Feature Requests

I feel like I might be screaming at a brick wall here, but for the love, spell check for After Effects PLEASE. Yay that it finally, sort of, came to Premiere, but for those of us who animate text for a living, having to type everything out into a word processor then copy and paste into AE is an insane workflow for the year 2023. There are scripts that sort of do the trick, but they aren't live in any composition or you have to actively monitor every time you type something to see if it is incorrect (I'm talking about displaying the little red line underneath something that is incorrect). Even something like the InDesign spell check would be nice. 

Aftereffects 2025 please integrate native Lottie/ JSON export!Its really important to keep AE relevant. I dont want to learn new tools and pay for another subscription.Its great to be able to import a AI file and animate its elements and then export a vector (SVG) animation directly from AE. Adbobe pls consider this functionality!  

I know I'm not the first one with this suggestion.It would be great to be able to switch AE languages on the fly without re-installing.Also, when re-installing I have to recreate EVERY single setting and workspace and keyboard shortcut.Concerning scripting; I really would like to switch to english (from german), but i have literally thousands of AE files and most of use  german names in scripting, so I would have to change most scripts of former projects. Switching the system language doesn't help, as I need my german keyboard.

There have been many times where I have to see the color in a portion of a video and animate a different layer's fill color accordingly. Helps when doing a clean plate of not-that-noisy, filled-with-solid-colors moble game footage. Its easy when the color changes twice or thrice in a 30 sec bit but its ridiculous when there's 10 something in-betweens. Just like the motion tracker tool, I think the animators around the world could use a dnamic color picker tool (Or let's call it Color Tracker) that reads color of a selected pixel against frames and transferes it to a Null object (I know Null objects don't have the color property - maybe we should add it for the data to land somewhere) or a more appropriate layer that we could apply the data to. I am a marketing artist/ motion designer for mobile games and I know atleast 20 people who have been missing this feature from their everyday work. 

When you add keyframes that changes color of a shape, we get a small preview right in the timeline, of the spectrum of changing colors adjacent to the keyframes. This feature is hugely helpful when animating colors.Now I think all keyframe data should come with the same clarity. While looking at the timeline itself one should understand where are the portions where the values change (of any property), and where is it held static, in between keyframes. This, without having to move the playhead up to the keyframes looking at the property value under its label. Dots (resembling the ones that go in between postion anchors) that appear in between keyframes on the timeline panel, with a frequency guided by the rate of change can be a great solution. I've added an image to make my concept more clear. 

We should have an option to create multi-layer EXR image sequence in Render Queue.Currently, to render an EXR with layers separated, we have to go in Composition > Save Frame As > ProEXR. Enabling a multi-layer option in render queue would make it possible to benefit from its advantages, such as for exemple the possibility to import the rendered image sequence when the task is complete. Multi-layer EXR are VERY useful for exporting prerenders, or to give more flexibility in color grading. This feature should be added to future updates.

When working with Time-Remap on a nested comp, I often need to use two viewports simultaneously. Currently, the “Synchronize Time of All Related Items” preference makes this workflow very difficult, since both viewports are forced to stay in sync.The only way around this is to repeatedly toggle the setting on and off in the Preferences menu, which interrupts the creative process and breaks flow.Feature Request:Please add an override control (such as a checkbox in the timeline or viewport panel) that lets the user quickly enable/disable synchronization without diving back into Preferences.This would allow:Keeping one viewport at the master comp’s time while freely scrubbing the nested comp with Time-Remap in another.Faster iteration when animating or troubleshooting nested comps.A non-destructive, per-comp or per-viewport override instead of a global preference toggle.Impact:This would significantly improve usability and speed when working with time-remapping on complex, nested setups.

The option to either render or prerender with effects applied at an individual clip level would be a helpful option.Currently a render/prerender renders the entire selected timeline as one block but the facility to retain the individual clips after having effects applied, similar to "render in place" in Davinci Resolve, is currently not available. The scenario for this is that a long video is cut into clips using scene detection and exported as individual clips. The clips are reimported then effects are applied. These paired clips are then processed in a third party app and finally reimported into After Effects. Although obviously the footage could be exported and reimported if the scene detection is run on the processed clips it does not match the original scene edit detection and clips cannot be paired.

It would be great if the “Set Matte” effect were no longer dependent on the position and scaling of the mask layer, but instead worked more like a stencil, similar to “tracking matte.” In my workflow, I would definitely use this type of function 100% of the time instead of how it is currently implemented.Thank you!

Please add a feature that allows users to apply a vector mask to rotoscoped footage. Currently, users have to work around this by adding a mask layer, which is very limiting. Thank You

i knew the good and sincere intentions behind properties panel are. i knew it made lotta people life easier just for its existence. but from the moment it launched. properties panel in adobe walks at snail speed. things we could adjust or tweak in there are need more improvements. i found myself keep going back to layers to open up a certain props cause it never shown in properties panel. so i think adobe need to amp up the properties panel if the intentions are to minimize opening up things just to adjust.like all shape layer values gotta be in there. for starters. cheers!

Would be great to be able to select a folder in my Project tab and send all comps in that folder to ME. For example, I have a FINAL COMPS folder in which are several more subfolders, all organized and containing several comps each. Currently, I need to open ALL folders and then select ALL comps, while unselecting the folders... 

Some commands have very large shortcuts and they are tools that we use all the time like creating nulls and adjustment layers. I would love to have some buttons in the timeline panel to quickly create Nulls, Adjustment Layers, solids and cameras. There is a lot of space between de quick search field and the buttons for accessing the flowchart, shy layers, ect (attached image).  

I understand the existence of the Lumetri effect and panels in AE with all their scopes, also the hack of having a levels effect, added after the curves effect to see a Histogram.The Curves effect is lightweight, powerful and GPU accelerated.. but old. Very old in its interface and options compared to its brother Photoshop.My idea is just to update this effect into a more photoshop like interface with a included histogram.Image mockup submitted.

After Effects does not expose the camera’s Sensor Size (Film Size) to scripting. The Problem:Accurate camera creation and pipelines require knowledge of both Zoom and Sensor Size to correctly calculate Angle of View and Focal Length.Without script access, it’s impossible to verify, automate, or replicate real-world camera setups in AE via scripting Proposed solution:Expose Sensor Size (Film Size) as a read/write property in scripting.This would allow scripts to create cameras with the correct sensor size and accurately calculate Zoom, Angle of View, and Focal Length. Mike

Hello! I, and if you search discussions everyone, would love the ability to add a gradient along a stroke that follows the path. Currently, there are lots of hacky ways to do this. Typing in a bunch of ...... and tightly kerning them, 3D stroke, plugins like Thicc Stroke, but nothing native and easy to set up. Pretty please?

I can't believe this is not in AE already, but can we have a keyboard shortcut that will allow us to place a clip onto a new layer in the timeline at the playhead so we don't have to keep dragging them in manually. I know that I can hold command (control in Windows)  and drag to the timeline, but that is still much slower than simply using a key command. Please and Thank You!

I work with dozens of 2d animators (myself included) who would love to make After Effects shape and puppet pin animations a bigger part of our workflow, but we're limited by the current selection tool.  When animating a complex shape (or a mesh of puppet pins), it can get quite tedious using the rectangle selection to manually select each group of vertices and pins we want to transform.  (I've attached a gif showing how Lasso can be easily twice as fast). Having a Lasso tool (like the one in Photoshop, Illustrator, and Animate) would save us countless hours, help After Effects integrate even more seamlessly with Photoshop & Illustrator, and free us up to create much more complex and beautiful shape, puppet pin, and character animations. Other users have also noted that a lasso selection tool for keyframes in the timeline would also be extremely helpful in their workflows.   Thanks for reading, and please upvote if you agree! 🙂 (Kudos

For some chroma key jobs where Keylight fails, the good old Color Range keyer gets better results. But unfortunately, it is stuck in the 8bit era.Please update it to work with 16bit.

Along with migrating preferences, it would be a HUGE time-saver for there to be a tool/process to migrate plug-ins, extensions, and non-native fx when moving to a new version of AE. While some can be copied over, not all, and not having to manually re-install things would make life easier.

We can access marker times , keyframes times etc. But we cannot access then work area start and finish times via expressions.this will be helpful for creating loops and much more i suspect. somethingLike = thisComp.workAreaStart; andThis = thisComp.workAreaEnd;It can return time values just like inPoint and outPoint does for a layer.thanks

Simulation effects: Who does not love them?Particle Playground being a native plugin of AE (non Cycore) is very powerful, full of potencial and i love to experiment with it. The issue is that is slow.. incredible slow. And althought there are much better but payed 3rd party plugins it would be nice for AE to have its own 2025-26 GPU accelerated 2d/3d updated particle system internally to properly balance its market competition on this.Does this idea connect with anyone else? 

I see AE users constantly scrolling and clicking on opened comp tabs on the composition panel to find the one they need to work on. Although this is partially a matter of user workflow tidyness, organization and naming, After Effects could improve in its own way.For example having a preferences option, limiting the number of maximum recent comp-tabs you can have opened in the timeline panel. This in AE would prevent an user needing to scroll to X amount of open comps in the timeline, looking for the correct one, and having only a chosen max, of the recent ones.Nuke has this feature to avoid a crazy amount of uncessary node panels confusing the user while working and making the workflow and navigation much more efficient.

Dear Adobe Team,First, I want to thank you for the incredible work you’ve done with After Effects and Premiere Pro. I’ve personally used Premiere for over 10 years on major television projects and commercials that have aired on networks like NBC, ABC, and others. Adobe has been at the center of my workflow for more than a decade, and I deeply respect how robust and reliable your tools have been.That said, as workflows continue to evolve, speed and efficiency are becoming just as important as capability. Right now, so many creators are turning to other technologies because they don’t want to spend countless hours keyframing, masking, rotoscoping, and handling repetitive tasks that AI can help accelerate. While After Effects is unmatched in depth and precision, it risks falling behind if AI-powered features aren’t implemented quickly.The reality is simple: if Adobe doesn’t move faster in this area, another company will. Creators need smart, intuitive AI tools built directly into After Ef

An example: The motion blur switch was set so that it would turn blue, which was immediately visible when turned on. Currently, either there is an ashen grey background on or off. If the aim is to help the users, then a stark contrast like the blue button vs the current grey background makes a lot more sense