Announcements

Version 27.0x33 of After Effects Beta introduces support for editable text from Illustrator files.Previously, converting an Illustrator layer to native shapes would turn all its vector content into shape layers and text would be lost unless it had been converted to curves. Now, text stays text: when you use Create Shapes and Text from Vector Layer on an Illustrator footage layer, text objects come into your comp as fully editable After Effects text layers instead of outlines. Font, size, fill, position, styles (like bold and italic), strokes, and variable font settings all carry over, so you can keep editing in After Effects instead of being locked into static shapes.  Getting StartedSelect an imported Illustrator layer in the Timeline, then choose Layer > Create > Create Shapes and Text from Vector Layer. Any text in the source file will be converted into its own editable text layer (rather than a shape layer), matching the font, size, fill, and position from the original file a

Hello everyone!The rumors are true: we’ve brought a native AI Assistant to After Effects and it’s now here in beta! Update to the latest beta build (7 or above), restart After Effects, and open the panel from the icon in the header bar or via “Window” > “Assistant.” Exhibit A: a disaster project file.First, what this is and isn't. The Assistant is not here to replace you as the artist. Our north star for the Assistant is for it to do the tedious work that takes away from the joy of creating (think expression troubleshooting, reorganizing a project you inherited from a contractor who didn't follow your team's project organization guide, manually checking the spelling in your text layers...)So while you can point the Assistant at a wide range of workflows and get varying success rates, we've deliberately made it best at two things right now: project organization and expressions.Ask it to explain, restructure, rename, and color-code your project: handy for anything that's gotten away f

We've been having a lot of fun with a new effect we're calling Curl Noise, and we want you to try it.If you've ever wanted a noise effect that feels less like static grain and more like smoke, flowing water, or swirling ink— that's the space Curl Noise is aimed at. It generates smooth, animated 2D noise with a fluid, organic quality that's naturally well-suited to backgrounds, texture overlays, abstract motion, and anywhere you want movement that flows rather than flickers.The reason it feels different from other noise effects is in how the noise field is curled — the vectors that define the noise are rotated so they always flow tangentially, which is what gives the result that characteristic fluid quality. Crank up Swirl and it starts to coil and spiral. Push Turbulence Speed and it churns. Keep things subtle and it just... drifts. Here are some examples… Curl Noise with Default SettingsModify the Transform properties and add some swirlReduce the swirl, add in smoothness and a little

After Effects Beta now supports native fullscreen on macOS. Click the green button in the top-left of the window to expand AE into its own fullscreen Space — complete with menu bar auto-hide and Mission Control swipe support, just like other native Mac apps.  We've also cleaned up the title bar to match macOS conventions:Now shows just your project filename instead of "After Effects - filename." Cmd-click (or right-click) the filename to get the standard macOS path popup, letting you jump straight to any folder in the project's file path. Unsaved changes are now reflected with the native "edited" indicator alongside the existing asterisk. Click-drag the project icon (when a project is saved) to access the underlying project file for drag-and-drop.Let us know if this is working for you. 

Starting in the AE Beta 27.0x7, we've changed how text animators handle combining marks — the tone marks, vowel signs, and diacritics that sit above, below, or around a base character in scripts such as Thai, Arabic, and many Indic languages. Scope of the changeThis affects the per-character text animator properties:Scale Skew Rotation Tracking Variable Font axes that change a character's width (not only an axis literally named "Width" — any axis whose effect widens or narrows the glyph) What used to happenWhen you animated one of these properties on text containing combining marks, each glyph/mark was positioned independently. As the base character moved, scaled, rotated, or changed width, its marks did not travel with it and they drifted away from the character they belong to, so the mark could end up detached and floating over a neighboring character. What happens nowMarks are now grouped with their base character and transform as a single unit. As you animate, the whole cluster (ba

As we prepare for our upcoming version 27.0 release of Adobe Premiere, After Effects, Media Encoder, and Audition, we are sharing an important update regarding Macintosh hardware compatibility. Beginning with version 27.0, our video and audio applications on the Mac platform will require Apple silicon (M1 or later) processors. Intel-based Mac systems will no longer be supported for v27.0 and future updates.  What Macintosh Users Need to Know Intel-Based Macs: You can continue installing and using version 26.x. Security updates for v26.x will continue per our standard support lifecycle. To update to v27.0 upon release, an Apple silicon Macintosh will be required. Apple silicon Macs (M1 or newer): No action needed. You can update to v27.0 as normal. Moving exclusively to Apple silicon on macOS allows us to focus on modern architecture and hardware acceleration across our video and audio applications. This update also aligns our roadmap with Apple’s transition roadmap: Apple has announced

Hi all! Here today to let you know we've added Disk Caching for Object Matte!As you know, when you propagate an Object Matte across a clip, After Effects analyzes every frame. Until now, all of that lived in memory. If you closed the project without freezing or ran low on RAM, those results were gone. Reopen the next day and you'd have to wait through the propagation all over again.With disk caching, Object Matte propagation results are now cached to disk, so the work you've done sticks around. You should also see slimmer .aep files, have an easier time working with large formats (hello 4K!) on low-memory machines, and AE will cache your Object Matte frames in the background while idle.What's newYour Object Matte survives across sessions. Propagate a matte, save, and close your project. When you reopen it, the cached frames are still there.Less pressure on your RAM. Because propagated frames can now live on disk instead of only in memory, After Effects can hold onto more of your work w

Sometimes you just need a copy of what’s in your Composition panel—a still of the current frame, ready to paste into chat, email, socials, etc. Exporting a frame works, but it’s more steps than it should be.We’re (finally) introducing Copy Frame to Clipboard: a one click option accessible from the Composition, Footage, or Layer panel to grab the currently rendered frame and put it on the system clipboard.  How do I use it?Set the Current Time Indicator to the frame you want to copy and let it render. Click the Toolbar button in the Composition, Footage, and Layer panel toolbars. Or use the Keyboard shortcut when any of those panels are active. Defaults: Ctrl+Alt+Shift+F5 (Windows) and Cmd+Option+Shift+F5 (Mac).  What Does Copy Frame to Clipboard Support?On Mac and Windows, a PNG will be placed on the clipboard (up to 16-bit when using 16bpc or 32bpc comps in After Effects). On Windows, a bitmap  representation is also provided, so more apps can paste reliably. With regard to color, wha

Mask tracking in After Effects just got a major upgrade, including up to a 5x speed improvement.Controls are more accessible so you can start tracking without hunting through panels, the tracker itself is significantly faster so you spend less time waiting for it to complete, and the results are also more accurate. Whether you're isolating a subject or refining a tricky shot, the updated mask tracker is here for you.  How do I use it?In the Timeline Panel, select a footage layer. Click the Mask or Pen tools in the Toolbar. Draw the mask on the visual you want to track in your footage. Click the Track Forward button to start tracking forward.  Use the Wrench button to change the tracking method. The first four tracking methods have been updated to a new algorithm that is up to 5x faster, with enhanced accuracy. Did I mention it is also really really fast?  Of course, if you're used to the Tracker Panel, worry not, as we have also kept the controls there.  Please, try the newly updated m

If you’ve been on recent After Effects Beta builds, you might’ve noticed the Effect Control Panel getting a little tidier: things like GPU Acceleration and Camera Aware have moved to the right side of the effect header, and Reset is a proper button instead of plain text. Today we’re excited to tell you why.As of build 26.5x7, After Effects allows you to assign color labels to individual effect instances on a layer. When you add an effect (or open a project that already has effects), you’ll see that familiar small grey square next to the effect name.  Click it and you get the same kind of label menu you already know from elsewhere in AE.  Upon applying an effect, each effect’s default label is None, but you can tag effects however it helps your workflow, same idea as layers or keyframes.In addition to the familiar square swatches, we've also added (optional) background tinting: the effect row can get a subtle background wash that follows the label color you picked. We've found this to b

The Frame.io V4 panel in After Effects (Beta)What is it?Hey friends! We’re pleased to announce that the new Frame.io V4 panel is now available in After Effects (Beta). Render, upload, share, comment, and manage feedback without ever leaving After Effects.What’s New?Unlike the Review with Frame.io panel, the new Frame.io V4 focuses on uploading from the Render Queue, rather than requiring users to set render settings from within the panel itself. Upload one or many comps to the same place in Frame.io at once!What’s Coming Later?If you’ve used our new Frame.io V4 panel in Premiere 26.2 or later, there are a few features in that panel, but are not yet available in After Effects (Beta).Playhead sync - Today, clicking a comment will jump the After Effects playhead to a comment. In Premiere, you can also sync playhead scrubbing between Frame.io and Premiere bi-directionally. It’s not in After Effects today, but we know it’s important to you. Asset import - Today, you can use Frame.io drive t

Hello, motionkind! Now in After Effects (Beta) build 26.0x40 and later, we are introducing two improvements for expressions & scripting.  Quickly find the keyframe or marker before or after a given time, without writing lengthy, repetitive logic.  Read the current text and the full list of dropdown menu items, so you no longer need to keep duplicate strings in your expressions just to show the text from a dropdown menu.    previousKey() and nextKey() in JavaScript expressions    This Beta build introduces new expression methods to quickly get the keyframes or markers before or after any given time:  Property.previousKey(time): Returns the keyframe or marker at or before time. If none exist before time, returns the first keyframe or marker.  Property.nextKey(time): Returns the keyframe or marker after time. If time is after the last, returns the last keyframe or marker.    These new methods are only available in the JavaScript

New in After Effects Beta 26.3x34: Modernized Effect Controls Panel  After Effects has a long and storied history, and a lot of today’s UX still sits on a legacy framework. That foundation has made it harder than we’d like to fix bugs, ship new ideas, and keep panels feeling fast. We have been reimagining what’s under the hood for the Effect Controls Panel to make the experience easier to evolve, more reliable, and genuinely better to use. With that in mind, we have been working to modernize the underlying framework of the Effect Controls Panel. We are essentially rebuilding it from the ground up. This is the first stage of a larger project to modernize the UX framework of After Effects.  What is changing? For now, the panel will look nearly identical to the existing version and retain all current behavior and functionality. However, this architectural shift allows us to deliver incremental improvements to the AE user experience moving forward. You may already notice a few subtle chang

We’re excited to introduce Object Matte in the latest After Effects Public Beta (26.2 build 27) — a major evolution of the Roto Brush workflow.Object Matte shifts rotoscoping from a brush-only workflow to a hybrid approach that combines single-click AI subject selection with precision refinement and intelligent propagation over time. Built on the same AI technology powering Premiere Pro’s Object Mask workflow, Object Matte delivers faster, more intuitive results with significantly less manual effort. What’s New in Object Matte?The Object Matte suite includes four core tools designed for speed, control, and flexibility.Object Selection Quickly isolate objects in your footage with one-click or marquee-based selection (rectangle or lasso). This tool leverages advanced segmentation logic for accurate propagation across frames, reducing manual effort for complex scenes. You can access Object Selection by clicking the icon highlighted in blue. You can select an object in your comp by clickin

Your new Object Matte just got more interactive. With the new Live Update feature, your Quick Select and Selection Brush strokes are reflected in realtime as you paint, so you can see exactly what's being selected without waiting for a refresh. It makes the selection process smoother, faster, and far more intuitive — letting you refine your mattes with better precision and stay in your creative flow. This may look like a small update, but we think it makes a huge difference — and we'd love to hear what you think. Give Live Update a try and let us know how it fits into your workflow. If you run into any issues or have thoughts on how we can make it even better, please share your feedback — your input directly shapes where we take this next.

Hello AE beta users!  Version 26.3.058 of After Effects Beta introduces scripting APIs for Parametric 3D Meshes.  These new APIs enable you to use scripting to create and customize the six types of parametric 3D meshes introduced in After Effects 26.0: cube, sphere, plane, torus, cone and cylinder. The new Parametric Mesh menu Whether you want to create precise data visualizations or just fill a comp with dozens of colorful cubes and spheres, scripting makes it easy.  New APIs  Check layer type      Layer instanceof ParametricMeshLayer       Description      Enables the script author to check whether layer is a parametric 3D mesh layer.       Type      Boolean; read-only.   Create mesh layer      LayerCollection.addParametricMesh(name, parametricMeshType)       Description      Creates a new parametric 3D mesh layer.       Parameters  Parameter  Type  Description  name  String  The name of the new layer  parametricMeshType  Parame

Hello AE Beta users,We have a very fun new feature for you to try in After Effects beta 26.2x31: Parametric Meshes now support displacement of Substance 3D Materials. Displacement uses the material’s height data to push the mesh’s geometry into 3D space. It can add a subtle texture to increase realism and dimension or turn simple shapes into complex, detailed models. Substance 3D materials with displacement can take a simple 3D shape from this:to this!A complex 3D material of stained glass windows in a stone wall applied to a sliced 3D cylinder meshIn addition, Substance 3D materials that include emissive textures will now render correctly, creating the glow visible in the stained-glass windows above or this fracturing planet:Material with both displacement and emissive propertiesNote that Advanced 3D doesn't support true emission; the material will light up, but it won't cast light onto other objects. Getting StartedApply a Substance 3D material (SBSAR) that supports displacement to a

SVG content on the operating system clipboard copied from Illustrator and other applications can now be pasted into an After Effects project via the Edit -> Paste menu. The contents will be imported as native, editable shape layers that are ready to animate.  Copying from IllustratorIllustrator support requires the Clipboard Handling preference "Include SVG Code" to be checked in the Illustrator application preferences.  Pasting into After EffectsIf no Project is open in After Effects, when SVG content is on the clipboard, Edit -> Paste will create a new Project with a Composition containing a Layer with the SVG content.When pasting into an existing Project when no Composition is selected, a new Composition will be created within the current Project containing the pasted SVG content. With a Composition currently selected in After Effects, the SVG content will be added to a new layer within the selected Composition. Known limitationsSVG Text will need to be converted to curves bef

Since we introduced Variable Font Animation in After Effects, a lot of you have been exploring weight, width, slant, and custom axes in the Timeline and Properties panel. One thing we heard clearly is that it’s still hard to spot which fonts in the menu are actually variable when you have a huge library.Today we’re shipping an update that adds a variable font filter right in the font popup, so you can narrow the list to variable fonts only and get to the right face faster. What it doesThe font popup now includes a filter control that, when enabled, shows only variable fonts. Turn it off anytime to return to the full list (same as your other filters and favorites behavior). Where to find itOpen the font control anywhere you already choose a typeface (for example, the Properties panel or Character panel font picker—the same font popup you use today). Use the new variable font filter so the list shows only fonts that expose variable axes. Choose your font as usual; disable the filter when

Today we’re introducing three significant updates to our vector workflows in After Effects beta version 26.0x8:   You can now import SVG files as native AE shape layers. Logos, UI mockups, and other vector assets are ready to animate – no conversion required. Improved Illustrator Layer Conversion: Illustrator layers now retain gradient fills, gradient strokes, and transparency when converted to native shape layers. New Gradient Controls: We’ve added animatable Scale and Rotation properties for gradient fills and strokes, giving you more control over vector styling and animation.   SVG Import     Client sends you a dozen SVG logos to use in a project? What once required a tedious, multi-app process is now fast and easy: SVGs import as compositions of ready-to-use native shape layers, no conversion required. Gradient fills, strokes, and transparency are preserved and fully editable.   There are a few limitations of SVG import: Because SVGs import directly as

Outstanding in our (Depth of) Field  Hello beta users! Version 26.2.033 of After Effects Beta introduces support for in-engine Depth of Field in Advanced 3D.This is an entirely new method of creating Depth of Field that works with 3D models, parametric meshes, Substance 3D materials, 3D text and shape layers, and anything else you want to focus on in Advanced 3D. It even handles multiple levels of overlapping transparency, so you can do things like focus on a subject through a window: Even though we are viewing our characters through a foreground transparent layer that should be blurry, they are rendered in perfect focus.To enable depth of field in your scene, set your composition to the Advanced 3D renderer, add a Camera layer and check the Depth of Field box. By default, After Effects will approximate a physical camera. Depth of Field can add compelling realism to an AE scene. In this subtle example you can see the smooth animation from the foreground focus to the background across a

Get hyped for variable type! We're excited to announce support for Variable Font Animation in After Effects! Stretch, squash, jitter and transform your text with the combined power of After Effects text animators and variable font axes.  You can now animate variable font properties like Weight, Width, Slant, and more directly in the Timeline using Text Animators, edit them interactively in the Properties Panel, and drive them through the Essential Graphics Panel + Mogrts, unlocking powerful new typographic animation possibilities.  Imagine animating your text from whisper-thin to ultra-bold with buttery smooth transitions, all the characters at once or with a gradual fade from one weight to another. Or making each character dance with its own unique style. Or driving font dynamics with expressions that respond to your scene. Now stop imagining—because it’s all real. Any axis your variable font supports can be animated with the full power of After Effects’ Text Animators.That means full