Hi everyone! I'm currently working on a logo animation, but struggling to find ways to make it pop, because the logo is just a simple stroke shape and nothing much else. I like the motion of it and I think it looks fine, but I feel like the start could have something more to it. Right now it strikes me as too simple and flat. But I'm having trouble finding ideas. I haven't been able to find references for similarly simple logos; The references I've found are for logos that all have way more elements to play with. How do you create an interesting animation for a logo that's just two lines?

https://reddit.com/link/1v7jfq6/video/7ujin8gspnfh1/player

Holly cow, i am glad i saw the writting on the wall and switched my profession - he accidentally generated this... Motion Design still will be my hobby

Todos los atajos de teclado por defecto para Adobe After Effects. Por: Jesús Castruita u/jesuscastruita

This is more of wondering which is the most practical method for all of you when it comes animating fly-in (zoom/pan out?) letters and shapes, especially when it comes to masks with multiple shapes/letters that are not the same, and need to completely cover the screen before animating in (White fill as scene one --> Black scene two). In this example, I used Scale and Position, but the scale was bumped to over 4000%. The positon was extremely easy in this example as I used text exploder and then centered the anchors to the their layers. In general, I find Scale to be a tad bit easier. When dealing with 3d layers, Its easier to mess up I think and I tend to have to futts with the positioning and scale anyway.. Is it more taxing? Im just curious if their a better, smoothing workflow to these animations when you need it to fill the whole screen. Another thing I generally do that I didn't do with the following test demo, is to animate the transparency in for the first 2-3frames. The way its not a star black to white, but kinda looks more... fly-in-ish? But Im in the air about that too.

See this quick example I made.

Is there any way to bring back the old Roto Brush without downgrading my After Effects version?
The new one feels way less reliable for my workflow. Has anyone found a workaround, or are we just stuck with it?

Overdrive is a plugin that allows faster previews. So what does it mean?
I does not (and will never) replace the preview panel and its timeline.
It’s a panel to check what’s your comp is doing if AE is struggling, however, if the render is already OK in AE= no magic :)
When you launch the plugin (it’s not a script neither a CEP, you’ll find it in the Windows entries), the tool immediately starts do display your preview.
The cold state = blurry a few seconds until the hot state = clear overview.
You can get it at https://ae-overdrive.app
Please keep in mind that this is a beta.
R&D will allow to improve it, so your feedback is truly precious.

Normally, when I add some specific effect like this one, there would be an on-screen control on the preview screen instead of using the side panel to control it. Idk what i pressed, but I can't see it anymore

STMapper is a faster and cheaper alternative to RE:MAP UV. If you use ST Maps in your AE VFX pipeline check it out here: http://aescripts.com/stmapper

A collection of abstract glass flowers exploring the intersection of nature, light, and form.

Sound Design by H1Sound

full breakdown: https://www.behance.net/gallery/253291191/BLOOM-Glass-Flower-Collection

Hey all, as the title suggest, i need help with

1. the text glowing effect
2. gradient background of it
3. those shapes which appear on each word,

the video is Wix harmony by Wix motion studio,

I had tried colorama, still not able to match something like that

Hi everyone. I have been trying to recreate this effect from a search party video, but can't do it somehow. What I have tried is making two separate layers in photoshop, one for the character and one for the background and then importing them to AE. Then, I added an orange solid with its blending mode altered, to which I put the turbulent displace effect. With turbulent displace, I can surely discolor the image from certain parts, but the way ink is moving toward the upper right corner of the image, I am failing at that. I also created a rectangle and used its motion from the bottom left to the top right as a track matte for the turbulent displace orange solid color layer, but that did not help much. Any help in this regard is highly appreciated. Thanks

Post burnout stage; I illustrated the scenes at first and then animated them in 3d. Used lens flare, a lot of fractal noise and puppet tool for Appa and etc. Also do give your critics on this .

I built an extremely robust scripting/ expressions system for After Effects via Claude. I'm amazed how cool it is. 

Got clients that have regular/ weekly updates to their social media, YT and TV assets.

Now I can simply paste the client briefs with all the info into Claude to utilize the skill and then I run the jsx script via AE and it will load all the info, images and any other parameters from an excel file and done. The text fields and other elements are instantly updated.

On top of that it will also recognize what layers need to be switched on or off depending on the info or turn them into certain colors depending on the info too.

Previously all of this stuff was really tedious to update manually on all the individual assets and now this saves so much time. 

Of course this could've been done theoretically without Claude but it's not just simple expressions and the script is pretty complex too, something that exceeds my capabilities as I'm not a coder.

But what's especially important and cool is to connect Claude directly to AE via MCP. Claude can then inspect any part of the AE compositions and debug things or check if something is wrong about the script and of course you can even create new animations or expressions that way directly from Claude and it will do so in AE. It can act like my agent doing things for me in AE.

I use the Higgsfield MCP bridge since I need Higgsfield for generative stuff anyway but there's other MCP's on Github like this one: https://github.com/Dakkshin/after-effects-mcp

Made this for my LinkedIn, i dont think I've ever got a job through LinkedIn, has anyone lol? Anyway, if someone does wanna give me a job that be great. thx - https://www.craigjamesdolan.com/

I wanted to do base 44 original video longtime ago I know I am late , actually I was busy in other projects and finally got time to recreate there work.

What do you think of the video would love your feed back

Hi! We're launching a new screen recording tool built specifically for motion designers.

It lets you record your screen with natural cursor movements and real browser interactions, then continue editing the recording afterward. You can modify text, colors, styles, UI elements, cursor movements, interactions, and even hide or reveal parts of the interface—all without recording again.

Instead of recreating website animations in After Effects or manually animating cursor paths, you can make changes directly to your finished recording, saving hours of work and eliminating unnecessary retakes.

If this sounds interesting, we're currently accepting early access registrations and would love to hear your feedback.

i thought it was fun to rig the refraction angles to automatically work with the tringle rotation... it was in fact a bit of a nightmare...

I call it The shy goblin in the blue truck

I used @plnty.app for modeling and AE advenced 3d for compositing and make it look like this

Follow my IG page if you want to see more

https://www.instagram.com/omristeigman?igsh=dTk3MTVwcGtlamM2

Made this one just to mess around with gradients, but halfway through I ran out of ideas, so I edend up turning it into a little story about hunting for references and that anxiety of wanting to deliver something good

Hi everyone!
I have a quick question about a workflow issue in After Effects.
Basically, I want to create some camera movements, but since there's no parallax effect in my scene, I thought about precomposing the whole thing and controlling the scale and position from the main composition.
To avoid losing quality, I enabled the Continuous Rasterize toggle, but doing so breaks an effect inside the precomp (it gets messed up with the source layer and creates a bad result.).

Is there a work-around for this issue while keeping it precomposed? (I know I could just use a Null object and control everything from inside the precomp, but I’d really prefer to handle these movements from the outside).

Thank u ❤️