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Help Learn to edit Community portal Recent changes Upload file. Issue: Precomps that contain 3D layers and have both their Collapse Transform switch and their 3D Layer switch set to ON may have inaccurate Render Time values displayed for their layer.

July Version Issue: When you paste text from another application into After Effects text layer, The Paste command in the Edit menu is unavailable, and n othing is pasted.

Workaround: No known workaround yet. Issue: Preview glitches or crashes can occur when using After Effects Issue: On Mac, aerender automation is failing everytime aerender is launched for the first time and it displays the Access Control dialog.

Allowing control is providing access to documents and data in the app folder, and to perform actions within that app. Upon ignoring the alert or clicking Don\’t Allow , aerender test fails and aerendercore remains in process activity monitor. Issue: JPEG images in projects from previous versions cannot be read. March Version Issue: H. Relaunch After Effects and import the files again. Issue: Can\’t disable multiple 3D views in Composition panel if 3D is disabled for all layers.

No control exists that allows to change the view back to 1-up. Workaround: Re-enable 3D for the layer, change the view, then disable 3D. Issue : When Draft 3D is enabled, the camera does not render correctly in orthographic view such as Front view.

Opening a ScriptUI panel with this preference previously enabled or switching to a workspace containing a ScriptUI panel with this preference enabled will also cause a crash. Close After Effects. Open \”Adobe After Effects Save the text file. Issue : Custom UI in the Effect Controls panel is not displayed, which affects some third-party plug-ins. Workaround: Downgrade to After Effects version November Version Issue: Holding the Option Mac or Alt Windows key while you click or click and drag with the Selection, Pen, Zoom, or other tools doesn\’t perform the expected action of that tool, but instead activates the Universal Camera Tool.

This only occurs if there is a 3D layer in the composition. The Pen tool does not activate the Convert Vertex tool when the mouse cursor is over a mask point or handle. The Zoom tool does not change to zoom out. Issue : After Effects crashes on launch or throws a \”File is not found\” error message when opening images with Camera Raw Please ensure that your Camera RAW is updated to September Version August Version June Version Issue: After Effects displays green horizontal lines in the Composition panel with Intel drivers and Workaround: Roll back to the older Intel drivers.

Issue: Markers cannot be referenced by name in the JavaScript expressions engine. Stock media that has been licensed and shared by a collaborator may not appear as licensed to fellow collaborators, it may appear as media offline, or it may not appear at all in the shared library or sequence when other collaborators open the project and the shared library.

Issue: When manually transforming layers, such as, position, scale, and rotation, color fringing may be seen on the edge of layer elements while the transform is in progress. Once the transform is complete, the fringing is no longer seen. This fringing does not occur during composition preview or export.

Issue : MP4 H. Workaround : Reinstall a previous version of After Effects. Transcode files to a different file format.

Issue : On Win, Double-clicking an. January Version Issue : In After Effects Workaround : No workaround yet. When you use the Collect Files command, After Effects creates a new folder and the following information is saved in the new folder:. After you collect files, you can continue making changes to a project, but be aware that those changes are stored with the original project and not with the newly collected version.

For All Comps. For Selected Comps. Collects all footage files and proxies used in compositions currently selected in the Project panel. For Queued Comps. Collects all footage files and proxies used directly or indirectly in any of the compositions with a Queued status in the Render Queue panel. None Project Only. Generate Report Only. Obey Proxy Settings. Use this option with compositions that include proxies to specify whether you want the copy to include the current proxy settings.

If this option is selected, only the files used in the composition are copied. If this option is not selected, the copy contains both proxies and source files, so you can later change proxy settings in the collected version. If you choose For Queued Comps in the Collect Source Files dialog box, After Effects uses the proxy settings from the render settings, not the composition.

Reduce Project. Change Render Output To. Use to redirect the output modules to render files to a named folder in the collected files folder. Rendering status must be valid Queued, Unqueued, or Will Continue for the output modules to render files to this folder.

You can use the Collect Files command to save projects to a specified watch folder and then initiate watch-folder rendering over a network. After Effects and any installed render engines can then render the project together across a network. See Set up watch-folder rendering. Maximum Number Of Machines. Use to specify the number of render engines or licensed copies of After Effects that you want to allocate to render the collected project.

Below this option, After Effects reports how many items in the project will be rendered using more than one computer. If rendering time is unusually long, you may have set Maximum Number Of Machines too high, and the network overhead required to track rendering progress among all computers is out of proportion to the time spent actually rendering frames.

The optimal number depends on many variables related to the network configuration and the computers on it; experiment to determine the optimal number for your network. Once you start the file collection, After Effects creates the folder and copies the specified files to it. The folder hierarchy is the same as the hierarchy of folders and footage items in your project. The new folder includes a Footage folder and may include an output folder if you selected Change Render Output To.

The names of these folders appear in parentheses to signal to any attending render engines that they should not search these folders for projects. You can locate a previously rendered item or check the destination of a queued render item by expanding the Output Module group in the Render Queue panel and clicking the underlined file path, or by right-clicking Windows or Control-clicking Mac OS the Output Module heading.

You can use custom templates to name the output according to properties of the composition and project. If you want to base the new file-naming template on an existing template, choose the existing template from the Preset menu.

Click in the Template box where you want to insert a file-naming rule, and do any of the following:. To save the file-naming template as a preset for future use in the Output To menu, click the Save button. In the Choose Name dialog box, enter a name for the file-naming template, and click OK.

The Use Default File Name And Folder preference ensures that all compositions added to the render queue are automatically assigned a unique output filename except for files created by saving previews, which still use the composition name. When this option is selected, each render item is assigned the same folder name as the previous render item until you change the path.

Avoid using high-ASCII or other extended characters in filenames for projects to be used on different platforms or rendered using a watch folder. You can add paths to templates. Absolute paths can be defined in a template. Render settings apply to each render item and determine how the composition is rendered for that specific render item. By default, the render settings for a render item are based on the current project settings, composition settings, and switch settings for the composition on which the render item is based.

However, you can modify the render settings for each render item to override some of these settings. Render settings apply to the root composition for a render item, as well as all nested compositions. The default render settings template is assigned to a render item when it is created. To change which render settings template is the default, hold down Ctrl Windows or Command Mac OS as you choose a render settings template from the menu. You perform the following tasks in the Render Settings Templates dialog box.

Changes to an existing template do not affect render items that are already in the render queue. Each of these settings overrides composition settings, project settings, or layer switch settings. You can choose how much information After Effects writes to a render log file.

If you choose Errors Only, After Effects only creates the file if errors are encountered during rendering. If you choose Plus Settings, a log file is created that lists the current render settings. If you choose Plus Per Frame Info, a log file is created that lists the current render settings and information about the rendering of each frame.

The quality setting to use for all layers. See Layer image quality and subpixel positioning. Resolution of the rendered composition, relative to the original composition dimensions. See Resolution. If you render at reduced resolution, set the Quality option to Draft. Rendering at Best quality when reducing resolution produces an unclear image and takes longer than Draft quality.

Determines whether the disk cache preferences are used during rendering. Read Only writes no new frames to the disk cache while After Effects renders.

Determines whether to use proxies when rendering. Current Settings uses the settings for each footage item. See Placeholders and proxies. Current Settings default uses the current settings for Effect switches. All On renders all applied effects. All Off renders no effects. Solo Switches. Current Settings default uses the current settings for Solo switches for each layer.

All Off renders as if all Solo switches are off. See Solo a layer. Guide Layers. Current Settings renders guide layers in the top-level composition. All Off the default setting does not render guide layers. Guide layers in nested compositions are never rendered. See Guide layers. Current Settings default uses the project bit depth.

See Color depth and high dynamic range color. Frame Blending. On For Checked Layers renders frame blending only for layers with the Frame Blending switch set, regardless of the Enable Frame Blending setting for the composition. See Frame blending. Field Render. Determines the field-rendering technique used for the rendered composition. Choose Off if you are rendering for film or for display on a computer screen.

See Interlaced video and separating fields. Specifies the phase of pulldown. See Introduce pulldown. Current Settings uses the current settings for the Motion Blur layer switch and the Enable Motion Blur composition switch. On For Checked Layers renders motion blur only for layers with the Motion Blur layer switch set, regardless of the Enable Motion Blur setting for the composition.

Off For All Layers renders all layers without motion blur regardless of the layer switch and composition switch settings. See Motion blur. How much of the composition to render. To render the entire composition, choose Length Of Comp. To render only the part of the composition indicated by the work area markers, choose Work Area Only.

To render a custom time span, choose Custom. See Work area. The sampling frame rate to use when rendering the movie. The actual frame rate of the composition is unchanged. The frame rate of the final encoded movie is determined by the output module settings. See Frame rate. Skip Existing Files. Lets you rerender part of a sequence of files without wasting time on previously rendered frames. When rendering a sequence of files, After Effects locates files that are part of the current sequence, identifies the missing frames, and then renders only those frames, inserting them where they belong in the sequence.

You can also use this option to render an image sequence on multiple computers. See Render a still-image sequence with multiple computers. The current image sequence must have the same name as the existing image sequence, and the starting frame number, frame rate, and time span must be the same. You must render to the folder that contains the previously rendered frames. Output module settings apply to each render item and determine how the rendered movie is processed for final output.

Use output module settings to specify file format, output color profile, compression options, and other encoding options for final output. You can also use output module settings to crop, stretch, or shrink a rendered movie; doing this after rendering is often useful when you are generating multiple kinds of output from a single composition. Output module settings are applied to the rendered output that is generated according to the render settings.

For some formats, an additional dialog box opens when you choose the format in the Output Module Settings dialog box. You can modify these settings and use settings presets to specify format-specific options, such as compression options. You can apply multiple output modules to each render item, which is useful when you want to make more than one version of a movie from one render.

For example, you can automate the creation of a movie and its alpha matte, or you can create high-resolution and low-resolution versions of a movie. Before rendering, check the Audio Output settings in the Output Module Settings dialog box to ensure that they are correct.

To render audio, Audio Output must be selected. If your composition does not include audio, do not select Audio Output, so that the size of the rendered file does not increase needlessly. You can set the output module of multiple render queue items at the same time. Select the render queue items, and then choose an output module template from the Output Module Settings menu for one of the items.

You can drag an output module to the Project panel to import the finished movie or a placeholder into the project for use as a footage item. Andrew Kramer provides a video tutorial with tips for working with proxies, output modules, and output module templates on the Video Copilot website.

You can choose a custom output module settings template or one of the preset output module settings templates. Several templates are provided, including the Lossless template for creating movies for transfer to video, film, or an NLE system. The default output module settings template is assigned to a render item when it is created. To change which output module template is the default, hold down Ctrl Windows or Command Mac OS as you choose an output module template from the menu.

To change output module settings for multiple output modules at once, select the output modules and then choose an output module template. The template is applied to all selected output modules. You perform the following tasks in the Output Module Templates dialog box. For information on using controls in the Color Management area of the Output Module Settings dialog box, see Assign an output color profile. Include Project Link. Specifies whether to include information in the output file that links to the source After Effects project.

When you open the output file in another application, such as Adobe Premiere Pro, you can use the Edit Original command to edit the source project in After Effects. Specifies whether to include XMP metadata in the output file from the files used as sources for the rendered composition. XMP metadata can travel all the way through After Effects from source files, to footage items, to compositions, to rendered and exported files.

Post-Render Action. Specifies an action for After Effects to perform after the composition is rendered. See Post-render actions. Format Options. The output channels contained in the output movie.

Not all codecs support alpha channels. Therefore, you do not have to specify an alpha interpretation each time you import an item created in After Effects. Specifies the color depth of the output movie. Certain formats may limit depth and color settings. Specifies how colors are created with the alpha channel. Choose from either Premultiplied Matted or Straight Unmatted. See Alpha channel interpretation: premultiplied or straight. Specifies the number for the starting frame of a sequence.

The Use Comp Frame Number option adds the starting frame number in the work area to the starting frame of the sequence. Specifies the size of your output movie. Select Lock Aspect Ratio To if you want to retain the existing frame aspect ratio when resizing the frame.