Feature Requests

Make the parenting and track matte pick whips different colors. Depending on my setup, they can be in different locations, and it drives me nuts when I quickly grab the wrong one and don't get the result I want. 

If you will pre-comp a comp with markers, the markers are visible but they are not being updated in the first comp when you move them.  This feature would be really useful for projects that require syncing. I am using comp makers for syncing texts in my lyric video templates.  

I've always animated at 30fps, so 3x "super" or big nudges (i.e. cmd/opt + shift + arrow keys) has always equaled 1 second, as super nudges are 10 frames.  Recently I've begun animating at 24fps, so now 3x super nudges is 1 ¼ seconds. It would be great if we could adjust the value of a super nudge to be whatever we want, or at the very least step it down to 8 or up to 12 frames.  

Something like a modifier to the I and O short cuts that only move to the out point and in point of the selected layer, except it will jump the CTI to the next available out point of any layer or the previous in point on any layer. 

In Premiere, when files lose their link, relinking opens a dialog showing a path from where the missing file was originally located. Whether for better organization, moving to a different location or renaming a file, files lose their links and need to be relocated. After Effects should use a similar dialog as Premiere when relinking lost files. The ability to see the path a file was originally stored in is a good indicator as to where I should start looking. Sometimes it's in the same location but the name was changed. other times, seeing the former path triggers a reminder that I moved the associated files to a new location and I know where to go look. This would speed production quickly locating lost or missing files. Additionally, I think being able to click on a primary "Projects" directory or hard drive where most of your work is saved, would use the computer to search all folders embedded inside rather than the user having to locate the specific file path - wh

To be able to see the audio channel colors of the layers in the precomp outside of the precomp.  

Dear Adobe, Is it possible to run two session of After Effects?If So, Could you implement a new functionality to support for selecting After Effects session to display dialog box when we start to run After Effect project file from Finder? We expect that It should not be holding the operation from a command line to run existing project file with After Effects session (PID).It will help many kinds of After Effects user. Now we must run a one of project file first to do subtracting the mask area after running two session without any project file. We are not sure which session will be selected. please try to confirm the way in your side. Best regards,

The Essential Graphics Panel and MOGRTs currently support Point Controls but do not support 3D Point Controls or 3D layer/Transform Position properties. This makes setting up animated 3D graphics incredibly difficult because you have to separate dimensions or add Expression Control/Sliders' to give the user access to those dimensions.  It is time to implement these features.

Dynamically being able to set the height and width of a text layer iwth an expression will simplify and reduce layers and comps in complex projects, imporving Render and organization challenges. thanks!

I tried to dock the audio panel full height to the right of the application, but that triggers mac stage manager switching.Be good to work with Apple on a way to support this.

Please make possible to separate dimension of Animator properties.Position, Scale, Line Spacing and so on. 

ACES works great now for pure footage or pure CG renders. Problem is it doesn't really work for the main usage of after effects which is motion graphics/design(!)Scenario: 3D render + AE graphicsSay i'm using ACEScg and Display Color Space set to rec709. The CG render looks right,  but for native graphical elements, hex values are wrong, white is grey,And the Info tab shows you info color in the native color space instead of the display color space. its confusing.I have to disable 'Display Color Space' to none, create an adjustment layer with OCIO color space transform from ACEScg to Utility/Gamma 2.2 Rec 709, and when exporting set it to Preserve RGB instead of using the output color space i want it to be. It would be more intuitive for motion designers if we had an 'ACES hybrid' system, where it transforms elements with an intrepreted source, but ignores native graphical elements. (Text, shapes, solids)And exports would apply the 'Display Color Space' as the outpu

Why are the brushes in illustrrator not inside After Effects??  

I've just mustered the courage to update to AE 2022, and I was wondering why the "Cache Frames When Idle" option is not included in the Preview panel window with all the other RAM preview related settings?I mean it's absolutely not a huge deal at all in the grand scheme, but as a long term AE user it's where I went to instinctively to find the setting. When i couldn't find it I had to go searching. Seems its kinda in an odd place under the comp dropdown.It's a nice feature, but I just couldn't live with the extra fan noise from my system every few seconds!

When having multiple parameters modified or animated in a single layer it's easier to find a specific parameter that needs tweaking, in the effects control panel but it gets lost in the timeline panel., especially when the names of several parameters are very similar or there are many groups that share them, like with the Element plug in, which has many parameters named very similarly across several groups. When looked at in the timeline panel where the names might be partially collapsed, it becomes very cumbersome and tedious to locate the specific desired parameter. The Reveal in Timeline option only opens the layer and shows all animated/modified parameters but does not highlight the exact one clicked above, in fact if the layer is already twirled down the Reveal in Timeline function does nothing. It would be great to have a way to select a parameter in the effects control panel and have it highlighted/located in the timeline panel, it would save tons of time.

Hello - It would be very useful to be able to create multiple inverted masks on one layer. My current use case is this: I want to remove multiple sections from an image to allow footage to be seen beneath it. I understand that I can achieve this with track mattes, but I find that ends up cluttering my comp by adding more layers for track mattes (I can't hide them as I don't want to mix in the track mattes with my other shy layers, it messes with my layer organization).   It just seems far more intuitive to be able to create multiple masks then invert them all, rather than using track mattes. I hope this is something easily implementable by Adobe!

TL;DR: Where AI is concerned, Adobe should go first for the LOW HANGING FRUIT: not trying to shove 'Creative AI' in our face all the time (as in Adobe Illustrator...don't think we don't know you are harvesting our "TRY IT NOW" outcomes to train your AI). Why get a machine to do what comes naturally to creatives when you could be getting AI to do what does not come naturally to us (but should come naturally to AI): navigating the technical complexity of an endless labyrinth of upgrades, version differences, UI changes, feature additions and alterations, et al? Remember how useful and valuable R2-D2 was in Star Wars? Remember how he could plug into any access port on the Death Star to help the heroes in their time of need? i.e. How about an AI which intelligently finds & substitutes what is missing or helps the user locate what is missing so we can actually replace it ourselves (instead of just telling us "x is missing, use y instead" and leaving us to hunt for where x might actually

idea; use 'take snapshot' and enable snapshot as an overlay/onion skin

Here is an example of all we need to resize the textbox with sliders. It would be much better if there was the possibility to animate by simply modifying the pivots at each end of the text box, and in that way the text is accommodated inside the box. An excellent update for AE would be to have the option to animate the text box natively.After Effects: Resize Textbox Hack with Expressions (youtube.com)

 can you add a faster option to replace or reload a footage in right click timeline footage?RELOAD FIRST!

Can you add an option to divide a timiline in two areas Graph editor + timeline?OR Add a NEW TAB with graph editorthanks

I regularly use the ` key to embiggen a panel to full screen, and it works well. But it would be even better if I could set it up to toggle between two workspaces - one being whatever workspace I have currently set (as is the current behaviour), and the other one that makes the active panel full screen on my main monitor (as it currently does) but ALSO puts some other panels on my 2nd/3rd monitor(s). This would be great when, for example, working with text - pressing ` when my pointer is over my comp window would make that full screen, but it'd also put (if I'd set up the workspace) my Character and Paragraph panels on my 2nd monitor. Maybe there would be a specific workspace for this in the Window > Workspace menu (maybe "multiscreen" or something), and when we saved a workspace under that name, it would always be triggered by the ` key.

It would be great if we could access the information buried within layer style gradients.  This is currently hidden under a seperate 'edit gradient modal'.My request is to be able to access both the gradient knot colour and position information. i.e. knot 1, color (either in hex, rgb(a) and hsv, and position along the grad, i.e. knot 1 is 0%, knot 2 is 100%.This way we would then be able to either do some fancy stuff using expressions, or be able to rig the gradient color properly, i.e to slider and color controls for the knots. Being able to access the colours in different ways, i.e. by hsv would also be cool, as it would then allow for sliders to control just the saturation value for example.Obviously the order of operations is key here, which is why sometimes we use the power of layer styles over effects,.I'm currently working on a ton of placement versions, and I'm having to update these gradients manually on different layers and it is very cumbersome.  Being able to

Dear Adobe, Could you provide us the capacity planning information for having external GPU using Type C interface?We will take a 4K/5.4K 360 video for 3 mins through 5 mins. It sometimes will be 120 bps, 60 bps and so on. It will be general setting of 360 camera to take a video.it will be held in such the length of target route and also the limitation of digital camera specification. It will be held in day time in the forest, flower garden and so on. Spec :GPUMemorySSDMajor MakerTimefile size and resolution and bps and file type. Now we have bottleneck in the process of After Effects Subtract, making proxy and rendering, and exporting composition from Adobe Media Encoder. If we could improve the time consumption, It will be very efficient and effectiveness. Camera:GoPro MaxInsta360 One XTHETA Z Thank you very much for your support.Best regards,

I'd like to suggest adding a universal search feature in After Effects. This would allow users to quickly locate tools, effects, and settings by typing in keywords, streamlining workflow and improving efficiency.Thanks for considering this enhancement.