Here's a link to the Text Expressions section of the Help File: https://helpx.adobe.com/after-effects/using/expressions-text-properties.html?x-product=Helpx%2F1.0.0&x-product-location=Search%3AForums%3Alink%2F3.6.4   I don't think you can force a paragraph style with an expression or set the Paragraph Box size. You can force first-line indents and a bunch of other things, but you are out of luck. There are no properties in the Expression Language Menu in the timeline that look like they would work.  ... View more

The maximum width and height is 30,000 pixels. You cannot make either dimension larger than that.   30,000 pixels, printed at 150 PPI (the standard for most publications), will give you a 16-inch-wide print. 30,000 pixels will fill eight and a half 4K monitors.    Most digital signage is less than 30,000 pixels wide, and if you need more, playback equipment for signage at events like the Superbowl or concerts can sync multiple sources. What kind of display are you trying to create a graphic for? ... View more

Start by opening the Flowchart. Select the composition timeline, then use the Composition Menu or the Keyboard Shortcut Shift + Ctrl/Cmnd + F11.   Next, expand the flow chart and look for the composition that contains the layers you want to modify.   You can also right-click on any source file in the Project Panel and select Reveal in Composition.  That will take you to the comp, where the original layer is so you can make the edits you need to make. ... View more

First option: Download a copy of the icons https://twcclassics.com/downloads.html Second option: Create them with Adobe Illustrator (first choice) or Photoshop   After Effects is not suited for creating that kind of artwork, but if you create them in another app or license the images, you can animate them in After Effects.   Be aware that the icons cannot be used in any project available to the public without a licensing agreement from the copyright holder. Read the warnings on the website link I shared. ... View more

Still a bug in Beta 25.2 on a Mac. Here's a comparison between the release and the latest beta build as of 2/6/25.   It's still a bug. ... View more

I am not seeing this problem on a Mac. ... View more

I have not seen this problem.    You can also slow down a 60 fps video by right-clicking on the footage in the Project Panel or using the File/Interpret Footage menu to reset the frame rate from 60 to 30, which will make it take twice as long to playback or 23.976, which to match the frame rate of your composition. That would be my preferred workflow, and then you can use Time Remapping or Twixtor to make more changes to the timing of the shot. ... View more

The most efficient way to animate a line from one precise shape to another is to use Illustrator to create a blend between the two lines, expand the blend, and then release the layers. These two old tutorials I created years ago to answer similar questions on forums will give you the workflow: ` That workflow will give you complete control over the changing shapes you need. To control the number of frames in the animation, you can add as many steps in the blend or as many interim shapes as you like. ... View more

You can import any shape or null layers you create. If you don't want a bunch of them, add solids or nulls from the Project Panel or duplicate them in your timeline. I duplicate both of them all the time.   Nulls are not added to render calculations; they are not 100 X 100-pixel layers with zero transparency. They are placeholders for transform properties and effects controllers.   Any layer can be an adjustment layer, but they only cover the layer size.    These all contribute to a more efficient workflow. ... View more

A script at the bottom of the Window menu will allow you to attach nulls to mask or shape layer paths.   Here's the workflow: Select the path Open the Window/Create Nulls From Paths.jsx Panel Select Nulls Follow Points Figure out which nulls are attached to which vertices Attach the Shape Layer/Ellipse/Transform Elipse/Position to the appropriate null position with an expression like this: p =thisComp.layer("Shape Layer 1: Path 1 [4.1.3]").transform.position; p - [thisComp.width/2, thisComp.height/2];​ The expression just subtracts the comp center from the position of the null. Repeat for each ellipse you want to follow the path. The final comp would look something like this:     ... View more

I use a 3rd party expression editor from AE Scripts that automates a lot of the workflow and saves me a bunch of time. I am mobile right now and I don't remember the name, but I will post it later.  ... View more

The Render Queue does not start a background copy of After Effects for rendering so you have to render, then change, then render.   The Media Encoder does not work that way. When you add a project to the Media Encoder it creates a copy AEP at the time you add the file. You can set up a Watch Folder or Just add each change in the comp to the Media Encoder, and then render.    Maybe a better option would be to open the Extended Graphics workspace and create a MOGRT from your file. You can then open Premiere Pro and add the MOGRT for your animated graphics to any sequence and edit the text on the fly. That is probably the workflow that I would follow because it is the most efficient use of your time.  ... View more

If you select any layer in a comp and use the Layer/New menu or the Keyboard Shortcut, the new layer will be created above the selected layer.    If you select one character in a text string and choose New Shape or New Mask, the new layer will be created above the selected text layer.    I guess I don't understand your workflow. I can only assume that you want to create a path from a specific character, then turn on the text layer again, select another character, and add another path to the same text layer. That is not possible or efficient. If you need multiple characters as shape layers, you need to convert them all and delete the ones you don't need.   If you could provide a better description of your design goal, we could probably help you set up a more efficient workflow.   ... View more

It is most likely your font. I searched for Astallya Script and found a half dozen different sources and some slightly different-looking fonts with the same name.    I don't see any problems with the half-dozen fonts I chose from my library. Deleting the mask or shape layer path is easy enough, but I don't think it is a bug. I think it's a problem with the copy of the font you are using. ... View more

You have an incredibly wide lens (less than 10mm equivalent), but I don't see any difference between the Classic 3D view and the Advanced 3D view, and I don't see any clipping. Check out the video—I changed the solids' color and experimented with the Checkerboard effect.   I would try giving the camera a 15mm or longer lens. I'm still not sure what is supposed to be clipping. I don't see anything I didn't expect. ... View more

The proper workflow for using Rotobrush is to trim or cut up the layer so it only includes the part that needs the matte, then pre-compose, making sure that you move all attributes and trim the pre-comp to the layer length. Then, you select the Trimmed (and, if needed, color corrected to improve edge detail) pre-comp, choose Layer/Open Layer Menu, and apply Rotobrush. I almost always correct some color before pre-composing, and I never run Rotobrush on a trimmed footage layer. It's always a trimmed pre-comp. ... View more

Ctrl/Cmnd + K will bring up the comp settings. Check the 3D renderer tab and ensure that Classic 3D is selected. Then, try making a layer 3D or adding a Light or Camera. ... View more

None of your screenshots show the cameras or the 3D layers' positions. Just two views would help. Your camera also has a very wide-angle lens, which suggests that it is very close to some of the layers. Layer order and offset can also contribute to 3D object stacking in the shot. We need a lot more info to give you some meaningful workflow suggestions.  ... View more

Video Copilot has many great tutorials for Element 3D. They are free, and watching them should give you enough information to help you decide if purchasing the plugin would be a good value. For my project requirements, the purchase price was easily recouped in just a few days by calculating the time savings.   ... View more

Select all of the comps you want to use in the Project Panel. They appear to be in the Profile Pix folder. Then go to the File/New Comp from the Selection menu and choose the amount of overlap from the popup panel.     You can also use the Keyboard Shortcut Alt/Option + \, give your new comp a name, and choose the sequence option you want. The keyboard shortcuts are all listed in all menu options that have keyboard shortcuts.   ... View more

Double-clicking on any app's top bar on a Mac should expand that app to the full screen. Clicking the green button should also do the same thing.   Cmnd + \ should also expand any app to full screen, and clicking Cmnd + \ again should turn the top bar on and off. It has always worked for me. 90% of the time, I use the keyboard shortcut for all my apps.   ... View more

Without seeing a screenshot of the footage you want to modify, Warren Heaton's suggestion is the best, fairly easy solution to the design problem you are trying to solve.   Your footage may require a pre-composed and severely color-corrected copy of the footage to give you more control over the edges.  ... View more

When you nest a project in another project, there is no link to the original project. Dynamic Link will link multiple AE comps, but it will not link AE project files.    I keep my workflows organized by file naming conventions that start with job numbers and are organized the way I was taught when I started editing movies shot on film in the 1970s. It's the same basic system studios have used in feature film productions since the 1920s.    I also make extensive use of MOGRTs and Animation Presets. I just checked my Custom AE presets folder. I have 313 presets there for everything to multiple-layer animated graphics with names like 2103CM_MstrSubTitle_txt, 2103CM_MstrSubTitle_subtxt, 2103CM_MstrSubTitle_bg. This set of animation presets will generate a lower-third graphic for my client, CM, that fits any sized comp because of the included expressions. All it takes is an empty comp of the desired size and three double clicks in the Effects and Presets panel, starting with the bg (background) preset and moving up. If the client needs a change, I can then modify that master project, replace the modified Animation Presets, and generate a new MOGRT that I would name 2525CM_MstrSubTitle, reflecting today's job number (2025CM) and the graphic (2025CM_MstrSubTitle.MOGRT) I created for my client. I then share the new master MOGRT with the client so everything matches. The number of custom animation presets goes up and down every year as I clean up, organize, and archive my files. I can find enough information in my archives to find design guidelines, samples, and notes that will allow me to recreate projects that match the designs I created in 1994 when I started using After Effects and archiving my work on a computer.   This is the most efficient workflow I can think of until AEP project files maintain a link to any imported projects. It simplifies billing because of the Job Number and time tracking by job number and provides clients with a very simple way to manage their in-house productions and match any changes to their Brand Standards.    I hope this helps. ... View more

2D layers to not show in the Left, Right, Top, Bottom, Front, Back, or Custom views. They only show in a Camera or the Active Camera view. Only the Active Camera view will render. I do not see any problems or unexpected previews in your screenshot.     ... View more

Remove the background in Photoshop instead of using After Effects. You'll get much better results than having After Effects do the work.    I assume you know you cannot animate the transform properties (Position, Scale, Rotation, Anchor Point) on a Puppet Pin layer. You have to animate the Puppet Pins, precompose the layer moving all attributes, and then animate the transform properties of the pre-comp. ... View more