New in version CC 2015

June 16th, 2015
  • Find the perfect image or graphic for your project:
  • Save time finding, licensing and managing royalty-free stock images and graphics now that After Effects CC integrates with the new Adobe Stock service. Once you save an image to your Creative Cloud Libraries, it’s immediately available for use in your compositions and other creative projects.
  • Your assets, available anywhere:
  • Access and share important creative assets — like Looks and graphics — via Creative Cloud Libraries that are available in After Effects, Adobe Premiere Pro, Photoshop and Illustrator; mobile apps like Shape; and services like Adobe Stock.
  • Preview without interruptions:
  • Adjust a composition’s properties and even resize panels without interrupting playback. Uninterrupted preview keeps up with your creativity.
  • Track faces with greater accuracy:
  • The Face Tracker makes it easy to apply effects to select areas of faces. Use simple tracking to color correct or blur a face; track specific points to change eye color or mouth movements; or track measurements, such as how wide an eye is open. You can even export data to Adobe Character Animator.
  • Easily animate 2D characters:
  • Give life to characters you create in Illustrator or Photoshop by acting out their movements in front of a webcam. Adobe Character Animator tracks your facial movements, lets you record dialogue or a voice performance and enables you to trigger actions with your keyboard.
  • Preview the way that works best for you:
  • Preview compositions, layers and footage based on your experience and preferences. Choose intuitive default behaviors, create customized previews for different triggers or revert to legacy preview behaviors with a few clicks.
  • Adapt the UI to your preferences:
  • Navigate panels faster thanks to streamlined panel groups. Adjust the brightness of interactive controls to get the contrast just right.
  • Optimize the UI for touch:
  • In the first steps toward a more touch-friendly compositing environment, After Effects makes it easier to navigate between panels in a group by letting you choose and activate panels with touch-optimized controls.
  • And so much more:
  • Also includes: Enhancements that save time when working with expressions, the ability to import JPEG 2000 files and more.
  • New features:
  • re-architecture for interactive performance improvements
  • uninterrupted previews
  • unified, simplified, and customizable previews
  • Creative Cloud Libraries
  • face tracker
  • Adobe Character Animator (Preview 1)
  • improved expression error handling and added debugging information for rendering issues
  • user interface improvements, including customizability and panel tab redesign
  • Maxon Cineware v2.0.16
  • updated RED and OpenEXR importers

New in version CC 2014.2 13.2 (December 17th, 2014)

  • Top new features:
  • scripting improvements for text layers
  • expression access to dynamic layer bounds
  • new keyframe icons
  • many bug fixes
  • Scripting improvements for text layers:
  • You can now read additional information through scripting about the properties of a text layer, including the layer coordinates and additional character properties.
  • These new attributes for the textDocument object are read-only. The value returned is for the first character in the text layer at the current time.
  • Expression access to dynamic layer bounds, including text layers:
  • You can now read the rectangle bounds of a layer’s content, including the corrected bounds of a text layer, for any time in a composition. The sourceRectAtTime() method from the After Effects scripting API is now accessible in expressions as a read-only layer object attribute.
  • The values returned are calculated before effects and layer styles are applied.
  • New keyframe icons:
  • We received a lot of feedback that keyframe icons in After Effects CC 2014.1 (13.1) are difficult to visually distinguish in the refreshed user interface design. In After Effects CC 2014.2 (13.2) all keyframe icons have been updated to address this feedback. The new icons are a little bit brighter overall and have bright edges instead of dark edges so that they stand out better against the background.
  • The icons for roving keyframes and summary keyframes (displayed when a property group is collapsed) have been updated but are changed to the dark dot that appeared in After Effects CC 2014 (13.0) and previous, instead of the bright dot that appeared in After Effects CC 2014.1 (13.1).
  • We will be making additional improvements to the user interface for all Adobe applications based on user feedback in updates scheduled for the coming year. We’ll publish details of our plans in this area in a post on this blog later this week.
  • a few choice bug fixes
  • Bug fixes:
  • Applying animation presets from Bridge works as expected and no longer results in an error message.
  • Color management no longer causes a color or gamma shift in rendered images when multiprocessing is enabled.
  • Warp Stabilizer effect has been updated to fix a cause of crashes on the late 2013 model Mac Pro.
  • A cause of poor Dynamic Link performance when the main After Effects application is open has been fixed.
  • The sampleImage expression method no longer causes multiprocessing to disable.
  • The cursor icon changes immediately when you press a keyboard shortcut to change the active tool.
  • Layers now highlight as expected in the Composition panel when you roll over the layer in the Timeline panel.
  • Dragging an instance of an After Effects text template composition in Premiere Pro from the Project panel to the Timeline panel no longer causes a delay before the composition can be dropped.
  • Creating shape layers from Illustrator layers no longer creates the shapes at the wrong coordinates if the Illustrator artboard uses a video preset and the layer was imported at layer dimensions (instead of document dimensions).
  • Layers in a .c4d file in an After Effects CC (12.x) project retain their visibility state in the Cineware effect when the project is opened in After Effects CC 2014.2 (13.2).
  • Windows high-DPI displays now correctly draw layer controls (anchor point, mask path, layer handles, etc.).
  • Multiple fixes for Mac OS Retina displays: layer wireframes now draw correctly; setting the ruler origin in viewer panels no longer has an offset.
  • The color of all characters are now the same in the value of a property with an expression. For example, the % symbol in Opacity values is now red instead of blue.
  • Rolling over the value of a property with an expression no longer changes the value’s text color to yellow.
  • A cause of crashes on startup if the Adobe preferences directory is set to read-only was fixed.
  • A cause of crashes on quit after Video Copilot Element 3D is used was fixed.
  • A cause of crashes when effects make certain OpenGL requests was fixed.
  • Aliases to files and folders on Mac OS 10.10.1 and later are now resolved correctly.

New in version CC 2014.1.1 13.1.1 (October 16th, 2014)

  • If you applied an effect without properties or opened a project containing an effect without properties, then After Effects would give a long series of error messages: “After Effects error: internal verification failure, sorry! {unexpected match name searched for in group} ( 29 :: 0 )”. This bug is now fixed. Examples of effects that triggered this problem inlcude Knoll UnMult and BAO Mask Avenger.
  • Tooltips now appear correctly in the Timeline, Project, and Effect Controls panels.
  • The middle mouse button again works as expected for such purposes as activating the Hand tool in viewer panels, using the Unified Camera tool, or repositioning shape layers or masks.
  • Panels no longer flash red when resizing or rearranging panels.
  • The Graph Editor works correctly on Windows high-DPI systems. In the previous version (After Effects 13.1.0), clicks within the Graph Editor were registered in the wrong place on Windows high-DPI systems.
  • RED (.r3d) files no longer cause a 15-second delay when the resolution of the image being requested from the importer is less than 1/8. This could occur when the thumbnail was generated on import, when Adaptive Resolution was engaged, et cetera.
  • BridgeTalk is now set up correctly, so that scripting calls from ExtendScript Toolkit, Bridge, and Premiere Pro correctly target After Effects.
  • The installer cleans up stale components better, including updated Cinema 4D components.

New in version CC 2014.1 13.1.0 (October 7th, 2014)

  • Refreshed interface design:
  • After Effects has a new darker design. You can change the brightness of the interface in Edit > Preferences > Appearance, though the slider range is more limited; you can no longer change the appearance of the user interface to a light mode.
  • There is some simplification to the panel functionality. The following changes have been made to the icons, panels, and buttons:
  • The icon for the panel menu has been moved from the upper-right corner of the panel to the panel tab, making the panel menu easier to discover.
  • The panel grabber and frame grabber icons have been removed; you can drag panels using the panel tab.
  • The close button (x) has been removed from all panels except the Timeline, Composition, Layer, Footage, Effect Controls, and Flowchart, and Render panels. In these panels, the close button has moved to the left side of the panel tab. To close a panel without the close button, open the panel menu or right-click on the panel tab and choose Close Panel, or use the keyboard shortcut, Command+W (Mac OS) or Ctrl+W (Windows).
  • The panel tabs for the Composition, Layer, Footage, Effect Controls, and Flowchart panels have been updated. Clicking the blue text of the composition, layer, or footage name in the tab will display the viewer menu.
  • The application's title bar now shows the full path to the project file.
  • Support for HiDPI display:
  • The latest release of After Effects CC includes HiDPI support for both content viewers and user interface scaling. This inclusion makes After Effects easier to use on high pixel density monitors.
  • User interface elements such as icons, text labels, pointers, and buttons now scale according to the display settings of the operating system. Mac OS computers with a Retina display scale to 200%. Windows computers with a HiDPI display scale to 150% or 200%.
  • After Effects CC now includes Cineware 2.0, which adds CINEMA 4D R16 compatibility. Cineware 2.0 includes the new Reflectance Channel, enables you to work with 3D elements faster, and provides improved layer support.
  • Automatic settings synchronization - The Synchronize Layer setting enables you to automatically synchronize your Cineware settings with all the layers in a composition. When you add multiple instances of a CINEMA 4D scene layer in a composition, including adding Multi-Pass layers, you will see a new checkbox, Synchronize Layer at the top of the Effect Controls panel. When the box is checked (default), the Cineware effect settings on all instances of the layer synchronize automatically. If the checkbox is disabled for a specific CINEMA 4D scene layer, then that layer's settings will not synchronize with the rest of the layers in the composition.
  • Default Layer support - The CINEMA 4D layers dialog displays a Default Layer option if the renderer supports it. Layers that have not been assigned to an explicit layer in the .c4d project files are displayed with the Default Layer enabled.
  • Content Browser support - When using a full retail version of CINEMA 4D R16 as the renderer, textures applied through installed content libraries (.lib4d files) are rendered in After Effects using Cineware.
  • Region of Interest - You can now render substitute composition regions using the Region Of Interest control in the composition panel. When a Region of Interest has been defined in the composition panel, and the Renderer control is set to Standard (Final), Cineware renders only what is inside the bounds of the region.
  • Collect Files: Collect Files now collects assets associated with .c4d footage items, such as textures.
  • Purge Memory - For complex scenes, the render server may use memory for internal caches. To free up the internal memory, click Purge Memory to extend the length of previews in After Effects. The Purge Memory option works only when the CINEMA 4D render path is set to one of the following:
  • The default render server Cineware R16.
  • A full retail version of CINEMA 4D R16 or later.
  • Copy with Relative Property Links:
  • There is a new command in the Edit menu, Copy With Relative Property Links. This command is similar to the existing Copy With Property Links command, except that it creates expressions that do not reference the source composition by name.
  • This command maintains a relative link between the layer with the expression and the composition containing that layer. Use this command when, for example, you want to move expression-rigged layers from one composition to another but let the layers reference a control layer only in the same composition.
  • Dynamic Link color management (Rec. 709 only):
  • When color management is enabled for an After Effects project, compositions viewed over Dynamic Link will be transformed using the Rec. 709 color profile. This prevents color or gamma shifts in the appearance of these compositions in Premiere Pro and Adobe Media Encoder.
  • Dynamic Link always assumes that all incoming frames are in Rec. 709. In previous releases of After Effects, compositions in a color managed project were sent to Dynamic Link in the project's working color space; they were not adjusted for Dynamic Link's assumption of Rec. 709. This mismatch resulted in a noticeable color or gamma shift when the project's working color space was significantly different from Rec. 709 or when Linearize Working Space (under File > Project Settings) was enabled.
  • In the latest release of After Effects CC, a color transformation is applied to the composition as a last step before the images are passed to Dynamic Link for use in Premiere Pro or Adobe Media Encoder. This corrects the composition image to the color space used by Dynamic Link, similar to how the View > Enable Display Color Management option in After Effects corrects the image for your monitor.
  • Automatic encoding of After Effects projects using watch folders in Adobe Media Encoder:
  • If you copy an After Effects project (.aep) file into one of Adobe Media Encoder's watch folders, the compositions at the top level of the project (compositions that are not in folders in the Project panel) are automatically added to the Adobe Media Encoder encoding queue.
  • Support for native encoding and decoding of movies using GoPro CineForm codecs:
  • After Effects, Premiere Pro, and Adobe Media Encoder can natively decode and encode QuickTime (.mov) files using the GoPro Cineform codecs on Mac OS and Windows. This means that you do not need to install additional codecs to use and create such files.
  • Use this codec with the higher-quality settings, to send intermediate files from one application to the next application in a post-production pipeline. Movie files encoded with the GoPro Cineform codec at the higher quality settings include an alpha channel.
  • Miscellaneous updates:
  • The Anchor Point icon on selected layers has been enhanced for better contrast and visibility. The icon's hit area changes with the Path Point & Handle Size preference.
  • While tracking masks that are applied to an effect, the mask mode now no longer changes to None. This preserves the appearance of the masked effect during tracking.
  • Double-clicking a project in Finder or Explorer automatically closes the Welcome Screen dialog.
  • Use the new Browse Add-ons... command in the File menu to open the Adobe Add-ons page (formerly Adobe Exchange) in your web browser.
  • The new Adobe Color Themes replaces the previously named Adobe Kuler panel. Choose Window > Extensions > Adobe Color Themes to open this panel.
  • You can speed up VFX-heavy After Effects compositions using the new Render and Replace feature in Premiere Pro. This feature enables you to flatten After Effects compositions into video clips thus speeding up the performance of VFX-heavy sequences.

New in version CC 2014.0.2 13.0.2 (August 8th, 2014)

  • This update fixes an issue with the trial period:
  • When you launch After Effects CC 2014.0.2 (13.0.2) as a trial, it will reset the trial period if you had used the trial of After Effects CC (12.x). This is the only significant change in this update.

New in version CC 2014 13.0 (August 1st, 2014)

  • Key Cleaner effect and Advanced Spill Suppressor effect:
  • The Key Cleaner effect recovers alpha-channel detail from a scene keyed by a typical keying effect, including recovering detail lost due to compression artifacts.
  • The Advanced Spill Suppressor effect removes color spill on a foreground subject from a colored background used for color keying.
  • Starting with the 2014 version of After Effects, the Spill Suppressor effect has been moved to the Obsolete effects category. Users are recommended to use the Advanced Spill Suppressor effect instead.
  • Compositing Options (including effect masks):
  • The Compositing Options property group for each effect includes a new Effect Opacity property, which provides similar functionality as the Blend With Original compositing to every effect. The Effect Opacity allows you to blend between the effect results and the image without applying the effect. You can precisely apply any effect to a particular area of an image by masking and matting the desired area.
  • Importing masks from Premiere Pro:
  • When you import a clip from Premiere Pro that includes masks, the masks from Premiere Pro are preserved and converted to After Effects masks. This works for all methods of importing clips from Premiere Pro including:
  • Using the Replace With After Effects Composition command in Premiere Pro
  • Copying and pasting the sequence from Premiere Pro to After Effects
  • Importing a Premiere Pro project into After Effects.
  • Live text templates - Edit After Effects text templates in Premiere Pro:
  • You can create text template compositions in After Effects wherein the source text can be edited in Premiere Pro. Any composition with text layers can be used as a text template, and any unlocked text layers in that composition can be edited in Premiere Pro.
  • Video preview on external monitor using Mercury Transmit:
  • The Mercury Transmit system for video previews sends the contents of the Composition, Layer, or Footage panel to an external monitor. The external monitor can be one of the following:
  • A video monitor connected through third-party video hardware such as AJA, Blackmagic, and Matrox I/O devices
  • A DV device connected over FireWire
  • A computer monitor connected to your video display card via such as HDMI, DVI, VGA, or DisplayPort.
  • Add fonts from Typekit in After Effects:
  • You can download and install hundreds of fonts from within After Effects CC through the integration of Typekit in the June 2014 release of After Effects CC. Click File > Add Fonts from Typekit.. to launch the Typekit website.
  • Integration of Kuler panel into After Effects:
  • The Kuler panel that is integrated into After Effects CC is one of the first instances of an HTML5 CEP panel built for After Effects. Using the Kuler panel, you can :
  • Browse color themes that other users have shared through Creative Cloud
  • Load color themes from your own library on Creative Cloud
  • Create color themes on your iPhone or in your browser using various color models.
  • HTML5 panels using CEP infrastructure:
  • After Effects now includes the CEP (Common Extensibility Platform) infrastructure for loading and using HTML5 panels. These panels have access to the entire After Effects scripting object model in addition to being able to use HTML, CSS, and JavaScript. Hence a very wide variety of extensions can be created using this system.
  • Improvements to Curves effect user interface:
  • The primary user interface element in the Curves effect (the curves themselves) is now resizable using buttons immediately above the curves.
  • New improvements have the following advantages:
  • Click one of the three sizing icons at the top of the effect to adjust screen sizes.
  • Channels will show separately and concurrently in White, Red Green Blue, and Gray(alpha).
  • Channel selection is automatic when a curve or vertex is clicked to add or move a point.
  • The curves are drawn more smoothly.
  • Auto Adjustment in Curves effect
  • To adjust the curves in the Curves effect automatically, click the Auto button beneath the curves in the Effect Controls panel.
  • Supported file formats:
  • Sony RAW files (raw footage files from F5, F55, and F65 cameras)
  • MPEG-4 SStP (Simple Studio Profile) Sony SR MXF files
  • indexed-color PNG files and grayscale PNG files with transparency
  • Photoshop Large Document (.psb) files
  • CMYK JPEG files
  • RED EPIC Dragon 6K files
  • Cinema 4D (.c4d) 3D scene files
  • DNxHD MXF OP1a and Op-Atom files
  • QuickTime (.mov) files using DNxHD codecs (without installing additional codecs)
  • QuickTime (.mov) files using ProRes codecs (without installing additional codecs) on Mac OS
  • XAVC (Sony 4K)
  • AVC-Intra 200
  • Miscellaneous updates:
  • Use File > Save As > Save A Copy As CC (12) to save a project as a copy for the previous version. To open a project created in the latest version of After Effects in After Effects CS6, you have to save back from After Effects CC (12). See Save and backup projects for detailed information.
  • You can now import raw files from Sony F5, F55, and F65 cameras into After Effects. As with ARRIRAW files, the source settings are not carried over when transferring a clip from Premiere Pro to After Effects.
  • After Effects CC now installs mocha-AE version 3.2.1. Previous versions of After Effects CC installed mocha-AE v3.1.0. See the release notes (pdf) on the Imagineer Systems website for details of what's new in mocha-AE v3.2.
  • You cannot export to the following formats in the 2014 version of After Effects CC. However, you can still import these file formats into After Effects.
  • FLV/F4V
  • MPEG-2
  • H.264
  • WMV
  • SWF

New in version CC 12.2.1 (February 14th, 2014)

  • Fixed:
  • 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.

New in version CC 12.2.0 (December 14th, 2013)

  • New:
  • 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
  • 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:
  • [projectFolder]/output/final_[compName].[fileextension]
  • 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:
  • [projectFolder]/../output/[compName]_matte.[fileextension]
  • 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:
  • preferences
  • interpretation rules
  • workspaces
  • 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:
  • 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 hang 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.

New in version CC 12.1.0 (November 1st, 2013)

  • 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).
  • 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
  • (NEARLY) ALL NEW AND CHANGED FEATURES IN AFTER EFFECTS CC (12.1):
  • mask tracker
  • improved performance for analysis phase for 3D Camera Tracker and Warp Stabilizer effects
  • Detail-preserving Upscale effect
  • bicubic sampling option in Transform effect
  • OptiX 3.0 library for GPU-accelerated ray-traced 3D renderer
  • OpenGL features enabled for all Intel GPUs
  • preference for bypassing whitelist for GPU acceleration of ray-traced 3D renderer
  • property linking
  • option when precomposing to trim precomposition duration to duration of selected layers
  • layers created immediately above topmost selected layer
  • user-defined location for Auto-save
  • improvements to keyboard shortcuts for showing properties with keyframes, expressions
  • command for moving anchor point to center of content
  • mask path drawn using color that differs from region in which first click to draw mask is made
  • improved Cinema 4D integration, with updated Cineware functionality
  • HiDPI content viewers for Retina displays on Mac computers
  • snapping beyond layer edges, to align layers in 2D and 3D space along lines defined by layer features
  • rectified audio waveforms
  • added iris and highlight properties for camera layers to the expression language menu
  • automatically opening and closing folders in Project panel when dragging
  • default number of Undo operations available increased from 32 to 99, and preference removed from user interface
  • commands for turning logging on and off and for revealing log files
  • new Enable QuickTime Video Preview preference in Video Preview preferences category on Mac OS
  • better error message for duplicate plug-ins
  • better expression error messages
  • removal of extraneous warnings regarding missing custom effects
  • Adobe Anywhere integration
  • cards added to CUDA whitelist for Optix (for GPU acceleration of ray-traced 3D renderer):
  • GTX 680MX (Mac OS and Windows)
  • GTX 680 (added for Mac OS; was already on Windows list)
  • GTX 675MX (Mac OS and Windows)
  • 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.
  • A FEW CHOICE BUG FIXES:
  • Between clicking a menu to open it and the menu actually opening, several seconds could elapse on some computers. The same problem occurred for keyboard shortcuts. This is fixed.
  • Crashes using Timecode effect, Basic Text effect, and Numbers effect. These are fixed.
  • Crash with message “After Effects error: CT bad param: TrueType or CFF font expected (83 :: 2)”. This is fixed.
  • Custom output modules were ignored by aerender and lost when the full After Effects application was started. This is fixed.
  • Crash because of missing interface font, with message saying unable to load or unable to create font (Verdana or Arial). This is fixed.
  • Exported DPX files had wrong results when negative color values present in composition. This is fixed.
  • Performance with DPX files being read across a network was poor. This is fixed.
  • CC Force Motion Blur and CC Wide Time caused very long delays, making the application appear to hang. These are fixed.
  • Crash using Timewarp effect on Mac OSX v10.9 (Mavericks). This is fixed.
  • Error “Unable to invert matrix (17::45)” when using the snapping features. This is fixed.
  • scripting: The onClose callback wasn’t called when closing an embedded panel using the close (x) button on the panel’s tab. It works now.
  • scripting: Scrollbars in ScriptUI panels were drawn in the wrong place under some circumstances. This is fixed.
  • Many other causes of crashes and other errors and misbehaviors were fixed.

New in version CC 12.0.1 (October 23rd, 2013)

  • Fixes a crash on Mac OS X (v10.9). There is no need to install this update on any other operating system.

New in version CS6 11.0.3 (October 4th, 2013)

  • OptiX 3.0 library for ray-traced 3D renderer; ability to run on Mac OS X v10.9 (Mavericks)
  • After Effects CC (12.0) and After Effects CS6 (11.0.0, 11.0.1, and 11.0.2) used the OptiX 2.0 library from Nvidia for the ray-traced 3D renderer. After Effects CS6 (11.0.3) uses the new OptiX 3.0 library—as does After Effects CC (12.1), which is due for release soon.
  • The new OptiX 3.0 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
  • Bugs fixed:
  • crash on Mac OS X v10.9 (Mavericks)
  • tearing of images occurred during previews (e.g., RAM preview) on Mac OS
  • layer marker cue point data not exporting to FLV format
  • OpenGL GPU features (e.g., Fast Draft preview mode) not functioning on systems with some Intel GPUs, including Intel HD Graphics P4000 on Windows 8 and Intel HD Graphics 5000 on Mac OS
  • crash opening After Effects using Edit Original in another application (e.g., Premiere Pro)
  • MXF OP1a exporter constraints flagging several codecs with the wrong pixel aspect ratio (PAR) and therefore exporting incorrectly with black borders (letterboxing or pillarboxing)
  • CC Power Pin effect on 3D layer making layer invisible
  • crash using CC Sphere effect
  • CC Simple Wire Removal turning frame black
  • CC Force Motion Blur and CC Wide Time: very long delays, making application appear to hang
  • CC Smear effect artifacts
  • CC Particle World not causing the cache to be invalidated when some statics controls were modified
  • other crashes, including the most common crashes for After Effects CS6

New in version CC 12.0 (June 18th, 2013)

  • Live 3D Pipeline with Cinema4D
  • Refine Edge tool
  • Warp Stabilizer VFX
  • Track Optimization in the 3D Camera Tracker
  • Pixel Motion Blur

New in version CS6 11.0.1 (May 26th, 2012)

  • 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.

New in version CS6 11.0.0.378 (May 7th, 2012)

  • Global Performance Cache:
  • Create more in less time, even in high-resolution projects. This revolution "under the hood" makes After Effects fast and responsive by taking full advantage of the 64-bit power in your computer’s hardware.
  • 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.
  • 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.
  • Warp Stabilizer:
  • Smooth handheld footage, or lock a shot automatically. Warp Stabilizer removes jitter and compensates for motion-related irregularities.
  • Source timecode support:
  • Take the guesswork out of source footage edits. See timecode data in QuickTime, AVI, Broadcast WAV (BWF), DPX, and some variations of MXF, and use the Timecode effect to display both source timecode and composition frames.
  • 3D lights and cameras:
  • Work in 3D space using tools including Camera Lens Blur; light falloff; 3D camera data input; multiple 3D cameras per composition; and the ability to keyframe x, y, and z values separately.
  • Raw digital cinema workflow:
  • Use high-definition source formats instantly. RED Rocket card and RMD metadata dramatically improve the performance and look of RED footage. Import footage in the open CinemaDNG format.
  • Color LUT support:
  • Get consistent color using industry-standard 3DL and CUBE lookup tables. Create your own color LUT files as exports from Color Finesse. The Apply Color LUT effect supports .Look files from Adobe SpeedGrade™ CS6 software.
  • Camera Lens Blur:
  • Create soft-focus effects with Camera Lens Blur. Set iris shape, blade curvature, and diffraction fringe characteristics for beautiful bokeh. Use these settings for depth-of-field control with the After Effects 3D camera.
  • Stereoscopic 3D workflow:
  • Animate and composite stereoscopic projects easily. Quickly set up stereo camera rigs. Save time with simplified rendering of multiple cameras, and work with an updated 3D Glasses effect.
  • Light falloff:
  • Control how light intensity falls off across 3D distances, just as it does in the real world.
  • Color-correction effects:
  • Edit color with a wide variety of effects, including Color Finesse 3 LE to create LUTs, Photoshop based color-correction and tinting tools, access to broadcast colors and gamma/pedestal/gain, and tools to isolate/change hues.
  • XDCAM HD export:
  • Render in the XDCAM HD format using multiple bitrates, pixel aspect ratios, and frame rates. Roundtrip footage shot on popular Sony cameras so that your output is consistent with files being edited directly from source.
  • Save As After Effects CS5.5:
  • Work easily on projects with colleagues still using After Effects CS5.5: Save projects in After Effects CS5.5 format to take advantage of new features and performance improvements without the need for colleagues to upgrade.

New in version CS5.5 10.5.1 (June 30th, 2011)

  • addresses issues with some serial numbers for upgrades from After Effects CS5 to After Effects CS5.5.

New in version CS5 10.0.2 (April 9th, 2011)

  • 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)

New in version CS4 9.0.3 (October 7th, 2010)

  • Adobe After Effects CS4, version 9.0.3, provides a number of critical stability fixes.

New in version CS5 10.0.0.458 (April 30th, 2010)

  • Native 64-bit OS support:
  • VideoRotoscoping in a fraction of the time with the new Roto Brush:
  • AVC Intrat Support:
  • Dozens of enhancements
  • Benefit from dozens of customer-requested refinements that yield big productivity gains, such as the ability to align layers to comps.
  • Color Finesse:
  • 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:
  • Turn flat objects into virtually any 3D shape using this popular 3D mesh warp plug-in.
  • Expand your video options
  • 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:
  • Animate quickly by setting starting keyframes automatically.
  • Close lookColor Look-Up Table (LUT) support:
  • Get consistent color in your workflow by using industry-standard 3DL and CUBE lookup tables.
  • Refine Matte effect:
  • Apply intelligent edge tracking, dechattering, and motion blurring capabilities to any layer with a problematic alpha channel, such as keyed footage.

New in version 9.0.2 (May 29th, 2009)

  • Provides a number of critical stability fixes. We strongly recommend you install this update.

New in version 9.0.1 (December 11th, 2008)

  • Provides updates to Mocha for After Effects, as well as general stability and performance fixes.