After Effects

Hi, I would like to be able to control the shape gradient color settings with expressions.

Hi, when converting AI to Shape, I would like the shape to save the gradient after the conversion, if it is in the illustrator file.It will make life easier for many motion designers

Adding the ability to add or save Pre-Comps to the Adobe CC Library would be extremely useful and time-saving. I read that using CC libraries will add a 7X efficiency to an artist's workflow. Adding the ability to save Pre-Comps to the CC Library would drastically improve production speed and efficiency. Please please please add this functionality. It would be a huge game-changer.

Inspired by Node-based workflows. We often want to combine different mattes into one layer without the need of pre-comping—and then even use the same matte for multiple layers.If we improve the already existing "Set Matte" Effect with the functions of the "Track Matte", we may be on a better path!Here is a video of how that could work: https://vimeo.com/1381560341. Add a "Track Matte" switch to set matte:This could make the "Transform Properties" of the set matte behave the same as how "Track Mattes" do. (this is possible already by sandwiching the set matte effect between two transform effects)2. Multiple "Set Matte" Effects on one Layer"Add" and "Subtract" Mattes from each other. Similar to how masks work.More info: http://www.sandervandijk.tv/after-effects-features/mattes

Can we have an option to choose the frame-rate of frame sequences on import? It can be a bit of faff to go through a load of frame sequences in the project window and individually adjust frame rates via "Interpret Footage". Thank you! 

Feature that find and delete hided muted layers, that not parenting any other and not involved anyhow or not mentioned in eny expression.We have the Dependancies > Remove unused files feature which is really helpfull and great. But on the first stages of the big projects we have a lot of draft files. I just add some new draft and hide old one, just in case I whant to bring it back. I just add and hide again and again. Sometimes I parent something to some of this layers. And the same thing in all shots in whole project and it became a real mess. Its ok before I over the project and decide to archive it. That layers and footages will go to Collect and will take memory size for nothing.

Hello, Adobe designers! I am a designer from China. I have used Adobe and Macromedia package design software since 2000, including Photoshop, After Effects, Flash, Dreamweaver, etc. But so far, it has been found that the After Effects operation interface does not have the same UI style as other software, such as the black menu bar and title bar. It is obviously not professional. It is also a package design workflow software. It is recommended that you consider unifying the UI style of the software's operation interface, which makes users more professional and convenient to operate. The following is the interface I modified through Windows auxiliary software to ensure consistent operation interface.    

Hi, this is a request to add new API functions to create MOGRT.The ability to create groups and put controllers in them. As well as the ability to give names to groups and move them in the list of controllers.Thanks to these features, the process of creating MOGRT can be fully automatedThe community of template authors will be very grateful

Hi, this is a request to add new API functions to create MOGRT.The ability to enable font settings (Custom Font, Font Size, Faux Styles). Thanks to these features, the process of creating MOGRT can be fully automatedThe community of template authors will be very grateful.

Hi, Sometimes we need to make our compositions longer : we may start with the sub-compositions, find the correct duration, then go up to the main comps and lengthen them. This can be tedious, because either we calculate timecodes to find the correct length of the main comps, either we set a rough bigger than needed length, then shorten it manually. When we lenghten the precomp and put the Current Time Indicator at the end, then go to the main comp, the CTI is after the end of the comp. It happens to be exactly where we want the main comp to end, so a function in the Composition menu "Trim the Comp up to Current Time Indicator" would be very useful. Thx

Hi, I am the creator of templates for After Effects and Premiere Pro.Me and other authors would like to get text layers after exporting from After Effects to Premiere Pro.This works if you import a Premiere Pro project into After Effects, it will contain text layers.I would like that after exporting from AE, Premiere Pro also contained text layers.

I would like to see better stabilisation features capability in AE or Premiere Pro. Specifically I would like to see features more like what is in Mocha Pro (without the added expense of Mocha Pro). The ability to mask off region(s) to track (rather than points). Using new AI features like Sky, Subject or Background masking to use as Tracking Mattes. The ability to quckly do Horizon detection and stabilisation. The Warp stabiliser just does not cut it in many situations. I do motorbike go pro footage where there are many moving aspects within a frame, especially for older GoPro footage without inbuilt stabilisation which is extremely shaky. The ability to stabilise the horizon and distance would assist greatly. It would also be useful to add different tracking layers (selections)  to different parts of the clip where the scene has changed due to changing road or track directions.

I would like to be able to add .ffx presets to a CC library. I often use presets to store things like shape layer animations that get reused often for a particular client, or UI elements for UX prototyping. It would be nice to get all of these elements into a single library that teammates can contribute to.

When you shorten the length of a comp, it trims the length of any image, text or solid layer to the length of the comp. This causes problems in many cases. For example if you want to time remap and loopOut() a precomp which was trimmed in this way then you have to go in and manually extend the last frame beyond the end of the precomp, otherwise you get a blank frame in the loop! Say I have an image layer 10 seconds long. I change the comp to 1 second duration. It trims the layer to 1 second long, rather than just leaving it as a 10 second long layer which extends beyond the end of the 1-second comp duration. But if I did the same thing with a comp containing a movie file, the movie would simply extend beyond the end of the timeline without being trimmed. Likewise if I manually set an image duration to 10 sec it can happily extend beyond the end of the comp, so it doesn't seem like there's any technical reason it shouldn't retain the duration. Even more nonsensically, layers w

After Effects built in camera tracker is really nice but now in 2022-23 starts to need a few necessary improvements. I want to share some suggestions into it for consideration:- Lens Distortion Workflow: although having Optics Compensation effect, it does not exactly count as a proper workflow in the many cases we need to track and comp elements into footage that has different and sometimes extreme lens distortions.- Detection of Masks: without the need to precompose, this would be an extra bonus if it detected also Track Mattes, or even have a set matte option built-in the effect itself.- Add User Tracks: like for example the ones being generated via the tradicional 2D motion tracking panel do help estimation and help the auto tracks to be more accurate.- Point cloud generation: This can be used to visualize and assist in setting ground planes and creating objects.- Manually set the error threshold: This already kind of exists in the 2D tracker options with the confiden

Could you add a shortcut/command to select all keyframes in a comp? Not sure if already it exists. I couldn't find a way to do that. CTRL+ALT+A only select the keyframes visible in the timeline.

Remix is in Premiere... would be great to have in AE!!

I can't imagine trying to edit without using comp markers all along the timeline. I am starting to think I must be an odd bird. When working in After Effects I feel like I'm trying to edit with my feet, when I want to jump through a series of continuous markers either forwards or backwards but I CAN'T. Yes there are workarounds. I don't find it empowering to have to keep the labels "1", "2", "3".... if I want direct access, but I guess it's better than not. What do you folks use instead of descriptive markers? Text layers? Sincerely,- DK

I've recently gotten into scripting with the fantastic Automation Blocks. It's opened a world of control and automation I've never experience before due to a total lack of personal programming ability (no temperment for typos and formatting). In the past 4 weeks I've made tools that I've yearned for during my 25 years of After Effects experience. That said, I've found a bunch of things inside the program that Automation Blocks can't touch and would like to request the following as touchable by scripts. Interpret Footage - Main Options TabThese functions can't be touched by scripts and there HAVE to be set manually. "Remember Interpretation" and "Apply Interpretation" help, but are not useful in situatons where properly formatted footage exist. Interpret Footage - Color Management TabWhen "Importing" or using "EXR files as proxies" we have to set this check box manually since there is no way to get to it with a script. 6 clicks is a lot to get footage working. Projec

Since many scripts and plugins have shown that it is technically possible to have way more options when it comes to handeling compositions.. i wonder why none of that made it into AE ever. Like: - Duplicating a composition while making duplicates of all subcomps (maybe even assets within). "True Comp Duplicator" is showing us for over 12 years that people need these options. - Changing length of current comp AND all pre-comps and objects inside, that reach their comps end or at least match all pre-comps to the current one. Sounds specific... but "Match Comp Duration" is a must when u need it. - Enlarging a pre-comp by pulling on either side! Would be a equally appreciated. With an option to also pull everything inside that touches this side (maybe via modifier key) - Enlarging the current comp by dragging the In/Out-Point-Bar's left or right handle further in that direction while holding a modifier key - Uncomp Pre-Comps. I know that this wouldnt be possible wi

In Version 18, they removed the "VR Goggles" from the Composition Window which is where we would change the projection for the Adobe Immersive Enviroment so that the footage would be properly displayed inside of a VR Headset. You didn't give us another place to change this settings so any versions of AE past 17.7.0 are unusable for 360 VR workflows. Can we get our button back? #Adobe_UX_QC_Fail

Hi Adobe,I'd like to see the wave form of my audio in the afx footage window so I can more easily single out a section. Preferbaly scaled to the size of the window. It would safe me a lot of time. (Yes I know its also possible in the layers but it is tiny and sometimes when looking for a cetrain section you need more clear reference. I also know I can open up audition, but for some fast edits I would love to be able to edit it inside afx.) Thanks, 

1) When using a different layer as the source, make the tool not to reset the source to the paint layer every time you alt-click for a new source location.2) If you have done some cloning, done some other stuff, and then go back to cloning, allow new strokes to be added to the previous application of the paint effect, rather than creating paint 2, paint 3, &c. As an aside--make the forum searchable to isolate program suggestions, so I don't have to go through 266 posts asking why the clone brush doesn't work in order to see if someone has previously suggested these.

I would love to see a way to make more precisely rounded shapes with the otherwise-pretty-great pen tool in AE--like the curvature tool in Illustrator does. Perhaps the entire tool doesn't need to come in--for instance, if you had a rectangle, you could insert a point on two sides would define the ends of those edges' straight points (defining the beginning and ending points of the curve), delete the existing corner vertex, select the two newly created define-the-ends-of-the-curve points, right click and choose "create curvature", something like that. There would be no need to have any options--the curve itself would be defined by the locations/angles of the defining/connecting edges.

I think Adobe should steal this idea of selection types by drag from Autodesk Autocad software. It works this way, if you click-drag mouse from left to right, whatever the box touches gets selected and if it is the opposite, whatever that falls completely within the selection bounds gets selected. The visual differentiation is shown by a blue tinted selection for cross select and green tinted box for window select. If this feature is included in all Adobe suite products, particularly Illustrator, PS, Aftereffects and InDesign, it'd accelerate the workflow exponentially. If this feature is already available and hidden, someone kindly show me the way.