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Want your 3D scenes to feel like they were shot through a real camera lens?With Depth of Field in the Advanced 3D renderer, you can now pull focus on your 3D scene right in the engine, keeping your subject sharp while everything in front of and behind it falls into a soft, natural blur.It works across 3D models, parametric meshes, Substance 3D materials, 3D text, shape layers, and more. No compositing tricks or post blur required. What can you do with it?Add true, camera-accurate depth of field rendered directly in Advanced 3D Keep your subject in sharp focus while backgrounds and foregrounds blur naturally Apply it to 3D models, parametric meshes, Substance 3D materials, 3D text, shape layers, and more Get realistic optical blur instead of faking it with post effects Put it to use in your workflowDirect the viewer's eye to a hero product, logo, or title Add cinematic depth to 3D type and motion graphics Create dreamy, shallow-focus background plates Sell realism on 3D model and materi
Welcome back to our series on free After Effects resources from across the web. If you missed the first one, we covered Camera Crew by Motion Ape well worth a look.This time, we're highlighting a tool that, honestly, needs no introduction for a lot of you. But if you haven't tried it yet, you're in for a treat. Meet DUIK ÁngelaDUIK Ángela is the 17th major version of DUIK, the comprehensive rigging and animation toolkit built by Nicolas Dufresne and the team at RxLaboratory. It's been actively developed for over 15 years, and at this point it's the go-to rigging script for character animators working in After Effects, used in commercials, music videos, indie films, and animated series all over the world.And it's completely free and open source. What you can do with itDUIK brings the kind of rigging tools you'd expect from a 3D application - IK, controllers, bones, constraints, and adapts them for 2D animation in AE. Once you've got a character rigged, you can pose and animate them li
Still spending hours rotoscoping frame by frame?With the latest version of After Effects, Object Matte introduces a faster, AI-powered way to isolate subjects—so you can create clean mattes with just a few clicks.Object Matte combines one-click selection + manual refinement + smart tracking, making rotoscoping significantly faster and more intuitive. What can you do with it?Instantly select and isolate objects using AI Automatically propagate mattes across frames Refine edges (like hair and fine details) with dedicated toolsPut it to use in your workflow: Remove or replace backgrounds (no green screen needed) Apply effects to specific objects Create clean composites for VFX and motion graphics How to use it Import your footage and add it to a composition Select the Object Matte Tool Click or drag to select your subject Let After Effects propagate the matte across frames Use refinement tools (like Refine Edge) if needed
Welcome to a new series where I'll be sharing free After Effects resources from across the web. A huge thanks to the creators and communities who give their time to build plug-ins and scripts that make our work faster, easier, and more fun. First up: Camera Crew, a free tool from Motion ApeCamera Crew is a powerful script that makes managing 3D cameras in After Effects feel effortless. It handles the fiddly stuff for you. Setting up camera rigs, assigning targets, smoothing transitions, auto-focus, and camera roll, so you can focus on the shot, not the setup. Built-in auto movement adds gentle, lifelike drift, and customizable shake presets give you that handheld, in-the-moment feel in a couple of clicks. Download it here: Camera Crew on Motion Ape Watch the official walkthrough: Camera Crew – Free Advanced Camera Tool for After Effects While you're there, be sure to explore the other free tools Motion Ape has to offer. There's some genuinely useful stuff in there. Have you used Cam
Still digging through menus to find effects, presets, or commands?With Quick Apply, you can now search and instantly apply anything in After Effects—from effects to animation presets to menu commands—all from one place.Quick Apply acts like a universal command bar, letting you find and execute tools in seconds instead of hunting through menus.What can you do with it? Search and apply effects, animation presets, and menu commands instantly Skip navigating multiple panels—just type and apply Create new layers with effects already applied (in one step) Put it to use in your workflow: Apply effects faster (no more panel hunting) Trigger animation presets instantly How to use it Press: Mac: Cmd + Return Windows: Ctrl + Enter Start typing what you need (effect, preset, or command) Press Enter to apply instantly You can also: Type e: for effects Type p: for presets Type m: for menu commands Read the full article to get started: Quick Apply Pro tips Hold Cmd/Ctrl + En
The latest version of After Effects is here. Bringing powerful new features designed to speed up everyday workflows and reduce manual effort.Leading this release is Depth of Field in the Advanced 3D renderer, letting you pull focus on 3D models, meshes, materials, and text right in-engine. Alongside it, you can now paste Illustrator and SVG content as native editable shape layers, track masks up to 5x faster, copy a rendered frame straight to your clipboard, create swirling organic motion with the new Curl Noise effect, and quickly filter the font list to find variable fonts. This release focuses on helping you get more done with fewer steps. What's new in 26.3 Depth of Field in the Advanced 3D renderer Create a Depth of Field effect that lets you focus on 3D models, parametric meshes, Substance 3D materials, 3D text, shape layers, and more in Advanced 3D. Learn to enable in-engine Depth of Field › Copy and paste Illustrator and SVG content Paste SVG c
HiHow is this effect created? Trim Path for the animation itself, but zoom in on the years while still showing the entire graph? The graph appears about 56 sec into the video. How the Job Market Is Leaving New Graduates Behind - The New York TimesThanks
Hi, I have some footage of someone moving. I have used the Object Matte Tool to isolate the person moving, then placed a solid colour layer underneath and selected the top layer as track matte. This has worked very well. I now have a solid colour replacing the person on a transparent background.I would now like to play around with this, mirroring and adding echo etc. Can I/should I make the solid layer independent of the tracking layer? Thank you.
So for context I was fixing some things in a somewhat recent project, I was met with the "After Effects error: internal verification failure, sorry! {no current context}". I tried everything that was recommended, clearing cache, resetting preferences, starting in safe mode, nothing worked, the timeline had nothing loading, only when hovered on. I decided to check other projects and all of them are having the same problem, the message doesn't show up but the timeline is non-existent, when I try to play the video there's no preview, audio plays for a while if there is any, but after that the program crashes and the only thing I can do is send a crash report.I did check if it could be a potential problem with my external drive, but projects inside my internal SSD with internal footage had the same problem. I recorded a small video of the timeline problem in real time.I use a 2024 M4 Macbook with 16GB of RAM
We recorded an object falling at 60fps that lands on the blue tape. It bounces slightly when it lands. I've rotoscoped the falling object out, but it occurred to me that it's not as easy as just swapping the background out with an image. The angle of the ground, shadows, etc. all factor into making something realistic. What's the best way to approach this?
Your documentation suggests that users can configure their Cinema 4D installation path.https://helpx.adobe.com/after-effects/desktop/work-with-compositions/cinema-4d-compositions/cinema-4d-composition-renderer.htmlThey can’t. There is no Choose Installation button anymore. Users should be able to to configure their Cinema 4D app location in any of these ways:Environment Variable Javascript api preferences fileTo bring up the above dialog:Create a comp Go to Composition Settings 3D renderer > Cinema 4D Click on OptionsRelated Bug that needs attention:
(Note: English is not my native language and I am using a translation tool to write this post, so I apologize in advance for any awkward phrasing!)The Main Issue I’m trying to make my After Effects preview accurately match my rendered output (viewed in VLC/Safari), but I’m running into preview color mismatch issues on macOS.Project & Color Settings Working Color Space: sRGB IEC61966-2.1 Use Display Color Management: OFF Blend Colors Using 1.0 Gamma: OFF Two Specific Problems We Are Facing1. Preview oversaturated on MacBook built-in display (My setup) On my external monitor, the AE preview matches the exported video (VLC/Safari) perfectly. However, when I move AE to the MacBook Pro built-in screen (Display P3 / Liquid Retina XDR), the preview suddenly becomes much darker and overly saturated, breaking the match with the rendered output. 2. Preview color shifts ONLY during playback (Friend's setup) Using the exact same settings on an external monitor, the preview matches the e
I’m working on a Visual Music film that uses Audio Amplitude layer keyframes created through Audio Layer > Keyframe Assistant > Convert Audio to Keyframes. The result is one linear keyframe per frame (@ 24 fps). Because its desired to act as a switch to turn on/off I’ve converted all the keyframes to hold keyframes.These key frames will be used to turn the opacity of a shape layer on and off to synchronize graphics to audio. The desired value of the keyframes should be restricted to 0 (off) or 100 (on). Keyframes of any value of other than 0 or 100 are to be deleted.I worked up an algorithm by hand processing the keyframes. But since there are over 1000 keyframes to be processed I’d like to automate the process with a script. An elaborate interface is not necessary, the goal is get the keyframes processed to get on to making the film.The workflow: • Prompt user to select a range of keyframes. • Create array of keyframe values from selection. • Set first keyfra
On updating AE to 26.3 and launching I got a system compatibility warning saying “This version of windows is no longer supported, future versions of this app cannot be installed on this OS.” When I click for more info it takes me to the Premiere system requirements page. From the generated system compatibility report, my versions of Windows is being reported as 10.0.22631.1 which I believe is fully up to date.
Hi,I'm working in AE 2026.3.0 and the convert vertex shortcut from the selection tool (cmd+option) is now invoking the camera gizmo. This was an issue many versions ago and it looks like the bug is back if there are any 3d layers in the scene. Anyone have a workaround? I’m on a MacBook Pro with an M3 running Sequoia 15.7.5.Thanks!
Here is the problem guys while editing in after effects, AE doesn'nt use my gpu at all, I have to constantly switch from mercury GPU accleration (OpenCL) to Mecury software only cause when i switch to mercury GPU accleration (OpenCL) an pop up appers that says your gpu is out of memory when its not even using 1gb og video memory and the rendering time is horriable it takes 15+ hrs to render an 17sec clip, If you know the solution please help and I use intel arc a750 gpu if you wanna know.
Hi team,I am experiencing severe performance failures and system instability across After Effects on macOS Tahoe (version 26.6). The apps are crashing, effects fail to load, previews freeze during playback, and exported/rendered video files are coming out corrupted or broken.Equipment Specs: Model: MacBook Pro (M1 Max) Memory: 64 GB RAM OS: macOS Tahoe 26.6 Software: After Effects all versions failing Main Issue: System diagnostics via powermetrics show that during playback and rendering, the Mercury Playback Engine / Metal renderer fails to engage the GPU. The hardware remains completely stuck in an idle state: GPU Active Frequency: Locked at 389 MHz (idle baseline). GPU Power Draw: ~258 mW – 335 mW (minimal power draw). High-Performance States (648 MHz – 1296 MHz): 0% activity. Because the system is not utilizing GPU acceleration, processing falls entirely on the CPU, causing heavy lag, frozen previews, effect render failures, project crashes, and corrupted media exports.Is
Scrolling font list is very slow with mouse wheel. One mouse roll equals the movement of few pixels compared to other scrollable items like Project items list for example. Please fix this.
aerender command line does not render compositions with cineware. How to fix this? New project, 1 composition, very simple project opened in cineware. When trying to render via command line, it just hangs on the line "progress...".
We need a simple 3D tool in After Effects to create basic polygons/planes between points—for example between Nulls or 3D Camera Tracker points.Right now AE can solve a camera and generate 3D points, but it’s missing the next essential step: quick proxy geometry. For even a few simple surfaces we’re forced to roundtrip to a 3D app, which breaks the workflow.Why this matters?Fast proxy surfaces are crucial for: shadow catching / contact shadows projection mapping (projecting a plate onto simple cards/planes) quick set-extension cards and grounding elements RequestAdd a Create Face / Create Plane from Points tool: select 3 points → create a triangle select 4 points → create a quad keep it editable (move vertices / reassign to points) optional: Shadow Catcher surface mode + Project From Camera helper This would make AE far more practical for real 3D compositing workflows.thx
PrPro has colum in the media panel list which shows how many times the clip is used in the project. In Ae i can only see that option for one clip at a time that too by scrolling to the top and seeing the poperties thumbnail which shows used x times in project. Is there a feature to tell for the entire list which ones are used and which ones arent at a glance ?Thank You
Currently the only way to see if some footage/asset is used, is to select it in the Project panel where it says “footageName, used # times”. To check many assets, the fastest way is to click on the first one and bash the arrow key on your keyboard. Not very efficient when I hear computers are pretty good at counting quickly (unless the AI is hallucinating—but that’s another story 😬) Adding an additional panel column that says how many times an asset is used would be much faster. I attached a quick mockup of how it could look—being able to shrink the column very narrow would be key since—for most uses—it’ll be single or double digit number. This would be very handy when you have a collection of assets to somewhat randomly use throughout a project, like a graphics package with several variants of a kind, or building a collage with random shapes, precomped pieces of text, etc. and you don’t want to use some assets too much or too little. Or simply to get a sense of
I'm having an issue with shadows when 3D objects are animated using Advanced 3D renderer and an Environment Light in After Effects. When the objects move, the shadow stutters/jumps instead of animating smoothly, even though all rendering settings in the Advanced 3D menu are set to maximum."
i need help plzwhy suddenly my after effects shapes become pixelated not vector when i draw any shape or import any doc its pixelated like when you create a circle in photoshop till yesterday it works well idk how to fix itcheck the attachment file while i zoomed a vector circle
Expose embedded camera timecode (Start Timecode from Interpret Footage) via ExtendScript on FootageItem or FootageSource. Currently FootageItem.displayStartTime returns NaN for proprietary formats (R3D, ARRIRAW, etc.) even though AE reads and displays the correct timecode in the UI and in the Footage viewer. A reliable FootageItem.sourceStartTimecode property (in seconds or frames) would allow scripts to generate accurate EDL-style reports for legal/rights clearance workflows — which is a common production need.
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