After Effects

 text does not work in advaced 3d when i try to connect it to a path (like a circle’ and it doesnt turn 90 degs)it also doesnt accept some of the light features/ (when i have 3 texts layers one beneath another only the bottom one works with the light)

I have installed the new After effects 26.2.1Specifically to use Depth of field in Advanced 3D, but as ya’ll can see, i cannot enable the depth of field option, nor do i see it in my properties of the camera when i add it on my timeline.Anybody knows the solution ? 

Hello! I'm taking an AE course that's teaching us how to put text partially behind a wall in some footage. To do that, they had us 3D Track Camera the footage, add the text into the 3D scene, duplicate the footage layer (keep the duplicate 2D), add a solid (make it 3D) and mask it out to match the outline of the wall, and use that solid as a track matte for the duplicate footage which is above the original footage layer and text in the layer stack. (I'm not sure if it's relevant, but we also normalized the scene in a previous lesson and there are still reference nulls in the scene as well). I've done similar things before so all the instructions make sense to me and works perfectly for the instructor in the demonstration; but, for some reason when I do it, if I hover over certain areas of the solid, it'll automatically turn into the Add Vertex Tool so I can't mask out the wall. I've tried restarting AE , resetting preferences to default checking for updates, etc. It's re

IssueAfter Effects inconsistently interprets Panasonic V-Log/V-Gamut footage using the Embedded / Media Color Space workflow. One clip is converted correctly, while another clip from the same camera/project becomes extremely overexposed in After Effects. The same clips are interpreted correctly in Premiere Pro.Steps to reproduceOpen After Effects 26.2.1 or After Effects Beta 26.5.0. Create a new project. Set Project Settings > Color to: Color Engine: Adobe color managed Working Color Space: Rec.709 Gamma 2.4 Compensate for scene-referred profiles: enabled Import the two Panasonic Lumix S1 II V-Log/V-Gamut MP4 clips included here:https://bestanden.debeeldbrekers.com/shares/zGR8Tw Open Interpret Footage > Color for the clips. Confirm that After Effects detects: Media Color Space: Panasonic V-Log/V-Gamut Override Media Color Space: Embedded Preserve RGB: disabled Interpret As Linear Light: Off Place both clips in compositions. Compare the result in After Effects. Import the s

Hi. Does anyone have the .exe file for Adobe Media Encoder 2019? Please. I don't have a powerful enough computer to run newer versions and I need the encoder to be compatible with Adobe Premiere PRO 2019. Thank you

AE 2026.2  Very similar problem happening on my end. So far,  I’ve only figured out that the bug is that the GPU memory on my card is not getting released, so it eventually crashes everything, and only releases the memory when the app closes.  (I just posted on this as well, if it’s still coming up for you). Unfortunately, while I can limp along with multiple image sequence renders, this is a total deal-breaker for me to actually use this for work until it gets solved.

I’m using Adobe After Effects 2020 and running into a serious issue with the FilmConvert Nitrate plugin. Whenever I apply the FilmConvert Nitrate effect to any video layer or adjustment layer, the entire preview/composition window immediately turns completely black. The footage becomes invisible as if the layer is not rendering at all.The project itself is still active and responsive:The layer remains visible in the timeline Playback still runs normally Audio continues to work Other effects work fine The footage reappears instantly when I disable or remove the FilmConvert Nitrate effectThe issue only happens when FilmConvert Nitrate is enabled. As soon as I toggle the effect off, the video preview returns to normal with no black screen. 

I want to use AE to create different sized ads that can be displayed, example, 1920x1080,  and 728X90 for a web based banner ad. The ads will have a lot of common stuff in them, though they will be very different based on the differing sizes.What is the best way to go about doing this? Make two separate files or making two comps in the same file? I have never worked with multiple comps in AE. Is it just like having a separate sequence in Premiere where you can open comps separately, work in them separately and then export them separately?Thanks

it keeps saying this every time i play my edit but i've almost finished so i dont want to start over, what can i do?

I wanted to animate the back fingers with puppet tool but these what lines appear when they make the movement. I tried the vector shapes from illustrator and also redrawn in after effects but can not get rid of the white lines. Any help is highly appreciated!

Hi, I have been having an issue since updating to After Effects 26. I use Adobe Libraries to transfer vectors from Illustrator to After Effects. Since the update, 75% of the time, my paths turn into solid boxes without any individual paths when I use the Create Shapes from Vector Layer command in AE. There are no individual shape paths or anything (see attached). It happens for compound paths as well as normal paths seemingly at random.I don’t want to have to release everything to layers and import a full AI file every time I want to transfer a shape from AI to AE. This has been a real annoyance, so if anyone has suggestions, please let me know. Thanks.

The fill effect is missing in my version 26.2.1. Have you encountered the same issue? Yes, I checked the Effects Manager: none of them are disabled. 

Depuis la dernière mise à jour, l’effet “Remplir” a disparu→ toutes les expressions faisant appel à cet effet reviennent en erreur… → il n’y a pas d’effet exactement identique Remettez-nous cet effet de base !!

I always struggled to figure out how the VFX team on Star Trek: The Next Generation created the warp stars effect for the series.  It was in 1987, and CG was still in its infancy.  When I was researching for my VFX History video on the show, I discovered that this effect was actually created by John Knoll using slit scan.  And so, for my other VFX History video on that technique, I figured out how to recreate the look of the warp stars using CC Particle World, precomps  and the Echo effect.  

Hi all, I've been working in Rec709 color space, and just found out I need to deliver my animations as sRGB MOV files. No matter what I've tried, the output files always have Rec709 color space embedded, according to AE when I import then, AND when I view in VLC player and check out Tools > Codec Information.  When I import them, they do appear darker in AE, so at least some gamma shift is happening, but again they're showing that their color space is Rec709. Methods I've tried include: obviously setting output color management to be sRGBexporting as ProRes 422HQ, Animation, and Avid DNxHD (the only allowable types for the client)trying outputting with no color managementchanging the project color space to sRGB before exportingattempting to change the color management upon import (it won't let me when project is color managed) Any ideas on how I can export videos that actually show as being sRGB? Or does it matter? They certainly look darker than the previous Rec709 r

When tracking on Mocha, the Spline usually looks fine, as it’s flexible and I can manually adjust it, which will create keyframes and is very practical. However, when I enable the Planar Surface (blue rectangle), it always seems to drift away from the Spline. Is there a way to manually adjust it? 

I’m working in 32-bit float for a broadcast UHD job, and when I try to render final output as a ProRes QuickTime, random frames (around 1 in 50) render with colour/luma shifts. It’s completely random -  I had to clear memory/cache until it rendered successfully.  And for longer clips, I was able to get it to render by manually placing single-frame adjustment layers with a levels effect (not set) over the frames that had the glitches.This is a serious bug. I tried render with multiprocessing disabled, but it still happens. I can supply projects and examples showing the issues to AE engineers if needed. Anyone else having this issue?

When an ACES-managed project uses the “ACES/sRGB” View Transform, the Comp panel is tone-mapped correctly, but the Mercury Transmit output ignores that transform and displays the image as if “None / ACES Raw” were selected, causing noticeable contrast and gamma differences between the two monitors. EnvironmentOS: Windows11 Home 10.0.26100 Build 26100After Effects: 25.2.2 (Build 2) – UI language en_US Display setup:Monitor (BenQ EW3280U) #1 – UI preview (sRGB)Monitor (CG2420) #2 – Mercury Transmit output (Rec.709) Project / Color settingsColor Engine → “OCIO color managed”OCIO Config → built-in “ACES 1.2”Working Color Space → “ACES – ACEScg”Display Color Space → default “ACES/Raw” (no option for ACES/sRGB)Comp panel View Transform → “ACES/sRGB” Steps to reproduceCreate a new 32-bit float comp with the settings above.Add a color chart or any high-contrast image.Enable Mercury Transmit and send a full-screen preview to Monitor #2.Compare the Comp panel (Monitor #1) wit