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Adobe After Effects software delivers a comprehensive set of tools to efficiently produce motion graphics and visual effects for film, video, multimedia, and the Web. Price $50/month.

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Version:CC 12.2.1 History


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CC 12.2.1 (February 13, 2014)

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Version history/Release notes:
After Effects CC (12.2.1) bug-fix update

You can install the update through the Creative Cloud desktop application, or you can check for new updates from within any Adobe application by choosing Help > Updates. One way to check for updates is by closing all Adobe applications other than Adobe Bridge, and choosing Help > Updates in Adobe Bridge; this ensures that all processes related to Adobe video applications have been quit and can be updated safely.

Ideally, you should install the updates automatically through the Creative Cloud desktop application or by choosing Help > Updates, but you can also directly download the update packages from the download page for Windows or Mac OS by choosing the “Adobe After Effects CC (12.2.1)” update for your operating system.

We have also been working with several providers of plug-ins, codecs, and hardware devices to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work.

For details of all of the other updates for Adobe professional video and audio applications, see this page.

Please, if you want to ask questions about this update, come on over to the After Effects user-to-user forum. If you’d like to submit feature requests (or bug reports), you can do so here.

summary of what’s fixed in After Effects CC (12.2.1)
Dragging a folder of source items into the Project panel did not import the source items. This is now fixed.
The output audio sample rate was reset to the lowest value (often 8kHz) in the Output Module Settings dialog box. This is now fixed.
QuickTime output files had extra frames at the end when exporting with audio to certain codecs, including ProRes. This is now fixed.
Purging of the disk cache using the commands in After Effects did not function on systems that use comma as decimal separator. This is now fixed.
After Effects crashed when attempting to read temporal XMP metadata from files created by Illustrator 17.1 (as well as files from other applications based on those Illustrator files). This is now fixed for After Effects CC (12.2.1), but the same badly formed files can cause problems in previous versions of After Effects; see this page for details of a workaround for previous versions of After Effects.
We also fixed several bugs related to output file name and location templates.

After Effects CC (12.2): what’s new and changed in this December 2013 update

The After Effects CC (12.2) update is now available to all Creative Cloud members. We also released the After Effects CS6 (11.0.4) update today.

You can install the update through the Creative Cloud desktop application, or you can check for new updates from within any Adobe application by choosing Help > Updates. One way to check for updates is by closing all Adobe applications other than Adobe Bridge, and choosing Help > Updates in Adobe Bridge; this ensures that all processes related to Adobe video applications have been quit and can be updated safely.

Ideally, you should install the updates automatically through the Creative Cloud desktop application or by choosing Help > Updates, but you can also directly download the update packages from the download page for Windows or Mac OS by choosing the “Adobe After Effects CC (12.2)” update for your operating system. (The After Effects CC updates are not at the top of the page; scroll down to find them.)

IMPORTANT: Sometimes, it can take a few hours before the software is available through all channels. If you don’t yet see the updates when you choose Help > Updates, you can either use the manual download and installation links above or just wait for a few hours. Quitting and restarting the Creative Cloud desktop application can force it to check for updates, too; otherwise, it only refreshes once every several hours.

We have also been working with several providers of plug-ins, codecs, and hardware devices to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work.

For details of what was new in After Effects CC (12.0), see this page. For details of what was new in After Effects CC (12.1), see this page.

For details of all of the other updates for Adobe professional video and audio applications, see this page.

Please, if you want to ask questions about these new and changed features, come on over to the After Effects user-to-user forum. If you’d like to submit feature requests (or bug reports), you can do so here.

If you have a Creative Cloud membership, you always have access to the latest version of After Effects. Just go to the Creative Cloud site to download it now or to sign up for Creative Cloud. For information about purchasing a Creative Cloud subscription, see this page about plans and this page with current promotional offers.

summary of what’s new in After Effects CC (12.2)
Auto-save enabled by default
file name and location templates, plus automatic creation of folders for image sequences
settings migration
snapping improvements: shape layers, cameras, and lights
option for creating shape layers based on Bezier paths
command for converting a parametric shape layer path to a Bezier path
new version of OptiX library and new behavior of OptiX library loading and initialization
plus many miscellaneous new and changed features and bug fixes, detailed below
details of what’s new and changed in After Effects CC (12.2)
Here is a virtually comprehensive list of changes, with detail beyond the summaries of the top items listed above.

Auto-save enabled by default
The Automatically Save Projects preference in the auto-save category is now on by default.

Note: An even better approach than relying on auto-save is to use the File > Increment And Save command regularly and habitually. The Increment And Save command has a couple of advantages: it allows you to determine exactly when to save, and it does not overwrite previous saved versions. Once you have developed that habit of using Increment And Save, you may choose to turn off auto-save. (That’s what I do.)

file name and location templates, plus automatic creation of folders for image sequences
The output file name templates feature has been extended to now include output paths. As part of setting up an output module, you can specify a folder in which to place the output file(s), and this can be a folder that After Effects will create at output time.

There is a new preset output file name and location template, called ‘Comp Folder and Comp Name’.

There is a new projectFolder element in the Add Property menu in the File Name And Location Template dialog box. Adding the projectFolder element to a file name and location template specifies that that output file should be placed in the same folder as the one in which the project is saved.

For example, the following template specifies that the output file file should be placed in a folder named ‘output’ inside the project folder, and that the name of the output file should begin with ‘final_’ and end with the composition name followed by a dot and the file-name extension:


You can also use the .. operator to go up one level in a path. For example, the following template specifies that the output file file should be placed in a folder named ‘output’ that is next to the project folder, and that the name of the output file should begin with the composition name, followed by ‘_matte’, followed by a dot and the file-name extension:


Also, when you are specifying an output file name and location through the Output Movie To dialog box, you can choose the Save In Subfolder option to create a new subfolder at output time.

Image sequences and movie files have different defaults for output file name and location templates, with the primary difference being that image sequences will be placed into subfolders. When you choose an image sequence output module template, if your current file name and location template is the default, then After Effects will switch to using the ‘Comp Folder and Comp Name’ template, which will create a new folder for the image sequence.

settings migration
You can migrate settings from a previous minor version of After Effects. For After Effects CC (12.2), you can migrate settings from After Effects CC (12.0) or After Effects CC (12.1).

To initiate the settings migration at any time, click the Migrate Previous Version Settings button at the bottom of the Preferences dialog box (in the General category).

When you initiate the settings migration, After Effects checks to see whether there are settings folders on the computer for 12.0 and 12.1. For each version for which a settings folder is found, After Effects presents a button with the respective version number, as well as a Do Not Migrate button. If you click one of the buttons corresponding to a previous version, then After Effects will copy and process the appropriate settings files from the previous version’s settings folder into the 12.2 settings folder. To complete the process and load the migrated settings, you need to restart After Effects, so After Effects prompts you to quit and restart.

When you start After Effects CC (12.2) for the first time with default settings, After Effects will automatically initiate the settings migration process.
Settings that are migrated include the following:

interpretation rules
render settings templates
output module settings templates
composition settings templates
keyboard shortcuts (migrated from version 12.1, but not from version 12.0)
user scripts (i.e., scripts saved in the Scripts folder in the user’s settings folder)
snapping improvements: shape layers, cameras, and lights
Beginning with After Effects CC (12.0), you have been able to snap various layer features to one another by dragging in the Composition panel.

After Effects CC (12.2) adds shape layer paths, bounding boxes for shapes within shape layers, cameras, and lights to the list of items that you can snap together by dragging in the Composition panel.

When you click near a shape layer path, After Effects will use a point on that path that is nearest to where you clicked as the snapping point, very much as with masks.

You can snap a shape in one shape layer to a shape in another shape layer, but you can’t snap shapes within one shape layer to one another. If you need to snap two shapes together, they must be in separate shape layers.

One quick and useful trick is to snap a light layer to a camera layer, so that you can effectively “look through” a light or simply illuminate wherever your camera is pointing.

new version of OptiX library and new behavior of OptiX library loading and initialization
After Effects CC (12.2) integrates a new version of the Nvidia OptiX library, which fixes some crashes related to the ray-traced 3D renderer. Also, this library is now loaded and initialized when the ray-traced 3D renderer is used for the first time, rather than when the application starts. This reduces the time that the application takes to start, as well as preventing users who don’t use the ray-traced 3D renderer from being exposed to any problems that might remain with this renderer.

option for creating shape layers based on Bezier paths
When a shape tool (Rectangle, Rounded Rectangle, Polygon, Star, or Ellipse tool) is active, you can use the new Bezier Path option in the Tools panel to create a new shape based on a Bezier path, as opposed to the default of creating a new shape based on a parametric path. Holding the Alt (Windows) or Option (Mac OS) key while drawing a shape causes the opposite behavior—i.e., if the Bezier Path option is enabled, holding the Alt or Option key causes the shape tool to create a parametric path; if the Bezier Path option is disabled, holding the Alt or Option key causes the shape tool to create a Bezier path.

command for converting a parametric shape layer path to a Bezier path
You can convert a parametric path to a Bezier path after the parametric path has already been created by context-clicking (right-clicking or Control-clicking on Mac OS) the property group for the parametric path (e.g., Rectangle Path 1) and choosing the Convert To Bezier Path command from the context menu. If the parametric path is animated (keyframed), the converted Bezier path is a static path based on the parametric path at the current time; keyframes are lost.

IMPORTANT: When you use the Convert To Bezier Path command to convert a parametric shape path to a Bezier shape path, the Bezier path that is created does not animate well (i.e., interpolation between paths behaves strangely and unpredictably). This is related to path direction and how transformations are stored. For now, you should not use these converted paths for animated paths (interpolation between paths); but, if you do want to try, you may be able to work around the issues by reversing the path before conversion.

miscellaneous new and changed features
The Reload Footage command now attempts to reload items that were previously missing (e.g., because a drive volume needed to be mounted).
The Channel Mixer effect is now a 32bpc effect.
If you drag and drop a script (.jsx or .jsxbin) file onto the Project panel, it will be placed in the user’s Scripts folder. (Note: The standard Scripts folder in the Applications or Program Files directory is still a better place to install scripts, since scripts in the user’s folder can be deleted when clearing preferences, et cetera.)
Layer names are not forced to be unique. When using the Copy With Property Links command or using the expression pick whip, layer names are still made to be unique.
You can move effect control points in the Mesh Warp effect using the arrow keys.
The Brush Size properties in the Stroke effect and in the Write-on effect now have a maximum value of 200, rather than the previous maximum value of 50.
Purging the disk cache for the current version also purges the disk cache for other minor versions within the same major version (e.g., purging from within After Effects 12.2 also purges After Effects 12.0 and 12.1 disk caches).
The default value for the Zoom Quality preference in the Viewer Quality section of the Previews preferences is now More Accurate, rather than the previous value of More Accurate Except RAM Preview.
The minimum size at which the region of interest (ROI) can be drawn with an initial click or drag is 25×25 pixels. This prevents accidental creation of a hidden ROI box.
When you open the color picker dialog box, the text field for the hexadecimal color value is selected. This enables rapid copying, pasting, and manual entry of color values.
Negative times can now be used in composition settings, and negative times can be represented in the Timeline panel.
The Auto-keyframe button has been removed from the default state of the Timeline panel. You can enter auto-keyframe mode by choosing Enable Auto-keyframe from the Timeline panel menu.
a few choice bug fixes
We fixed a lot of bugs in this update. Here are a few that I think are especially worth calling out:

Red frames in renders for preview or final export when using ProRes media. This is fixed.
Cycore (CC) effect plug-ins have been updated to fix a bug with the CC Power Pin effect’s UI drawing incorrectly.
The Synthetic Aperture Color Finesse plug-in has been updated to address several bugs, as well as to make installation and activation easier on render-only systems.
Fixed Three-Way Color Corrector effect exchange with Premiere Pro.
Fixed cause of crashes when using Auto Contrast effect or Auto Levels effect.
Fixed crashes on application startup caused by OptiX library for ray-traced 3D renderer. This update, like the After Effects CC (12.1) update, includes a version of the OptiX library that allows After Effects to start on Mac OS X v10.9 (Mavericks) without crashing. The After Effects CC (12.2) update has additional fixes, including better handling of VRAM.
The Detail-Preserving Upscale effect would sometimes render transparent frames or crash with very large scale values. This is fixed.
After Effects would hand when conforming audio from a sequence served by headless Premiere Pro over Dynamic Link. This is fixed.
After Effects hung when importing a Premiere Pro sequence containing a universal counting leader. This is fixed.
If you had certain fonts disabled, After Effects would fail to start, giving the error ‘Unable to load font “^0″ “Helvetica Neue”‘. This has been fixed.
After Effects CC (12.1) had problems with zooming with the scrollwheel on Mac OS. These problems are fixed.
After Effects would give the error message “Unable to allocate 0.000 MB of memory” or “Unable to allocate 0.003 MB of memory” (or similar) when there was plenty of RAM available. This has been fixed.
Changing the file format to After Effects Template in the project save dialog box on Mac OS did not correctly change the file-name extension to .aet. This is fixed.
A custom value for Starting Number in Output Module Settings was not saved; always reset to zero. This is fixed
Fixed several other causes of crashes and errors.

After Effects CC (12.1): what’s new and changed in this October 2013 update

Among many other changes and fixes, this updates enables After Effects CC to run on Mac OS X v10.9 (Mavericks). This full update makes it unnecessary to install the previous After Effects CC (12.0.1) patch. Unlike the After Effects CC (12.0.1) patch, the After Effects CC (12.1) update can be used to update the trial version of After Effects CC (12.0).

You can install the update through the Creative Cloud desktop application, or you can check for new updates from within any Adobe application by choosing Help > Updates. One way to check for updates is by closing all Adobe applications other than Adobe Bridge, and choosing Help > Updates in Adobe Bridge; this ensures that all processes related to Adobe video applications have been quit and can be updated safely.

Ideally, you should install the updates automatically through the Creative Cloud desktop application or by choosing Help > Updates, but you can also directly download the update packages from the download page for Windows or Mac OS by choosing the “Adobe After Effects CC (12.1)” update for your operating system. (IMPORTANT: The After Effects CC updates are not at the top of the page; scroll down to find them.)

We have also been working with several providers of plug-ins, codecs, and hardware devices to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work.

For details of what was new in After Effects CC (12.0), see this page.

For details of all of the other updates for Adobe professional video and audio applications, see this page.

Please, if you want to ask questions about these new and changed features, come on over to the After Effects user-to-user forum. If you’d like to submit feature requests (or bug reports), you can do so here.

top new features in After Effects CC (12.1)
mask tracker
Detail-preserving Upscale effect
improved performance for analysis phase for 3D Camera Tracker and Warp Stabilizer effects
property linking
HiDPI content viewers for Retina displays on Mac computers
improved snapping behavior, including snapping beyond layer boundaries and to internal wireframes
OptiX 3.0 library for GPU-accelerated ray-traced 3D renderer
improved Cinema 4D integration
Adobe Anywhere integration and an early preview of the Media Browser panel
resources for learning more about new features in After Effects CC (12.1)
videos by Steve Forde

property linking and snapping improvements
Detail-preserving Upscale effect
mask tracker
GPU and performance optimizations
other resources

John Dickinson’s demonstration of several of the new features
(nearly) all new and changed features in After Effects CC (12.1)
Here is a virtually comprehensive list of changes, with detail beyond the summaries of the top items listed above. We’ll be posting a lot more detail over the coming weeks, and the outline below will be populated with links to in-depth articles and tutorials, so bookmark this page and check back.

mask tracker
The mask tracker transforms a mask so that it follows the motion of an object (or objects) in a movie. The tracked object must maintain the same shape throughout the movie, though it may change position, scale, and perspective and still be effectively tracked; this is why the mask tracker is sometimes called the “rigid mask tracker”.

When a mask is selected, the Tracker panel switches to mask tracking mode, showing the much simpler set of controls that are relevant to mask tracking: controls for tracking forward or backward either one frame at a time or to the end of the layer Method, with which you can choose to modify position, scale, rotation, skew, and perspective for the mask. If the Tracker panel isn’t shown, you can show it in mask tracker mode by choosing Animation > Track Mask with a mask selected, or context-click a mask and choose Track Mask from the context menu.

The result of using the mask tracker is the application of keyframes for the Mask Path property so that the mask shape matches the transformations tracked in the layer, depending on which Method setting is chosen.

You can select multiple masks before beginning the tracking operation, and keyframes will be added to the Mask Path property for each selected mask.

The layer being tracked must be a track matte, an adjustment layer, or a layer with a source that can contain motion; this includes layers based on video footage and precompositions, but not solid-color layers or still images.

The search region for the mask tracking analysis is the region encompassed by the mask, considering its Mask Expansion property.

improved performance for analysis phase for 3D Camera Tracker and Warp Stabilizer effects
The background process that analyzes footage for the 3D Camera Tracker and Warp Stabilizer effects is now much faster, largely because of being converted to use multiple threads simultaneously. The increase in speed for the analysis (tracking) phase for the 3D Camera Tracker and Warp Stabilizer has been measured at 60-300%, depending on details of the footage, et cetera.

Detail-preserving Upscale effect
The Detail-Preserving Upscale effect is capable of scaling images up by large amounts while preserving details in the image, so that sharp lines and curves stay sharp. Scaling up from SD frame sizes to HD frames sizes, or from HD frame sizes to digital cinema frame sizes is well within the range in which this effect is intended to operate with good results. This effect is very closely related to the Preserve Details resampling option in the Image Size dialog box in Photoshop.

The controls for the effect are relatively simple:

Fit to Comp Width: sets Scale percentage so that the layer’s width matches the composition’s width, with pixel aspect ratio taken into account
Fit to Comp Height: sets Scale percentage so that the layer’s height matches the compositions’s height, pixel aspect ratio taken into account
Scale: Note that the minimum value is 100%, since this is just for scaling up.
Reduce Noise: Increase this value to apply noise reduction before the scaling calculations, so that noise is not mistakenly treated as detail to preserve.
Detail: The higher this value, the greater the sharpness/contract of edges, at the risk of introducing ringing/halo artifacts. Lower values are more smooth and natural.
Alpha: You can choose to process the alpha channel differently than the color channels, for performance reasons. The default is to use bicubic sampling.
This effect is slower than other scaling alternatives, such as using the layer’s native bilinear or bicubic scaling in the Transform property group.

bicubic sampling option in Transform effect
The Transform effect now has the ability to use bicubic sampling for all of its transformations.

Choose Bicubic from the new Sampling menu at the bottom of the Transform effect’s properties in the Effect Controls panel. Bilinear is still the default.

OptiX 3.0 library for GPU-accelerated ray-traced 3D renderer
After Effects CC (12.0) used the OptiX 2 library from Nvidia for the GPU acceleration of the ray-traced 3D renderer. After Effects CC (12.1) uses the new OptiX 3 library.

The new OptiX library has many advantages, with the most important being the following:

fixes a crash on Mac OSX v10.9 (Mavericks)
improved performance, including improvements with multiple GPUs
The new OptiX library requires CUDA 5.0 or higher.

OpenGL features enabled for all Intel GPUs
In previous versions of After Effects, the OpenGL features were enabled on Intel GPUs only if those GPUs were listed in a “whitelist” file (intel_ogl_supported_cards.txt). This was because early generations of Intel GPUs and their drivers had problems with OpenGL features, so we needed to test each individually and only allow specific known-good configurations to work. Recent Intel GPUs and drivers have been of high enough quality that we have removed this check, and there is no longer an intel_ogl_supported_cards.txt file.

For details of the OpenGL features relevant to this change, see this page: GPU (CUDA, OpenGL) features in After Effects

preference for bypassing whitelist for GPU acceleration of ray-traced 3D renderer
In After Effects CS6 (11.0) and CC (12.0), the GPU Information dialog box has a Ray-tracing menu from which the user can choose GPU or CPU. If the installed hardware is not on the list of tested and supported GPUs, the GPU menu item is disabled (grayed out) and below the menu is this text: “GPU not available – incompatible device or display driver”.

In After Effects CC (12.1), we have added a checkbox: “Enable untested, unsupported GPU for CUDA acceleration of ray-traced 3D renderer.”

Enabling this checkbox will do a couple of things:

After Effects will use the GPU-accelerated ray-traced 3D renderer with any GPU that meets minimum requirements (which include 1GB of VRAM and CUDA 5.0).
The text “GPU not available – incompatible device or display driver” will change to “Unsupported GPU enabled for CUDA acceleration” if the GPU meets the minimum requirements but is not on the whitelist. If the GPU doesn’t meet the minimum requirements, the text remains as the original.
In the CUDA section at the bottom of the GPU Information dialog box, “(unsupported)” is added to the Devices entry if the installed hardware isn’t on the whitelist but is enabled.
When the user enables this preference, a dialog box appears that tells the user that using an untested and unsupported GPU is something that they do at their own risk and that technical support is only provided for supported configurations.

cards added to CUDA whitelist for Optix (for GPU acceleration of ray-traced 3D renderer)
GTX TITAN (Windows)
GTX 780 (Windows)
GTX 770 (Windows)
GTX 760 (Windows)
GTX 680MX (Mac OS and Windows)
GTX 680 (added for Mac OS; was already on Windows list)
GTX 675MX (Mac OS and Windows)
GT 650M (added for Windows; was already on Mac OS list)
GTX 590 (Windows)
Quadro K6000 (Windows)
Quadro K4000 (Windows)
Quadro K2000 (Windows)
Quadro K5000M (Windows)
Quadro K4000M (Windows)
Quadro K3000M (Windows)
Quadro K5100M (Windows)
Quadro K4100M (Windows)
Quadro K3100M (Windows)
Quadro K2100M (Windows)
Let us know what other GPUs you want us to test and support with a feature request here.

property linking
You can select any property or set of properties and choose Edit > Copy With Property Links and then paste those properties on any layer in any composition. The result is that the pasted properties remain connected to the layer from which the properties were copied, such that any change made to the original property is reflected in all of the instances of the pasted property links.

One use case is to create one master effect controller and then paste property links to any number of controlled instances, so that changes can be made once and affect all controlled instances.

You can even copy an entire layer with property links and paste it to create duplicates that follow the changes made to the original.

The property links are established and maintained through expressions, but there is no need to write (or even see) the expressions that are created.

option when precomposing to trim precomposition duration to duration of selected layers
When you precompose, you have a new option: Adjust Composition Duration To The Time Span Of The Selected Layers. Choose this to create a new composition that has a duration that is the same as that spanned by the selected layers. If you deselect this option, then the duration of the newly created composition is the same as the duration of the original composition, without regard for the duration of the layers being precomposed; this has been the only option in previous versions of After Effects.

layers created immediately above topmost selected layer
In previous versions of After Effects, most commands that created a new layer would create the new layer at the top of the layer stack, regardless of whether any layers were selected.

In After Effects CC (12.1), most commands that create a new layer create the layer immediately above the topmost selected layer. If no layer is selected, then the new layer is created at the top of the layer stack. This new behavior should make many workflows more convenient, preventing you from needing to scroll to the top of the layer stack and drag a new layer down to the needed place.

Here is a list of commands to which the new behavior applies:

Layer > New > Text
Layer > New > Solid
Layer > New > Light
Layer > New > Camera
Layer > New > Null Object
Layer > New > Shape Layer
Layer > New > Adjustment Layer
Layer > New > Adobe Photoshop File
Layer > New > MAXON CINEMA 4D File
The new behavior also applies to the respective keyboard shortcuts for these same commands.

The behavior of scripting and AEGP plug-in commands that create new layers has not changed; they still create layers at the top of the layer stack. This is to prevent breaking existing scripts and AEGP plug-ins. (Of course, if your script is using the app.executeCommand(app.findMenuCommandId(...)) pattern to call the menu command, the behavior will be the new behavior of creating the layer above the topmost selected layer.)

user-defined location for Auto-save
In the Auto-save category in the Preferences dialog box, you can choose to either save the auto-saved projects next to the original project (the behavior in previous versions when Auto-save is enabled) or in a custom location.

improvements to keyboard shortcuts for showing properties with keyframes, expressions
The U keyboard shortcut now only shows properties with keyframes, not properties that have expressions but no keyframes. If a property has both keyframes and expressions, the U keyboard shortcut shows the property but leaves the expression field collapsed so that the expression itself is not shown. There is a new command in the Animation menu for this behavior: Reveal Properties With Keyframes.

The old behavior, of showing properties with keyframes and properties with expressions, is still available in the Animation menu as Reveal Properties With Animation. You can reassign the U keyboard shortcut to that command if you’d like to go back to the way things were before.

The UU keyboard shortcut for showing all modified properties is unchanged.

The EE (and Shift+EE) shortcut for showing properties with expressions is essentially unchanged.

command for moving anchor point to center of content
You can set the anchor point to be in the center of the layer content using the new command Layer > Transform > Center Anchor Point In Layer Content.

The keyboard shortcut is Ctrl+Alt+Home on Windows and Command+Option+Home on Mac OS. You can also Ctrl+double-click (Windows) or Command+double-click the Pan Behind (Anchor Point) tool to invoke this command.

A few great uses for this new command:

setting the anchor point of a shape layer to the center of a single shape or to the centroid of a group of shapes in a shape layer
setting the anchor point for a text layer to the center of the text
setting the anchor point of a layer to then center of the visible area within a masked region
mask path drawn using color that differs from region in which first click to draw mask is made
In the Appearance category of the Preferences dialog box, there is a new preference: Use Contrasting Color For Mask Path. This preference relies on the Cycle Mask Colors preference being enabled, since the new feature is still cycling through the same label colors. If the Use Contrasting Color For Mask Path preference is on, After Effects analyzes the colors near the point where you first click to draw a mask and chooses a label color that is as different from the colors in that region as possible, while also avoiding the color of the last mask drawn.

improved Cinema 4D integration, with updated Cineware functionality
This version of After Effects comes with a new version of the Cineware effect. All features from After Effects CC (12.0) should behave the same, and several bugs have been fixed. This version also adds some new functionality.

There are two new settings in the Cineware effect’s Options dialog box, with which you can specify which instance of Cinema 4D to use with After Effects:

Cinema 4D Render Path: Choose which version of Cinema 4D (R14 or R15) for rendering while working in After Effects. For example, you can choose to use Cinema 4D Studio, Broadcast, Prime, or Visualize if you have it installed. The default is CineRender, which is installed by After Effects.
Cinema 4D Executable Path: Choose which version of Cinema 4D to use when opening a .c4d file with Edit Original or when creating a new Cinema 4D file from After Effects. The default is an installed full-featured edition of Cinema 4D (Studio, Broadcast, Prime, or Visualize), or Cinema 4D Lite if no other edition of Cinema 4D has been installed.
You must restart After Effects after changing these settings for the new settings to be used, and you should purge all memory and disk cache data (Edit > Purge > All Memory & Disk Cache) after changing the Cinema 4D rendering application. In some cases, you may need to reset your After Effects preferences after switching from one Cinema 4D rendering application to another Cinema 4D rendering application.

When you choose to use an edition of Cinema 4D other than Cinema 4D Lite, you can use new rendering capabilities within Cineware beyond the default renderer, including the Physical renderer and Sketch & Toon. You choose which renderer to use in Cinema 4D and save the .c4d file with those settings. Whichever renderer is specified in Cinema 4D is the one that will be used by the Cineware effect when the Renderer setting in the effect is Standard (Final).

The versions of Cinema 4D that are compatible with this version of the Cineware effect are as follows:

R14.042 or above (Use the Cinema 4D online updater to install the current version.)
R15.037 or above
HiDPI content viewers for Retina displays on Mac computers
After Effects will now take advantage of a Retina display on a Mac computer to show each pixel of content in a viewer as a single pixel on the display. This affects the contents of the Footage panel, Layer panel, and Composition panel, including both your video content and some UI overlays and widgets within the content area.

Note that for a given piece of content to appear the same on a Retina/HiDPI display as on a non-HiDPI display, the zoom value for the former needs to be twice that of the latter, since the points are half the size. If you drag a panel from a Retina/HiDPI display to a non-HiDPI display, you’ll see the zoom value change, while the content occupies the same space on the screen.

This does not affects pointers, buttons, other panels, and various other aspects of the After Effects user interface. These are targeted at a later release, since HiDPI content viewers were deemed to be a higher priority.

snapping beyond layer edges, to align layers in 2D and 3D space along lines defined by layer features
There are two new options next to the Snapping checkbox in the Tools panel:

Snap Along Edges Extending Beyond Layer Boundaries: Enables snapping to lines outside of a layer’s boundaries (e.g., to the line defined by the extension of a layer’s edge in 3D space). This makes aligning layers in 3D space much easier.
Snap To Features Inside Collapsed Compositions And Text Layers: Turns on internal wireframes for layers inside of compositions with collapsed transformations and for individual characters in per-character 3D text layers. This can be useful, for example, for snapping a layer’s anchor point to the baseline of a specific text character.
rectified audio waveforms
By default, audio waveforms are shown as “rectified” audio waveforms, as in recent versions of Premiere Pro. This means that the magnitude of the audio is shown only in one direction from the horizontal axis, and the magnitude is shown on a logarithmic scale that makes it easier to see how loud a sound will be perceived to be. You can switch back to the old method of showing audio waveforms by deselecting Rectified Audio Waveforms in the panel menu of the Timeline panel.

added iris and highlight properties for camera layers to the expression language menu
automatically opening and closing folders in Project panel when dragging
If you pause with the pointer over a folder during a drag operation in the Project panel, the folder will open so that you can drop the items into a folder deeper within a hierarchy of folders.

default number of Undo operations available increased from 32 to 99, and preference removed from user interface
We have increased the default number of Undo operations available to 99 and removed the preference from the Preferences dialog box. The lower setting was needed in the past when computers typically had far less RAM.

commands for turning logging on and off and for revealing log files
To enable logging by the After Effects application, so that it records details of the session to a set of text files, choose Help > Enable Logging.

You’ll need to restart the application for logging to begin.

Logging has some negative effects on performance, so After Effects will disable logging after 24 hours if logging was enabled through this menu command.

To see the log files, choose Help > Reveal Logging File.

new Enable QuickTime Video Preview preference in Video Preview preferences category on Mac OS
We have isolated the recent problems with QuickTime files to a conflict with a QuickTime component distributed with the Apple video applications (Final Cut Pro, Motion, Compressor). Specifically, the problematic component is the Apple DVCPROHDVideoOutput QuickTime component, which is used for previews to an external video monitor. This problem with this QuickTime component makes the QT32 Server component crash when After Effects probes the computer system for QuickTime video preview devices. The QT32 Server component is needed for all QuickTime features in After Effects, so having it crash causes failures in QuickTime features in After Effects.

To prevent this crash of QT32 Server, we have disabled the automatic probing of the system for QuickTime video preview devices. To re-enable this feature, you can turn on the Enable QuickTime Video Preview preference in the Video Preview preferences category. Turning this preference on will allow After Effects to use QuickTime video previews to external devices, but it may also cause the crash in QT32 Server This preference is a temporary measure, meant to protect users from the failures in importing and exporting QuickTime movies while we work on replacing the QuickTime video preview system with a system based on Mercury Transmit that doesn’t have these problems. We are working toward having a better system in place in the near future.

better error message for duplicate plug-ins
In previous versions of After Effects, if there were duplicate plug-ins (with the same match names) installed, After Effects would show multiple error messages – one for each duplicate – but it didn’t identify where the duplicates were located on disk.

In After Effects CC (12.1), there is one consolidated error message for all duplicate plug-ins, and it shows the file path for each duplicate.

better expression error messages
The error messages that appear when an expression is disabled because an item (e.g., layer, composition, effect) is missing are now consolidated and more user-friendly.

removal of extraneous warnings regarding missing custom effects
If you used an animation preset based on a custom effect (such as those defined in PresetEffects.xml), you could get a warning that an effect was missing, even though nothing needed for the animation preset was missing.

This has been fixed, but it requires a specific action on the part of the person creating the animation preset: The matchname must be 31 characters or less and begin with the string “Pseudo/” or with another string that has been defined by After Effects. (At this time, other matchname strings are “Prolost_Burns”, “Prolost_Boardo”, “Prolost_Fader”, “Prolost_Oscillate”, “Vignette_Controls”, “Beautify”, “Typist”, “Wiggly”, “Mikey’s_Split”, “Mikey’s_Distress”, “Mikey’s_Flare”, “Mikey’s_Control”, “Mikey’s_Burn”.) If you are someone who creates custom effects like these, let us know, and we can get your matchnames in now, too.

Be sure to increment your matchname any time that you make a change, or else you won’t be able to use both versions within one project.

Adobe Anywhere integration
After Effects CC (12.1) includes the first phase of After Effects integration with Adobe Anywhere.

miscellaneous new and changed features
The preference Write XMP IDs To Files On Import (in the Media & Disk Cache preferences category) is now disabled by default.
The Color Key effect and Luma Key effect are now in the Obsolete category. (In most cases, you should be using superior effects such as Keylight and the Extract effect.)
The Create Shapes From Vector Layer command works on multiple selected layers.
The Cycle Mask Colors preference is enabled by default.
The Viewer Quality preferences are set to More Accurate Except RAM Preview by default, rather than Faster (which wasn’t all that much faster and looked bad).
The kerning option in the Character panel persists so that you no longer need to set the kerning option in the Character panel to Optical every time you want to use this option.
In previous versions of After Effects, if you made a change to the composition while the composition view was not centered (e.g., because you used the Hand tool to look at another part of the composition), the composition view would become centered after the change. This forced you to drag again with the Hand tool to get back to the part of the composition that you were looking at. This is fixed. Of course, if the change made to the composition affects the size or aspect ratio of the composition, it will still be re-centered.
Freezing the segmentation for the Roto Brush & Refine Matte effect operates on all spans withing the entire composition duration, instead of only within the work area.
Wireframes for cameras and lights are shown by default, even when these layers not selected.
After Effects now gives a better message and an alert sound when you try to open a layer in the Layer panel that can’t be opened there (e.g., precomposition layer with collapsed transformations, continuously rasterized layer, shape layer).
Indexed-color PNG files and grayscale PNG files with transparency can be imported.
Photoshop Large Document (.psb) files can be imported.
CMYK JPEG files can be imported.
Dashes and gaps are now explicitly numbered (Dash 2, Gap 2, …) when adding multiple dashes and gaps to a shape layer stroke. (This makes referring to them with expressions easier.)
The Brightness & Contrast effect has been improved and now matches the filter in Photoshop. You can still choose to use the legacy algorithm, which allows HDR results.
You can now open a dialog box for editing values for 3D Point Control effect (by context-clicking and choosing Edit Value).
There are significant performance improvements in propagation for Roto Brush and Refine Matte effects.
The layer index number is now shown in the menu for choosing a target for motion tracking data (opened with Edit Target button in the Tracker panel).
The correct name of the 3D renderer is shown for third-party renderers (e.g., AtomKraft).
Added Center property for shape layer Twist path operation.
There is now an improved error message telling people to update their CUDA drivers.
When converting a layer based on an Illustrator file to a shape layer, the Video (eyeball) switch of the original layer is turned off only if the conversion is successful.
Improvements to Shift-parenting behavior when the target layer already has a parent layer.
Improved performance with imported DPX image sequence read over network.
Ability to use the RED Rocket-X and EPIC Dragon footage.

Adobe After Effects CC

Live 3D Pipeline with Cinema4D
Refine Edge tool
Warp Stabilizer VFX
Track Optimization in the 3D Camera Tracker
Pixel Motion Blur
Automatic Find
Bicubic resampling
Layer and mask snapping
Sync Settings

Adobe® After Effects® CS6 11.0.1

features added or changed in this update
The Nvidia GeForce GTX 680 (a new Kepler-class GPU) can now be used for GPU acceleration of the ray-traced 3D renderer on Windows.

See this page for details of GPU features in After Effects CS6.

Note: An additional delay (approximately one minute) will occur the first time that you start After Effects with a Kepler-class GPU as the new ray-traced 3D library is initialized. Installation of updated display drivers may require this initialization step again.

Enabled basic support for the AtomKraft composition renderer (requires plug-ins from Jupiter Jazz).
bugs fixed in this update
Several bugs with the global performance cache were fixed, which were causing the cache to not be invalidated at some times when it should have been. This meant that sometimes old, invalid image information was being read from the cache and used instead of re-rendering when an aspect of the composition had changed.

If you encounter a remaining bug of this sort, purging the cache will generally fix the problem (choosing Edit > Purge > All Image Memory to clear RAM cache and Empty Disk Cache in Media & Disk Cache preferences to clear disk cache). If you encounter such a bug after installing this update, let us know by submitting a detailed bug report, being especially certain to list any third-party effects used.

One remaining known issue of this sort relates to font substitution: If you load a project with a missing font, After Effects will substitute a placeholder font. If you then install the missing font, After Effects may not update cached image information with the new font. So, if you install a font after loading a project for which that font was reported as missing, purge the cache to force the cached image information to be updated with the new font.

Effects that use the composition camera (e.g., Shatter) did not render correctly in orthogonal and custom views, or when changing the active camera.
After Effects would crash when evaluating some expressions, including expressions added by the Ease & Wizz script, expressions using the this keyword, in-line functions, and nested functions.
After Effects was returning an error “After Effects Error: Ray Traced 3D: … (5070::0)” under various circumstances. Several of these have been isolated and fixed. If you get such an error message after installing this update, let us know by submitting a detailed bug report.
Crash on quit if Nvidia cards running in Maximus configuration are running in TCC mode (on Windows).
Crash using 3D Camera Tracker effect.
Crash resetting Puppet effect.
Unexpected results using Mask Feather tool in various circumstances.
Black frames appeared in MXF footage from Canon EOS C300 camera.
Canon 5D MKIII 720p footage was imported with the wrong timecode.
Error occurred when setting a proxy to a nested composition: “After Effects error: Internal verification failure, sorry! {Src and dest bitdepths are different in PF_World::CopyRect} (37::109)”
Snapping and using the J and K keys to move to keyframes and other items in the Graph Editor didn’t work.
Using the Clone Stamp tool expanded property groups in the Timeline panel.
SDK: The AUTOMATIC_WIDE_TIME flag was not working correctly with the NON_PARAM_VARY flag.
SDK: The AUTOMATIC_WIDE_TIME flag was returning an empty region when attempting to check out a layer at the current time.

Adobe® After Effects® CS6

Create visual effects faster in Adobe® After Effects® CS6 software with Global Performance Cache, which optimizes and keeps your previews so you can beat deadlines instead of waiting for frame updates. Boost your creativity with a new 3D engine for text and shape extrusions, a 3D camera tracker, and variable-width mask feathering.

Global Performance Cache
Create more in less time. With new Global Performance Cache, your previews are saved and ready when you are — no more waiting for the application to catch up. This revolution "under the hood" makes After Effects extremely fast and responsive by taking full advantage of the power of your computer’s hardware for visual effects and motion graphics.

3D Camera Tracker
Track 3D elements with complete control over depth of field, shadows, and reflections. Automatically analyze and place 3D track points onto 2D footage in the background while you work.

Ray-traced, extruded text and shapes
Extrude fully ray-traced text and shapes natively and take full advantage of reflections, environment maps, and more.

Variable mask feathering
Create a separate set of splines to precisely control mask feathering. Get the exact shape you want with the proper degree of softness at any point along the mask edge, resulting in a big boost to creative flexibility.

Integration with Adobe Illustrator
Instantly convert Illustrator vector art (AI and EPS format) into shape layers. Easily animate vector art in 2D or extrude to 3D.

Rolling Shutter Repair
Remove rolling shutter artifacts such as skew and wobble without forcing stabilization.

New and updated effects
Enhance your creativity with 90 new and updated built-in effects, including the complete 16- and 32-bit CycoreFX HD suite.

Avid AAF and FCP 7 XML file import with Pro Import AE
Import and work with files created in Apple Final Cut Pro 7 or earlier versions, as well as Avid Media Composer and Symphony, letting you integrate After Effects with professional production workflows.

mocha for After Effects CS6
Launch mocha for After Effects CS6 directly within After Effects CS6*.

After Effects® CS5 10.0.2

Notable fixes
• Issue where users may encounter a persistent “unexpected data type” error message when opening projects containing missing effects with layer parameters at non-default values. (54666)
• Crashing condition when importing compositions created with Automatic Duck’s Pro Import AE plug-in (W2796549)
• Crashing condition when using the Directional Blur effect with Mthread.plugin enabled. (55603)

What's new in After Effects CS5 10.0.1

Notable fixes
• Crash on launch after creating a custom workspace (e.g., if Project panel was undocked and Brushes panel was opened in the last workspace). (2607269, 54196)
• Crash on quit when not saving changes to a project after Auto-save interval has passed. (54129)
• Crash on launch due to bad fonts.
• Crash when scrubbing through time in a complex or per-character 3D text project when OpenGL is engaged; problem with OpenGL contexts. (54197, 54198)
• Crash previewing or scrubbing properties to create blur with Depth of Field effect when OpenGL is enabled. (54253)
• Crash when copying and pasting Roto Brush effect to text or shape layer. (54086)
• Crash when using a PNG file whose path name is longer than 256 characters. (2620506)
• Crash duplicating a layer after RAM previewing in the Layer panel, with disk cache on. (54350)
• Crash importing Sony XDCAM HD from Sony XCAM Transfer application. (2662575)
• Audio rendered to QuickTime .mov is “jumbled” when using AIFF source audio. Also, RAM previews are being shifted randomly in much the same way. (2632383)
• Slow playback of compositions containing several footage layers, especially for long-GOP footage from DSLR cameras. (53969)
• Cannot snap keyframes or layer markers (via Shift-drag) to layer, current-time indicator, or work area at start of composition. (2576113)
• Cannot auto-scroll in the Composition or Layer panel when dragging a UI item (e.g., track point or mask vertex) off the edge of the panel. (53909)
• RAM preview erroneously states that the composition must have 2 or more frames to work, but purging the cache allows it to work. (54202, 54169)
• 3D View popup does not update if switching between views using the Esc key or reordering cameras in the Timeline panel. (2624299, 2594727)
• Temporary freeze while dragging floating panel to or from another panel that contains a search field if using a Japanese input mode. (2657079)
• Hang (no control comes back) when unfreezing a precomposed layer with Roto Brush effect (with Refine Matte enabled) on it. Also, freeze can sometimes stop when calculating the back part of a span. (54141, 53482)
• Cannot import DPX image sequence either manually or via Automatic Duck Pro Import AE if GlueTools is installed. (2608269)
• “AE_OpenGL: Unexpected Condition: No active gl context for line drawing (due to interrupt during N-up frame render?)” error interrupting render of moderately complex 3D project. (54264)
• Apply Color LUT effect renders .cube files incorrectly, or cannot handle .3dl files with floating-point values, with 3DMESH/Mesh keywords, or exported from ASSIMILATE SCRATCH systems. Also, fixed a memory leak. (2612925, 2619034, 2617393, 2639953, 54417)
• CC Particle World: Crash/hang if Birth Size was set to 0 when using Stars particle type on a motion-blurred layer. (2619917)
• CC Glass Wipe: Crash using a gradient layer larger than the layer on which the effect is applied. (54216)
• CC Composite: Can’t uncheck the RGB Only option after reopening the project or when duplicating the effect. (2602796)
• Color Finesse 3: Hang if certain LUT formats were exported or a modal dialog box appeared above the application. Black and white film profiles might leave the view in color. Color Match button might fail to work. Presets might not appear or be refreshed in the Gallery. Windows taskbar icon might not appear. Can’t type a decimal point in numeric fields in the Full Interface. Problems using an incorrect serial number. (53864, 54387, 2548111, 53755)
• mocha: Issues with QuickTime-related crashes, performance on Windows, and miscellaneous incorrect behaviors.
• Scripting: Crash using Item setProxyToNone() method. (54164)
• ScriptUI: Horizontal or vertical scrollbar in a listbox does not appear when the contents exceed the viewable area. (2538608, 2632237)
• ScriptUI: Controls in a dialog stop responding if the Down Arrow key was pressed for a focused dropdownlist control showing the last item in the list. (2632230)
• ScriptUI: (Mac only) Single white

What's new in After Effects CS5

Trial available NOW!

Adobe® After Effects® CS5 delivers more of the creative control you crave, while making it faster to work on high-resolution projects. Native 64-bit support means you can tap all the RAM on your system to work more efficiently with HD, 2K, and 4K projects. The new Roto Brush tool delivers rotoscoping results in a fraction of the time. Plus, dozens of user-requested features make everyday tasks easier.

PlayDramatically improved performance thanks to native 64-bit OS support
Native 64-bit OS support new

Work fluidly on high-resolution projects — even at 32-bit-per-channel color inside HD, 2K, and 4K compositions. Use all of your system's RAM. View a list of 64-bit third-party plug-ins.

VideoRotoscoping in a fraction of the time with the new Roto Brush
Roto Brush new

Isolate foreground elements from backgrounds in a fraction of the time it would otherwise take using this revolutionary new tool.

AVC Intrat Support
AVC-Intra and enhanced RED support new

Work natively with tapeless footage from the newest high-quality Panasonic cameras thanks to AVC-Intra 50 and AVC-Intra 100 support. Take advantage of improved support for RED R3D formats, and gain additional controls for working with raw footage. Do more with tapeless workflows

PlayDozens of enhancements
Dozens of enhancements new

Benefit from dozens of customer-requested refinements that yield big productivity gains — such as the ability to align layers to comps.

Close lookColor Finesse 3
Color Finesse enhanced

Enjoy an enhanced color correction workflow with the new features, finer control over hue and saturation, and ability to export settings as color lookup tables (LUTs) in Color Finesse LE 3.

DigiEffects FreeForm
Digieffects FreeForm new

Turn flat objects into virtually any 3D shape using this popular 3D mesh warp plug-in.
Expand your video options

Go further with Production Premium

Include After Effects elements in Adobe Premiere® Pro timelines without rendering intermediate files, thanks to Dynamic Link. Animate 3D objects created in Adobe Photoshop® Extended and combine them with other video and graphical elements.
Do more with Creative Suite® Production Premium

Videomocha including variable width mask feather and trackable masks
mocha for After Effects v2 enhanced

Apply motion tracking to hand-drawn masks and import variable-width mask feathers. The powerful mocha shape plug-in is also included.

Auto-Keyframe Mode
Auto-Keyframe mode new

Animate quickly by setting starting keyframes automatically.

Close lookColor Look-Up Table (LUT) support
Color LUT support new

Get consistent color in your workflow by using industry-standard 3DL and CUBE lookup tables.
Refine Matte effect new

Apply intelligent edge tracking, dechattering, and motion blurring capabilities to any layer with a problematic alpha channel, such as keyed footage.

After Effects® CS4 9.0.2

Notable fixes
* Crash on quit if the active workspace when After Effects starts includes a ScriptUI Pane
(48419, 49138, 49163)
* Several memory corruption issues; fix should improve overall application stability.
* Crash on startup on computers with very old OpenGL drivers, or unsupported video card
manufacturers. (49698, 2266571, 2283657, 49758)
* Crash on startup due to a corrupt XML file in the preferences directory, such as used by
workspaces, dialog boxes, and Pixel Bender. Now, the corrupt file will be appended with
a .old extension so that startup can proceed. (49837)
* Crash on startup due to unsupported codec. Now, a warning message will identify the
unsupported codec and associated file name. (49876)
* When a PDFL crash occurs during startup, more information is now provided, indicating
that a bad font may be causing the crash. (49901)
* (Windows only) Drawing surface errors and short RAM previews due to exhaustion of
GDI resources (handles). Now, you should have better memory usage, resulting in longe
RAM previews and improved performance. (49912)
* Cannot open DPX file that can be opened in Photoshop CS4; file converted from
Phantom .cine to DPX using Glue Tools. (49330)
* "After Effect error: internal verification failure, sorry! {fill me in}" error trying to import
multi-image element DPX footage, such as from a Northlight Film Scanner. (50121)
* Audio conforming failure when importing certain FLV files. (2319601)
* Crash when using Pixel Bender effects, GPU-accelerated effects, and Cartoon effect in
low-memory situations. Instead of being marked invalid, Pixel Bender effects can be
reapplied when memory becomes available. (2276200, 50174)
* Crash in the Puppet effect when generating the mesh on a complex shape (possibly
when Expansion is zero). (49971)
* (Mac OS only) Crash in the Puppet effect when pasting keyframes into a non-keyframed
Puppet pin Position property. (49508)
* "could not convert unicode characters (23::46)" error applying CC RepeTile effect in
Chinese OS (49988), or crash using CC Particle World on Mac Pro 8-Core i7 (Nehalem)
machines (50366).
* Crash trying to interrupt rendering (e.g., dragging to adjust values) for the Fog 3D, Depth
Matte, or ID Matte effect when placed after other effects (49491, 49492, 49493); for Fractal Noise and Turbulent Noise effects (50111); and for EXtractoR and IDentifier
effects when placed after other effects. (49921)
* Crash when deleting the Tone effect from one composition, when that composition is
used (nested) in another composition. (50081)
* (Mac OS only) Incorrect Mac type/creator codes for OpenEXR, PICT, PNG, TIFF, and
Cineon rendered files, which made them unrecognizable by Final Cut Pro. (49811)
* Crash on quit or close of project after multiple layers with various video/audio states
(active, solo) are copied. (49632)
* Crash on quit with layers on the clipboard that are adjustment layers with effects with
points or collapsed layers. (50079, 49922)
* Incorrect dimensions of a multiple-layer Photoshop file imported as a composition with
cropped layers and merged layer styles. (50146)
* (Mac OS only) "invalid file location specification (must include name) (3::45)" error on quit
if you create or open a project containing Particle Playground effect. (49892)

Notable fixes
* Miscellaneous performance improvements with MediaCore video formats.
* General improvements to Dynamic Link workflows.
* Mocha AE doesn’t read v210 QuickTime files correctly. (49015)
* On some systems, the application may suspend rendering when the display turns off due to power management or screen saver settings. (49146)
* All Render Queue items are removed when opening or importing a saved project in which the first item has no comment, but other Render Queue items have comments. (49186)
* Crash using “Open Layer” when multiple layers are selected if one of the selected layers does not have a source or has a collapsed transformation. (49207)
* Auto-save is marking a project as saved; user can close project without being prompted to save changes, and multiprocessing can return old frames. (49209)
* (Windows only) Custom eyedroppers in keying effects pick up wrong colors when clicked in custom thumbnail. (49248)
* Exposure effect: negative offset values render garbage/underflow in 8bpc and 16bpc. (49294)
* Puppet Tool: For a 3D layer, results are being clipped to layer bounds. (49267)
* Importing a still sequence via Recent Footage imports only a single still instead of a sequence. (49265)
* For some OpenGL effects in 32bpc projects, overbright colors are getting clipped. (1893997)
* When the “Write XMP IDs to Files on Import” option is selected, MediaCore playback can make some files appear out of sync. (1880742)
* Application may appear to hang for several minutes “Reading XMP markers from footage” (status message) with files that contain deeply nested metadata. (1874477)

Adobe® After Effects® 7.0 software is loaded with improvements designed to help you create outstanding, original work. A redesigned UI and a new Graph Editor help streamline your workflow, new presets and effects enhance your creativity, and 32-bit float High Dynamic Range (HDR) color support (Professional Edition only) helps you achieve greater precision.

Adobe After Effects 6.5.1 update - English, French, German, and Japanese
This Adobe® After Effects® 6.5.1 update upgrades After Effects 6.5 software to version 6.5.1 and resolves a number of problems, including crashes at launch with certain hardware configurations when initializing the user interface, layers becoming invisible when soloed, and sluggish performance on certain projects.

Advanced Clone tool
Remove unwanted elements from multiple frames more accurately using the advanced Clone tool, which offers five presets and the ability to simultaneously view the source frame as an overlay while you paint.

Disk caching
Take advantage of disk caching to speed up your interactive work.

Animation Presets
Save any combination of animation parameters — including transformations, masks, Expressions, effects, and text — as Animation Presets to quickly reuse without setting keyframes.

Tighter Adobe integration
Import Adobe Photoshop® CS and Illustrator® CS files with layers and other attributes preserved. In Windows®, copy and paste selected Adobe Premiere® Pro clips into After Effects, and create motion menus and buttons for use in Adobe Encore™ DVD and much more.

Color correction and grain management effects
Adjust the color of footage and other elements with powerful color correction tools, such as Color Finesse™. Use grain management tools to add grain to make video look more like film, or remove grain to give film the look of video (Professional edition only).

New special effects plug-ins
Add dramatic effects to your compositions with more than 60 new plug-ins, including Particle World, Light Burst, Light Sweep, and Toner.

New text animation features
Set blend modes between characters, randomize text, write scripts to automate text changes within animations (Professional edition only), and more. Enjoy over 250 professionally designed text Animation Presets.

FireWire video output
Preview your compositions on NTSC and PAL video monitors whether you're using a Windows or a Mac OS X system.

More flexible Motion Tracker
Zero in on any element with the enhanced Motion Tracker, which lets you use as many points as you like or standard one-, two-, and four-point settings; track change in scale or just horizontal or vertical movement; and edit the motion path (Professional edition only).

Enhanced scripting
Use scripts to automate management of the Render Queue as well as production tasks including changes to text and layers, creation of custom palettes, and more (Professional edition only).

All new features:

Hide changelog

Alternative to Adobe After Effects:
Adobe Premiere Pro
Avid Media Composer
Vegas Pro

Guides and How to's:
Creative Cow Adobe After Effects tutorial - Read
View all guides with guide description here

Acronyms / Also Known As:
after effects

Comments Post comment
2 comments, Showing 1 to 2 comments

I love adobe after effects. The program has nearly infinate possibilities. Now if they could solve the crash isses with cc shatter.

Posted April 09, 2011 by . Tool version 10 using OS Windows 7 64-bit
Ease of use 8 of 10 Functionality 9 of 10 Value for money 9 of 10 Overall score 9 of 10

Tight integration with Photoshop and Illustrator and one of the easiest compositors to understand and use (but they're all complicated). Uses a familiar layered timeline interface. A myriad of great 3rd party plug ins (3D, light filters, special fx etc), some of which cost more than the application! Pro version includes extra base filter pack.

I'd like it more if Adobe had included autosave with my version, but unlike other compositors AE rarely crashes and allows you to work to deadlines. Suitable for pros and hobbyists with plenty of spare cash!

Posted April 27, 2005 by . Tool version 5.5 Pro using OS WinXP
Ease of use 9 of 10 Functionality 8 of 10 Value for money 7 of 10 Overall score 8 of 10

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NO MORE UPDATES? = The software hasn't been updated in over 2 years.
NO LONGER DEVELOPED = The software hasn't been updated in over 3 years.
RECENTLY UPDATED = The software has been updated the last 31 days.
Freeware = Free software.
Free software = Free software and also open source code.
Freeware/Adware = Free software but supported by advertising, usually with a included browser toolbar. It may be disabled when installing or after installation.
Free software/Adware = Free software and open source code but supported by advertising, usually with a included browser toolbar. It may be disabled when installing or after installation.
Trialware = Also called shareware or demo. Trial version available for download and testing with usually a time limit or limited functions.
Payware = No demo or trial available.
v1.0.1 = Latest version available.
Download beta = It could be a BETA, RC(Release Candidate) and even a ALPHA version of the software.
Download (direct link) = A direct link to the software download.
Download (developer's site) = A link to the software developer site.
Download (mirror link) = A mirror link to the software download. It may not contain the latest versions.
Download old versions = Free downloads of previous versions of the program.
Download 64 bit version = If you have a 64bit operating system you can download this version.
Download portable version = No installation is required, just extract the files to a folder and run directly.
Windows = Windows version available.
Mac OS = Mac OS version available.
Linux = Linux version available.
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