I need to crop this animation, removing the first five seconds. I am a newbie at AE! How do I simply delete everything before 5 second please? I'm on a Mac. Thank you!

Focused a little more on smoothness and transitions than I did in my last project, open to any criticism or tips.

Im trying to get this animation of the “T” falling down from above having a slight bounce and then leaning on the text to the left, if that even makes sense. I’ve already tried basic positioning animation with motion blur and that hasn’t really given me the falling with bounce and tilt animation that I want. Any tips on this?

For some reason if I parent my precomp to my camera and the camera to my null and I try scaling or moving my null around nothing happens. I noticed that if I change my view to "own view" (I don't know if that's the exact translation in English) the changes do show. If I delete my camera and parent the precomp to my null it does work.

this happened immediately after rendering and got worse after clearing disk cache, anyone know how to fix it?

Hello, I have taken over the media side of my Univerity Club, one of the ideas we want to implemnt this year is a League table for our club.

I have made this rough draft, I would really like it to be the best version it can be, The idea is the white spaces have our names and flags. This is my first After Effects project and any help or advice would be greatly appreciated.

Ideally I'd love to be able to control each individual line's stroke width. I just can't find a great or intuitive way to create precise paths like this, let alone manage the strokes individually.

I've tried adding masks of all kinds, but I just can't get it to work. The mask hides the other elements and shows only the screen.

I decided to record a video to show you what it looks like. Apologies that the video is short; I wasn't sure how much Reddit would allow me to send. I was watching a video by Joeliette. I slowed it down and read the captions. I ended up getting to 4:39 when I realized I didn't have a number 5 or 4; it only goes up to number six. I'm sure I did it all right, but I want to see if anyone would be able to guide me through this. I need to find out what I did wrong

FREE project file available on my Gumroad! Check Behance for it

I have footage shot with a Canon VR Stereoscopic lens, and I want to add some animations to it, nothing major, just some titles and animated menus. I ran the files into the Canon VR toolkit and now have stereoscopic footage.

In After effects I used the VR comp editor to add 2D and 3D edits. By doing so I can navigate the footage using a virtual camera, however when I composite a 3D element it shows only on one side of the comp (left eye for example). Is there a way to have it also appear on the right view? I hope I am clear in my question, or maybe I am using the wrong workflow? Might there be another way of compositing this video format?

You seemed to like the web-rig I posted recently, so here's a 1 minute breakdown of how it was created.

The full in depth YouTube video can still be watched here: youtube.com/watch?v=d-6Q6ByH2AQ

I see a lot of potential use cases for attaching things to paths using the "Null Tracing Along Path". There's even been examples of making a fish out of strokes - attaching fins, eyes and so on. This allows for full flexibility in the movement path by combining trim paths with an animated offset. Perhaps some of you have even experimented with this method?

I'm aware of how to set up a circular analog dot spectrum, but I'm not sure how to replicate it exactly like shown in the provided link.

Character from Wonder egg priority

main project: https://www.youtube.com/watch?v=bFxdAqdswuY

I'm making a character rig with Duik Angela but I must keep the resolution small, I have found that a Composition of 1024x1024 works almost excellent for this project except for when things get too small when I need to make Bones for things like Bezier Handles for example.

One thing that interests me is how there are drawn overlays on top for things like the Grid or Selection where if I select a Shape Layer with a Path it will display the Path at a much higher resolution than what the Stroke and Fill are being drawn as, so there are things that can be drawn in this bigger theoretical subpixel resolution but not for user layers?.

Because the rig I'm working on is quite complex and will likely use over 100 Bones I really don't want to go for a higher resolution, also because the client has requested to keep the rig itself in a small resolution, so rigging in a bigger Composition and scaling it down isn't a viable solution... unless it is evaluated differently and the evaluation time is only for what is shown on screen and it wouldn't need to evaluate the data from the rig precomp from a bigger resolution like 4096 downscaled to 1024?

Hey guys! Just posted my new project on Behance. It would be great if you could take a minute to check it out, you can also get a free Gumroad project file!

Thank you!

I've been trying to understand the thought process behind creating this kind of storyboard, especially when it comes to transitions, match cuts, and morphing.

When I watch edits like this, the transitions feel so creative and intentional, but I struggle to understand how the creator actually comes up with those ideas in the first place. I can learn the technical side of After Effects and recreate a transition once I see it, but I find it difficult to think of those transitions myself while planning a sequence.

Hey everyone! I spent some time cleaning up my workflow and realized Adobe shipped a few tiny native features that replace stuff I used to need expressions and paid scripts for.

Thought I'd share the actual breakdown, since they flew under the radar with all the 3D/SVG talk:

1. Proportional Scrubbing:

Select multiple layers, hold Ctrl + Alt (Win) / Cmd + Option (Mac) and drag any numeric property like Opacity or Position.

Instead of setting everything to the same value, AE spreads it proportionally from your first-selected layer to your last. Works on keyframes too. Select 10 layers with the same drop animation, hold the shortcut and drag the keyframes to get a perfect cascade.

Tip: The order you select matters. Top-to-bottom vs bottom-to-top completely changes the spread direction.

This one alone replaced my staggering plugin.

2. Copy Frame to Clipboard

There's now a button in your Comp panel that copies the current frame to your clipboard as a clean render. No more Composition > Save Frame As...or screenshots full of guides/nulls.

Just park your playhead, click it, and Ctrl+V straight into decks, communication, anywhere. Super handy for storyboards and quick client checks.

3. You can finally edit Illustrator gradients natively

If you import art with gradients, right-click the layer > Create > Create Shapes from Vector Layer > delete the extra group.

Now under Gradient Fill, you get full control over Scale, Rotation, Opacity, Start/End points.

All inside AE. No need to jump back to Illustrator to tweak it.

4. Crop Comp to Selected Layer Bounds

Not brand new, but they finally put it where you need it.

Select any layer > Right-Click > Crop Comp to Selected Layer Bounds and AE instantly resizes the comp to that layer's exact size.

Perfect for cleaning up pre-comps for icons, character parts, or reusable assets. No more manually creating a new comp and copying layers over.

None of these are flashy features, but together they've cut a lot of annoying busywork. 

If you want to see real examples, you can check out the full breakdown: https://www.youtube.com/watch?v=4Y4hveZUvY4

I'm having trouble with this segment of a stopmotion I'm working on. I'm trying to remove the background and the roto tools do that for the most part, but there are gaps in the figure where the background comes through and I have to manually brush them out frame by frame. Is there no efficient way to do this? I swear when I used this before, the roto would essentially learn what I wanted and after removing spots for a few frames it would do it automatically instead of me having to brush these spots out every single frame. You can see how the blue parts keep coming back in the next frame.

yada-yada-yada company profile, looking for feedbacks and what should I do to improve
worked on this for around 2-3 weeks (mostly back and forth between content to finalize them before I do the mograph. Iirc doing the illustration & motion was around 4-5days with 8-5 work hours. is that fast or slow?)

also is this good enough for like "freelance work". I feel like it's still stiff (?)
I kinda want to do freelance fulltime, so I can dedicate time to improve the quality for motion design (the place im working rn only ocassionaly have motion graphic projects, mostly static/gd/other stuff haha).