Feature Requests

I would like to see the ability to toggle absolute/relative position of the start/end points of a gradient. The current system has you pick an x/y position within the composition (absolute values). I would like the option within the effect itself to use these composition coordinates or lock them with the layer (relative positioning) so that - when moving the layer's position - it doesn't fly through the gradient. Yes, I know an easy expression can handle this. For example:x=transform.position[0]; y=transform.position[1]-100; [x,y]The point at which it becomes tricky is when layers are parented to each other. The child's layer position becomes relative to the parent layer's position, the expression would effectively revert the effect to an absolute position. Yes, you can add other expression controls to make the "offset" variable (instead of "100" in the above expression), but depending on how many layers you're working with, this becomes a large time suck.My thought is t

Colorama is so powerful; but the color picker suck.Just use the same picker as the rest of the Program, PLEASE.Why this color picker from the 80's, for a such a great effect?Also, we should be able to see live update in the composition panel

Olá, comunidade! Queria deixar uma ideia pra futuras atualizações: A opção de poder exportar uma única composição de um projeto para um projeto separado. Por exemplo: Tenho um projeto que tem 5 composições, dentre elas uma composição de um Logo Reveal animado dentro do projeto. Queria poder exportar somente esta composição para um projeto separado, para que eu não precise importar o projeto todo somente por conta da animação do logo. Isso às vezes pesa muito no projeto final, e a possibilidade de retirar somente uma composição como um novo projeto ia ser ótimo! Espero que implementem minha idéia, ficaria muito feliz e facilitaria muito não somente o meu trabalho, mas das outras pessoas também 🙂Obrigado!

After Effects should have a keyboard shortcut to toggle "Hide Shy Layers" in Timeline Panel.

I do mogrts for some clients, and is annoying that the program is forcing me to save everytime I do an export of a mogrt. I'm just wanting to see if the template that I just created works fine, and if it doesn't I'll have to make adjustments to it, like a regular video export on a composition. So I don't want to save as I'm not sure what the output is going to be like. The worst part is that it also clears for Undos, so your stuck. I have to manually undo the changes if the mogrt doesn't work well. If I remember them. 

For the Linear Wipe, add a checkbox to use the layer bounds in stead of the Comp size.That wil make the percentages more logical when applied on elements that don't fill the comple composition. √ Use layer bounds

We have a render script that our artists run to ensure compliance on deliverables with the studio that their project is for.  We currently use 40+ output modules to facilitate this because of a bug with setSettings(). The addition of native support for OCIO / ACES workflow in AE 2023 has been a long time coming and very much welcome!  Unfortunatly we are running into issues in being able to set the color settings of an output module via scripting. We can generate more templates to handle this, but it is not ideal to do that for each update to studio requirements.  As we then need to make sure all artists update their templates.  The ability to set color settings via .setSettings() would save a lot of time and headache, and allow artists to focus on the work and not have to rerender because they dont understand color science.Thank you!

I just came across a situation where I created a black marker (using a custom label color) which had a comment. However, the comment text in the timeline was black, so the comment was illegible. It would be helpful if the text color could switch to white if the label color is detected as being below a certain value.

The idea of convert path to points, is the same way you would convert to bezier path.So right click your path and convert to points. This will give you like the attached mockup photo, a controller for each point that makes it possible for you to animate indiviual points and handles in a path.I was helping with an animated stroke that follows some tracked footage of a windmill, where to stroke also follows the windmills wings rotating, and came up with the idea of this feature.

I often have to make versions of the same animation in different formats.I then place the reference movie in the comp. Only problem it’s in the way...It would be amazing if I was allowed to drag it outside the work area and still see the reference movie 🙏 

Is there anyway to import the layer-label-color from illustrator to after effects- if there is not - This would be a great improvment

Can we make the time ruler draggable to increase the composition length?

As above, I'd love to see a MUCH friendlier, effective GUI for setting up and using network rendering in AE. I have spent the past couple of weeks trying to set it up and to say it is a convoluted process is an understatment.I did a post a few weeks back asking for any advice for setting up and it got zero repsonses. I think this is partially because it is so convoluted. I work in a small studio that has a render farm for animation and it's frustraing that I can't farm out AE frames easily.So yep, my feature request is an updated, functional setup and interface for setting up and using network rendering WITHIN AE ... not a third party app or seperate exe. Thanks for reading.Mick.

Make the parameters for Paragraph Text box available. This type of thing would be EXTREMELY helpful when making mogrts.  When the editor's imagery changes, it's not going to be the "same" everytime.  But the way the text animates on is.  The Editor can repo the text and adjust font size, but has little control over layout. ALSO Controling the size of the box with expressions would help tremendously when using RectSourceToTime. --For instance: I have a word balloon.  An arrow shape is attached to the bottom with RectSource...  I want to restrict the X property of the box and let the Y proerty update.  This allows the shape to stay where it is rather than update to the bottom of an empty paragraph box.

Designing MOGRTs to perform equally well in 24fps timeline vs a 60fps timeline is clunky at best. Or in a 4k vs 1080p timeline... 16:9 vs vertical... When you want a MOGRT to work "cross-platform" like that, you have to make derivative versions, one for each FPS or comp size. It makes updating the template later multi-step as you must update EACH mogrt, not just one.  Would be nice to be able to consolidate all such variances into one "smart" MOGRT. That "knows" what sequence and timing its in.

Can the After Effects team please add a Hard Limiter plugin (found in Premiere's Aplitude and Compression) to your audio settings?  Here's my case -Broadcast law is -12 DB and our exporting sound filters at the TV station take care of that naturally when it comes to commercials. When it comes to the output on the mixing boards running animations during live television, there is no filter. I know a lot of people don't mess with audio in After Effects so I don't expect this to get any votes.  I've been using alternative methods for the past decade, but this would trim 10 extra minutes everytime I add an alpha'd animation to our station asset manager. I have to render our video in After Effects for internal station alpha based software needs. -12db sounds too low for anything else, but when it comes to live tv, -12db is much louder when broadcasted live than when coming out of your computer speakers.  The process of the perfect mix would become, audio background m

Hello,I am a composite supervisor working mostly on animated TV shows.our process means grading and effecting long strings of shots with sequence specific repeating effects and setups. We work with large and small teams of artists around the world. We would absolutely love the ability to drag and drop an effect or a stack of effects from a layer to a shared library so it becomes automatically available to our artists around the wolrd. This would be a big boost for speed and reliability of our collaborative process. Right now it's "possible" through the classic system of saving an animation preset file then sharing that via mail or chat, then installing etc, or sending a zipped comp collect, but that's a lot of obsolete slow footwork. We could just slide animation presets to/from library straight off/from layers and comps. It would seem you already have the hardest bits of the backend already built in the adobe libraries system, it would just be a matter of figuring out a

For some reason, AE often fails to delete temp files when rendering image sequences. So it gives an error message for every single frame that it fails to remove. Can you please add a little "Dismiss All Errors" checkbox on the error message popup? Otherwise I have to hit OK or Escape for every file. Thx!

Please remove the default appending of ' Outlines' to imported Illustrator layers' names when executing 'Create Shapes from Vector Layer'.   The resultant shape layers are always renamed the same as the source Illustrator layers, but with ' Outlines' added to the end.  If our layers are named correctly in the Illustrator file, this requires renaming of every layer once the vectors are recreated in After Effects in order to preserve the original names.  The differentiation between the layer type icon is enough to clue users in to which is the source layer (it has an Illustrator logo) and which is the resultant layer (it has the shape layer icon (star)). Thanks!

When compositing Comps with 3d rendered elements, this can bring in a situation where an already imported render needs adjustments in the 3d app and then it has to be rendered again. While this is rendering, Ae panics, and comes up with all kinds of errors, while it just should wait for the render to finish. Why not do it the Premiere way - just say that the footage is offline, when it is not accessible, or show the Layer name in Italics or grayed out. 

Feature request please!Firstly, for people dropping by on this post, please see this post which ex[;ains a useful bit of info about AFX & EXRShttps://community.adobe.com/t5/after-effects-discussions/no-16-bit-exr/m-p/10407820So my feature request is that we can work in 16bpc in AFX and export 16bit exrs in trillions of colours.  The current workflow is working in 16bpc and having to export in floating point, and then receiving the error that the export has a higher colour depth.

It'd be so nice if bodymovin could read essentail graphics properties on comps when exporting animations for lottie. I'd save so much time duplicating variations of animations for products if I could just override the properies with essential graphics panel and have bodymovin actually be able to read them.

Poderiam muito lançar uma atualização para melhorar essa interface da barra de ferramentas, para se adaptar melhor de outros tamanhos, pois quando tira ela do lugar original acaba ocupando espaços verticais que atrapalha um pouco de acordo a organização da workspace

Working with vector Illustrator files in After Effects is still very clunky.  Yes, you can import .ai files into AE, and even convert them to Shape Layers in your comp.  But what if you make changes to your Illustrator file?  Or what if you add something in AE that you want to update in AI?  Or want editable text?  You're out of luck.  The script called Overlord by battleaxe.co solves these issues and more.  Their solutions are excellent, but we shouldn't need to buy an additional script just for simple workflow stuff that should be built into your software.  You'd think AE and Illustrator were made by two completely separate companies based on how poorly they talk to each other.Adobe, please make some progress here!  Things have really stagnated the last several years when it comes to simple workflow stuff like this between your programs.

I have this habit where I create a folder in my Project with the name '-Output'. (the dash to keep it on top of the list)'-Output' can have several subfolders like 'Studio', 'Montage', 'VFX', 'LowerThirds' etc.All Comps in that folder represent a final rendered movie file.On my disk where the renders are output, I create the exact same folder structure, so I can easily track which movie belongs to which Comps, in case of corrections or reuse. My request:I would love to have After Effects automatically create the (relative) Project hierarchy for the output files on render time.More specific: when Comps are selected across folders, and these folders do not exist on the output disk, let Ae come up with the dialog "Shall I clone the Project Folder structure for the Selected Comps dear user? [Yes please] / [No, certainly not]"