After Effects

I would like to see an easy (one key press or effect) that allows for easy looping of a clip between 2 key frames or the layer duration.It could even have added features such as loop amount (which tells the clip to loop 3 times before continuing)If I have a section of a clip of comp or layer that I wish to loop, it tends to only be available with many steps, such as precomposing and enabling time remapping and then setting of a loop expression, with inane one-frame-shorter-than-you-want-so-you-dont-get-a-flicker approach.How much easier would it be to right click and select 'loop'!or Add an effect to the layer that allows you to set a couple of loop keyframes (default would be current length) and then added options there?Maybe even a oneclick button on the timeline that loops whatever length of layer is visible?It is such a common recurring part of animation, I am dumbfounded it is not already an intrinsic feature of AE.

Hola, quisiera que se pudieran guardar en la biblioteca colores seleccionados en After Effects, para que estén disponibles en otras aplicaciones a través de la biblioteca. Gracias.

In Photoshop, Illustrator, and inDesign, you can leave the text editor with the ESC key. In some instances, it even switches to the move tool simultaneously. Typography is such a huge part of motion graphics so having the ability to edit and move text around quickly is incredibly valuable. Right now, in AE, hitting ESC after editing a line of text undoes any changes. This is especially frustrating when I've spent time meticulously formatting and kerning characters and then all that work is gone in an instant. Command+Z doesn't bring it back! I'm aware that Command+Enter will keep changes made to a text layer, but Adobe has already built this muscle memory of pressing ESC in the other apps. And getting my left hand to hit Command+Enter is such an awkward motion (and I'm a lefty!!!).This probably falls under the request to have ESC as a custom hotkey, but I think it should be addressed regardless.

Hi there,I hope everyone is well.Im working on an animation with 3 locked comp windows open with the corresponding comp timelinesstacked beneath the previews. I like how one can move the stacked timelines up and down as needed and of course the tilda keyshortcut for expanding each of the timelines.However, I am finding it difficult to differentiate between the stacked timelines as they are all the same colour.It would be a lot easier if the comp timelines could be changed to specific colours for easier selection in lieu of the dark line that seperates the stack. Even if they could be changed to different shades of grey, this would help immensly in regards to selecting the correct timeline to be expanded with the verticle system already in place.Below is a photo of the idea:)Thanks for listening and i hope my suggestion makes sense!

My company uses a series of drives and drive systems across windows and mac.Often when I open AE files on a different computer/mount drive in a different order my source files are coming up as missing. Often this is as simple as a change of letter name.For a simple example F:/Online_Media_EP01/archives/shutterstock7283412478ndbecomes      G:/Online_Media_EP01/archives/shutterstock7283412478ndIf I could simply edit the file path tab in the project window I would not have to nagivate through potentially 10s of folders and then find the file in potentially 10s of files with very similar names.Thank you!Louis

It will be good to have arguments for All as well as the ability to specify a range of keyframes to be deleted. Current workflow as exceptionally slow. People could die and be reborn while waiting for the process to end, on a large number of layers with lots of keyframes and God forbid if the layers just went through a Convert Expressions to Keyframes routine. 

Helloooooo,I'd like an update to how trim paths works please! Currently, if you apply a taper to a stroke, and animate a trim paths, the taper will scrunch up as if it is a percentage of the drawn stroke that is trimmed, NOT via the overall path length.  This results in having to animate the too and trying to balance out the animation which isn't perfect and is a bit of a faff!It would be great if the taper stayed constant and was unnaffected by the trim path, so this can just be animated cleanly with  a single set of keyframes on the trima paths out.I think that this should be made the default, as I cannot think of a case where you would want to have the current implementation. However it is always good to have options, so it would also be great if there was a little toggle on the trim paths effects to switch between the two.Thanks

Problem:It is hard to keep an eye on Rotobrush 3 not going off the rail when rendering. Solution:Update viewport each time Rotobrush has generated at new frame.   

 Rotobrush are becoming central part of After Effects workflow so it important to optimise it alot more. Freezing is taking way to long and should be generated parallel in the background not blocking the user from working for a long time. After freezing rotobrush sequence it feels quite slow compared to exporting the mask as luma videoclip. Would be nice with the option of cache to disk. The option of fine-tuning the quality of Rotobrush would be a big help. The ability to make guided keyframes throughout the sequence would optimise the result and ensure not wasting the users time. Another idea would be to have a option for masking individual areas with different colors, just like you would to in mocha. The more the masking process if optimised and automated, the more the user can start working without wasting time fixing masking errors up. 

3D SBS in the GenAI Age? How to easily create and run it on devices such as the Spectacles?With Runway and Luma Leia being able to create all-around 3D from just an image, shouldn't it be a no-brain that it would be easy to generate 3D SBS projects for export?Being able to dial the correct intensity for each device, 3D movies such as Avatar can exist for many others.I have an AE Template and Blender to do the 3D/4D effects for Luma (I cannot find the link but it must exist somewhere on the internet, I still have files, I can look for both later).The no-glasses and glasses 3D development died and needs to be fully brought back in the GenAI Age.It should be easy to export/run these things with ease on the Spectacles, XR, VR, and 3D SBS devices.

I think an adapted version of the "take" feature in Cinema 4D would be very useful in After Effects. I would really like it.

Want to place Anchor points to specific locations (up / down / left / right) or short cut key to locate themI want to be able to easily switch the position of the anchor point of a shape or text layer to the center or edge etc.テキストシェイプレイヤーのアンカーポイント の位置をデフォルトで簡単に中央や端に移動できるツールを実装して欲しい

Suppose you have 50 different folders in the "Project" section and some folders are collapsed and others are uncollapsed. Tthen you use the search bar, and after resetting the search, then all folders will be collapsed. Proposed feature: When the search bar is reset, then the collapsed/uncollapsed state of all folders should return to their last known setup.

It would be great to get the possibility to set a background color when rendering a video with a transparent background. e.g.My primary output is a transparent ProRes video, but i also want a mp4 with a white background.It would be nice to set the background color inside the render preset.

Liquify, warp and other important effects still 16 BIT! And Adobe boasts about native ACES support. This is quite funny really:)

Hello,It would be very useful if After Effects could load the OCIO config (i.e. the config.ocio file) specified by the OCIO environment variable.Almost all other Windows softwares in the Image and VFX industry do - such as Adobe Substance, Maxon Cinema 4D, Foundry's Nuke, Maya, Houdini, among many others.Why would it be useful?When a user work in multiple projects (some of them with specific color config and LUTs), there's one config.ocio file per project. Thus, we can create specific project contexts in Powershell (with all the necessary environment variables). For example, say that we have a project A context in Powershell where $env:OCIO=T:/projects/A/ocio/config.ocio. When the Artist will launch AE from this context it will automatically load the correct config.ocio file. Then, if she launches a Cinema 4d from the same context, it will also automatically load the project A's config.ocio file, and so on.In short, the workflow for working with multiple projects, multiple tools, and m

Can someone in adobe make changes about the rotobursh. When you are working with clients in 2024 they often ask about text behind their body. This cannot be achieved without rotobrush. I cut the segment of the video which is not that long only 1m and 50 sec and I prepare it for the rotobrush. I know it is complicated task and uses many algorithms but it's very unsetling when I have to spend 1 hour to watch how it freeze then 1 hour to render in h.264 with green screen, not even mov, because mov makes 100gb files,  and with that also the size of the file is still huge (not that as mov). I am probably doing something wrong so that's why I write but, can you make this simpler for the user. It kills my workflow and I cannot follow my time schedule.

Imagine if After Effects allowed us to visualize audio waveforms directly in the Time Ruler. It would be a game-changer, eliminating the need to scroll endlessly or rearrange layers just to pinpoint audio references. This simple addition could streamline workflows and save countless hours, especially for those working on audio-heavy projects. It’s a small feature with massive potential for efficiency and precision. This is a repost as I did not explain the idea clearly in my last attempt.

If we could visualise our audio waveforms in the timeline it would save sooooo much time scrolling and arranging layers to see it. Bonus points if you can get it to work in precomps to. 

After effects 25 (and all versions before that) have a hard limit how far the user can zoom in.for a 8k to 12k comp the limit is 200%for a 16k and larger comp, the limit is 100%every other app can zoom in much deeper, photoshop goes to 1600%, premiere to 1600%, mocha to no real limit, davinci/fusion very deep, etc etc. being limited to 100% for larger comps is a severe cripling to do precise work, to a point where I know i need to do precise work, I will do it in davinci/fusion, because I can actually see what I am doing. please fix this

As an avid Premiere Pro and After Effects user, sometimes I like to bring my text in from premiere to after effects. Unfortunately, after effects cannot seamlessly transition some of settings that I've adjusted on Premiere. Features like stroke alignment, multiple strokes, gradient strokes, and shadows entirely do not transfer over, needing me to recreate them (with them not maintaining their original design.) This is because after effects does not support them. I personally suggest that after effects completely ports over the missing text features from premiere to after effects. These include:Linear and Radial Gradient FillStroke Alignment (Inner, Outer, Center)Linear and Radial StrokeThe ability to add multiple strokes.The entirety of the shadow tab to After Effects (including the ability to make multiple of them)A Slight upgrade, why not add a shadow length to make it easier to create long shadows? (Seperate from the distance setting)Implement all of these changes into the "Drop Sha

I would like to recommend separating the width of the timeline columns for "Mode" and "Track Matte" which are currently locked together. These should have separate width adjustment controls so that they can each be adjusted individually.When I need to see the a long filename in the Track Matte column it doesn't mean I need the Mode column to equal it's width. Why would it?Having them connected means that my timeline becomes unnecessarily covered/truncated.This isn't a critical issue, just a confusing one and one that it seems like it shouldn't be difficult to address.Thanks for considering separating these column width controls in an upcoming release! 

Suppose you have 100 comps and you want to rename a comp in the "Project" section. So you select a comp, hit Enter, and type in the desired name. But when you press Enter to finalize the rename (or click away) then it will bump the "Project" scrollbar to the very top. When you're trying to rename a bunch of comps, this becomes very tedious to continually scroll down to where you were last located.

The current, 10, is too few today, especially after you've gone hunting for Project ASDJISOAH#@KFD for the past hour and need to get back to what you were working on earlier this/that/then hour; sometime earlier today. It'd be great if this number can be set in the Prefs Dialog.For me, a nice big dialog showing up to 30-50 AEPs; with their last Time Opened and Time Closed values will be really useful for humanity.  It's also the least expensive way to timetravel and I strongly/humbly suggest this is a good way moving forward while being able to judiciously move backward.😄 

i would like to add a feature or hot key to quickly move objects with its key frames as whole from point to point without adding a new keyframe. like if i want to move an object that start moving from left to right, i can move it from down to up with the same keyframe configurations.