Feature Requests

Please add gpu acceleration Gpu acceleration for Keylight and Matte effects. The are really slow also on powerful machines.

If I have a specific color composition background color for my animation, and export it to an mp4 (or so) it gets black. Would be nice if Ae interprets it as a solid and renders it out as this color. 

We need a native UV texture mapper in AE as well as a real vector motion blur for vector passes from blender. Also depth of field has always looked terrible in AE with bad fringing from a depth matte. I’m not asking for AE to be nuke but it could try a little harder on the 3D compositing side of things. Not having every effect be 32 bit in an OCIO setup is pretty rough as well. 

It’s quite a hassle to first set the interpretation for one item, then choose ‘Remember Interpretation’ and then ‘Apply Interpretation’ to apply it to others.  Why not select a bunch of items and set the interpretation. (also: ‘Rembember/Apply’ is quite a strange flaw in UI - why not ‘Copy/Paste’?)

hi,recently this window pop up. Bc I had an project open and moved files in the Explorer.Won't it be nice if there the opportunity to replace the footage? like in Pr, with an path? 

After Effects:Currently, to create a “template” in Output Settings, you click the drop down next to the Output Module and select “Make Template...”Options Presented When Clicking the Output Module settings in the Render Queue in After Effects ...then have to select “Edit” from the middle of the screen…Output Module Templates Dialog Box, Creating a New Template And then you can edit your settings. Output Module Settings Dialog Box This is the same dialog box that can be accessed by simply clicking the queued item’s Output Module Settings in the Render Queue:Queued Composition in Render Queue I believe it would be beneficial to have a “Save as Preset” or “Save as Output Module Template” button on the Output Module Settings page like Photoshop has on their “New Document” dialog box: Photoshop “New Document” Dialog Box - “Save as Preset” OptionHaving the option on the Output Module Settings dialog box would speed up the creation of templates/presets since it can reduce clicks overall. Also

Currently there is no way to animate trim paths on live text. A User needs to Convert to shapes or masks and go from there. Meaning that any edits to the text become laborious.Thos animation is a common one too, that I see a lot in titles and motion design.Adding a "strokes Trim Paths" text animator option would be a great way to implement this, once added you set the trim path speed. then use either the range, wobbly or expression selectors to animate. And honestly I don't know why its not part of AE already. as a text animator it would have great control as the selectors have great flexibility.C'mon Adobe.

Two things that would make a huge difference:Bend / Twist deformersRight now extruded shapes are completely rigid. It would be really useful to have simple deformers like bend and twist so we could curve ribbons, banners, UI bars, arcs, etc. directly inside After Effects.These are very basic modifiers in most 3D tools, but in AE the only options are exporting to Cinema 4D, or using blender, using plugins, or building awkward workarounds with multiple layers.Boolean operations for 3D shapesboolean operations (subtract, intersect, union) for extruded shapes. For example: cutting holes in a 3D object , creating frames or cut-outs , combining shapes into more complex formsRight now there’s no way to do that in AE’s 3D system, which makes the modeling side of it very limited.Even basic tasks often require switching to another program, which breaks the workflow.deformers and boolean operations would make the system much more practical for everyday motion graphics work.

Hi Adobe team, I’d love to see a major update to the 3D Camera Tracker in After Effects — something that brings it up to modern AI standards and makes it a truly intelligent scene analysis tool instead of just a point solver.Right now, the 3D Camera Tracker works, but it still feels very manual and outdated comparatively. We get tracking points and a solved camera, but we still have to figure out ground planes, scale,         object anchoring, occlusion, and scene layout ourselves.What I want to see is an AI-enhanced version of the 3D Camera Tracker powered by Sensei.   Something that understands the scene, not just tracks it.What This Could Look Like1. Context-Aware Auto Camera Solve AI-assisted solve that distinguishes between static and dynamic objects Better drift prevention by ignoring moving people, cars, etc. Real-time confidence feedback so we know if a solve is solid 2. Automatic Ground & Room Detection Auto floor detection and proper world orientation Basic room bui

In Blender there is a really cool way to move keyframes around, you can select one key frame and turn on proportional editing where a sphere of influence pops up and you can adjust the size. it's great for stuff like gradually increasing the size of the bezier points in the graph editor. here is an example of it in blenderhttps://youtu.be/hfzfykbbjBw

a simple panel where we can add project notes.rather than build a comp with a text layer in it, which risks deletion when a project is reduced, a basic text notepad to explain to other users, (or yourself if its been a while since you opened that project,) any need to know info or links to the source inspiration or tutorial. please, thank you and shoutout to the spiderlord.     

When I duplicate a layer using Ctrl + D, the duplicated layer still references the same source item as the original.This means that when I change certain properties on the duplicate, the same changes also appear on the original — as if both layers were still linked.This is not the expected behaviour.When duplicating a layer in the timeline, the result should be a fully independent duplicate that I can modify without affecting the original in any way.

AI tools can now generate normal and depth maps from video. These maps are extremely valuable for compositing and relighting workflows.Please add native Normal Map and Depth Map support to After Effects, and integrate AI tools to generate these maps directly inside AE (natively, without external roundtrips).Thanks!

3D Camera Tracking in After Effects is currently very basic and needs a few important updates: No built-in tool to calculate lens distortion from a calibration grid/checkerboard. No option to place and solve from manual tracking points (true supervised tracking/constraints). No object tracking No reliable workflow to export/import 3D camera tracking data between After Effects and professional 3D/VFX packages. The Maya Live Link is unreliable, doesn't work too often, and the whole round-trip is frustrating—honestly, not professional enough for production workflows. Request: Please add a native import/export tool for AE 3D camera tracking data, so we can reliably exchange solves between After Effects and the most important DCC/VFX tools, e.g. Blender, Maya, 3ds Max, Houdini, Unreal Engine, Cinema 4D, Nuke, PFTrack, SynthEyes, Mocha Pro, etc.Ideally, this should support: Camera animation (position / rotation / FOV) Film back / sensor size Focal length / zoom curves Lens distor

I’ve used variable fonts on a few projects and I have a feature request.Can we PLEASE, PLEASE, PLEASE have a filter in the text panel (and Properties Panel text area too) to filter for variable fonts in the font dropdown? We can already filter for “Favorites” and “Fonts from Adobe” in those spots, so please give us this third option! 

Vegas is an old plugin which allows some pretty unique looks within AE.Can this be added to GPU acceleration? When I add it to a adjustment layer at the moment it takes over 0.5 a second to render each frame. Not great.

Please give us a way to display layer name or source name PER LAYER. The toggle in the timeline is monolithic per comp, and gives no control over whether an individual layer is displaying a layer name or a source name. This can get really messy and confusing, ESPECIALLY given that After Effects has NO native ability to rename layers to their source easily, other than manually one by one.

Please allow the simple selection of locked layers.It’s never made sense to me that it’s not possible to even select a locked layer. There are several reasons to want to be able to do this, including going to that layer’s in and out point, and opening the layer source with the RMB context menu.The latter is particularly irksome when working with a complicated project that has many, many comps and folders.

When I select a parameter from a shape layer and copy it (anything that would go under a “Shape 1” for example, including Path, Size, or Animators), if I try to select another shape layer and paste, it always creates a new shape within that layer rather than simply updating those parameters in the shape that already exists. This doesn’t make sense and is extremely frustrating in use cases where you need to batch update a lot of shape layers to match a master shape. I have used expressions to brute force the parameters to match across all shape layers, but this is not only hacky but also creates crashes and slow downs when (as in my case) you have 100 shape layers in a comp. To clarify - If I have two shape layers with the same shape name in them (e.g. “Square 1”), and I copy a parameter from Square 1 on the first shape layer, I should then be able to select the second shape layer in the composition and paste, and it should update that exact parameter within the “Square 1” shape. The sa

just recently I learned with right click you can edit the position of guides :-) And you can even do math in there! Now: Woudn't it be handy, if we could select multiple guides als change it positions? For eG measure/match the space between a coule of logos or text blocks thanks! :-D

Create layer groups (Folders in the Timeline, bam!),apply adjustment layers to selected layers,andclone layers, merge mattes, pre-render, and more!Please Adobe reach out to Constantin and hire him!  

I like to set some ‘key frames’ where I use Rotobrush to tell it how I would like it to mask. E.g the first and the last frame of a clip. But unfortunately, when brushing the first frame and then jump to the last frame to brush that, the tool starts propagating already, using a lot of resources and kind of freezes. I would like to see a button to manually stop and start propagating, when needed.

 Imagine this field from the “New Comp” dialog in the “New Comp from selection” window. Saves a couple clicks. 

You can change the highlight color currently, but I would love to be able to change the background the same way I am able to with other Adobe products. It helps for me to enhance some coloring depending on the project at hand and I know someone has previously mentioned their screen reflects too much of them (screen becomes a mirror) so it makes it harder to see.

I regularly use text animators to bring on text a character/word/line at a time, but I sometimes have to animate chunks of text appearing one paragraph at a time. There is no easy way to do this using Text Animators, so I propose the addition of a “Paragraph” option as well as character/word/line. This would only work with Paragraph text, and it would enable me to animate a whole paragraph appearing in one chunk.Currently, if, for example, I have a chunk of text (bullet points) and I animate ‘per line’, and have these keyframes:...then the first, single-line bullet points appear as you’d expect: each one takes 1 sec to fade on. But if I then animate from line 5 to line 7 (this bullet point spans two lines), the lines appear sequentially (as you’d expect) because we’re animating line-by-line. If I had a Paragraph option, then these lines would fade on together.