a word processor then copy and paste into AE is an insane workflow for the year 2023. There are scripts that sort of do the trick, but they aren't live in any composition or you have to actively monitor every time you type something to see if it is incorrect (I'm talking about displaying the little red line underneath something that is incorrect). Even something like the InDesign spell check would be nice. 

Aftereffects 2025 please integrate native Lottie/ JSON export!Its really important to keep AE relevant. I dont want to learn new tools and pay for another subscription.Its great to be able to import a AI file and animate its elements and then export a vector (SVG) animation directly from AE. Adbobe pls consider this functionality!  

I know I'm not the first one with this suggestion.It would be great to be able to switch AE languages on the fly without re-installing.Also, when re-installing I have to recreate EVERY single setting and workspace and keyboard shortcut.Concerning scripting; I really would like to switch to english (from german), but i have literally thousands of AE files and most of use  german names in scripting, so I would have to change most scripts of former projects. Switching the system language doesn't help, as I need my german keyboard.

There have been many times where I have to see the color in a portion of a video and animate a different layer's fill color accordingly. Helps when doing a clean plate of not-that-noisy, filled-with-solid-colors moble game footage. Its easy when the color changes twice or thrice in a 30 sec bit but its ridiculous when there's 10 something in-betweens. Just like the motion tracker tool, I think the animators around the world could use a dnamic color picker tool (Or let's call it Color Tracker) that reads color of a selected pixel against frames and transferes it to a Null object (I know Null objects don't have the color property - maybe we should add it for the data to land somewhere) or a more appropriate layer that we could apply the data to. I am a marketing artist/ motion designer for mobile games and I know atleast 20 people who have been missing this feature from their everyday work. 

When you add keyframes that changes color of a shape, we get a small preview right in the timeline, of the spectrum of changing colors adjacent to the keyframes. This feature is hugely helpful when animating colors.Now I think all keyframe data should come with the same clarity. While looking at the timeline itself one should understand where are the portions where the values change (of any property), and where is it held static, in between keyframes. This, without having to move the playhead up to the keyframes looking at the property value under its label. Dots (resembling the ones that go in between postion anchors) that appear in between keyframes on the timeline panel, with a frequency guided by the rate of change can be a great solution. I've added an image to make my concept more clear. 

We should have an option to create multi-layer EXR image sequence in Render Queue.Currently, to render an EXR with layers separated, we have to go in Composition > Save Frame As > ProEXR. Enabling a multi-layer option in render queue would make it possible to benefit from its advantages, such as for exemple the possibility to import the rendered image sequence when the task is complete. Multi-layer EXR are VERY useful for exporting prerenders, or to give more flexibility in color grading. This feature should be added to future updates.

When working with Time-Remap on a nested comp, I often need to use two viewports simultaneously. Currently, the “Synchronize Time of All Related Items” preference makes this workflow very difficult, since both viewports are forced to stay in sync.The only way around this is to repeatedly toggle the setting on and off in the Preferences menu, which interrupts the creative process and breaks flow.Feature Request:Please add an override control (such as a checkbox in the timeline or viewport panel) that lets the user quickly enable/disable synchronization without diving back into Preferences.This would allow:Keeping one viewport at the master comp’s time while freely scrubbing the nested comp with Time-Remap in another.Faster iteration when animating or troubleshooting nested comps.A non-destructive, per-comp or per-viewport override instead of a global preference toggle.Impact:This would significantly improve usability and speed when working with time-remapping on complex, nested setups.

The option to either render or prerender with effects applied at an individual clip level would be a helpful option.Currently a render/prerender renders the entire selected timeline as one block but the facility to retain the individual clips after having effects applied, similar to "render in place" in Davinci Resolve, is currently not available. The scenario for this is that a long video is cut into clips using scene detection and exported as individual clips. The clips are reimported then effects are applied. These paired clips are then processed in a third party app and finally reimported into After Effects. Although obviously the footage could be exported and reimported if the scene detection is run on the processed clips it does not match the original scene edit detection and clips cannot be paired.

It would be great if the “Set Matte” effect were no longer dependent on the position and scaling of the mask layer, but instead worked more like a stencil, similar to “tracking matte.” In my workflow, I would definitely use this type of function 100% of the time instead of how it is currently implemented.Thank you!

Please add a feature that allows users to apply a vector mask to rotoscoped footage. Currently, users have to work around this by adding a mask layer, which is very limiting. Thank You