AFTEREFFECTS

News, Information & Workflows from Users & the Adobe Ae Team

Region of Interest: Adobe weblog about After Effects and related stuff from the After Effects team

error (21::31) when you start After Effects on Mac OS 10.9 and later after editing the keyboard shortcut file

If you use TextEdit on Mac OS 10.9 or later to edit the After Effects keyboard shortcuts file, you may receive an error similar the following the next time you start After Effects:

After Effects error: preferences file "Adobe After Effects 13.1 Mac en_US Shortcuts.txt"
contains an unexpected value on line 142, " "Twirl" = ,Äú(macControl+`),Äú". (21::31)

To solve this issue, open the keyboard shortcuts file in TextEdit again, choose Edit > Substitutions and disable Smart Quotes. Then edit the same line you edited previously to replace any left or right double-quotation mark characters (“ or “) with the non-directional double-quotes character (“). Just press the quotation mark key on your keyboard, this should now create the non-directional double-quotes character.

On Mac OS 10.9 and later, Smart Quotes are enabled by default in TextEdit. This causes the double-quotes character (“) to be automatically replaced by the left or right double-quotation marks (“ or “). After Effects does not recognize the left or right marks as the correct delimiters for entries in the keyboard shortcuts file. In general, using Smart Quotes or other smart character replacement is not useful when editing application scripts like the keyboard shortcuts file.

You can disable Smart Quotes and other substitutions on a document-by-document basis by using the Edit > Substitutions menu, or you can disable this for all documents in the preferences for TextEdit.

Other typos or incorrect syntax in the keyboard shortcuts file will generate a similar error message. If Smart Quotes do not solve the issue, double-check your entry for correct spelling and formatting.

tip: writing to the disk cache during renders through the render queue

One thing that makes After Effects work much faster is the persistent disk cache, which makes it so that After Effects can retrieve rendered items from disk rather than re-rendering items each time they are needed. (For details about the RAM cache and persistent disk cache, see this video by me on Lynda.com.)

One thing that many people don’t realize, though, is that the disk cache is not written to by default for final renders through the render queue. This is because when we created the disk cache, disks were not typically fast enough for us to be confident that these disk writes during final renders wouldn’t degrade performance significantly during the first render. In other words, we didn’t want the default to make subsequent renders fast at the expense of making the first renders slow.

Now that people typically have much faster disks than only a few years ago, we are considering changing that default behavior.

In the meantime, we recommend that you try enabling the disk cache in the render queue by changing the Disk Cache setting in the Render Settings dialog box to Current Settings, rather than Read Only. You may want to even go so far as to edit your render settings templates to make this change, as I have done with mine. (I then used the Sync Settings feature to send my render settings templates to the Creative Cloud servers so that I could pull them down on my other computers.) With the Disk Cache value in the render settings set to Current Settings, the disk cache will be written to during renders through the render queue as long as you have Enable Disk Cache checked in the Media & Disk Cache preferences.

See this page for much more information about making After Effects work faster.

GoPro CineForm codec settings in After Effects, Premiere Pro, and Adobe Media Encoder CC 2014.1

The CC 2014.1 releases of 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, meaning that you do not need to install additional codecs to use and create such files.

When encoding GoPro CineForm movies, two different pixel formats and five different compression methods are available. To change how the GoPro CineForm movie is encoded you need to set the color depth or the quality, respectively. This is a guide for how these settings map to the encoded results.

GoPro CineForm compression quality settings

The GoPro CineForm codec offers five levels of compression quality:

1. Low
2. Medium
3. High
4. Film Scan
5. Film Scan 2

In After Effects, Premiere Pro, and Adobe Media Encoder the compression quality is controlled by the Quality slider in the Export Settings dialog. The range of this slider is 1-5, and the values map to the compression quality settings above. The default value is 4.

For more information about the differences between these compression quality options, read GoPro’s Understanding CineForm Quality Settings article.

GoPro CineForm pixel format settings

The GoPro CineForm codec can encode pixels in YUV 4:2:2 at 10 bits per channel, or RGBA 4:4:4:4 at 12 bits per channel.

The encoded pixel format is based on the color depth and alpha channel settings you choose in the Output Module Settings dialog in After Effects or the Export Settings dialog in Premiere Pro or Adobe Media Encoder.

In After Effects:

  • Setting Channels to RGB or Alpha will encode to 10-bpc YUV. Depth can be only set to Millions Of Colors.
  • Settings Channels to RGB+Alpha will encode to 12-bpc RGBA, regardless of the Depth setting.

Note that After Effects renders the composition at the color depth specified in the Project and Render Settings, and the GoPro CineForm encoder will re-sample the frames to 10-bit YUV or 12-bpc RGBA as appropriate.

In Premiere Pro and Adobe Media Encoder:

  • Setting Depth to 24-bit (8-bpc) will encode to 10-bpc YUV.
  • Setting Depth to 32-bit (8-bpc with alpha) or 64-bit (16-bpc with alpha) will encode to 12-bpc RGBA.

Note that the frames may be rendered at a higher or lower quality by Premiere Pro or Adobe Media Encoder, depending on the sources in use and whether the Maximum Bit Depth option is enabled. The GoPro CineForm encoder will re-sample the frames to 10-bpc YUV or 12-bpc RGBA as appropriate.

regarding previous guidance and presets

In previous guides, the pixel formats for GoPro CineForm were described as being 8-bpc YUV, 8-bpc RGBA, or 16-bpc RGBA. There are three encoding presets in Premiere Pro and Adobe Media Encoder that reflect this.

This information was incorrect. The presets will be updated in a future release of Premiere Pro and Adobe Media Encoder. Until then, use the preset labeled “YUV 8bpc” to encode as 10-bpc YUV, and either the “RGB 8bpc” or “RGB 16bpc” presets to encode as 12-bpc RGBA.

For more information about working with the GoPro CineForm codec in After Effects, Premiere Pro, and Adobe Media Encoder, read GoPro CineForm Codec Support in Premiere Pro Help and Rich Young’s CineForm in Creative Cloud on Pro Video Coalition.

After Effects good to go with Mac OSX v10.10 (Yosemite)

We have tested the following versions of After Effects on Mac OSX v10.10 (Yosemite) and found that they function normally on this operating system, with only a few known issues as noted below:

  • After Effects CC 2014 (13.0, 13.1, 13.1.1)
  • After Effects CC (12.2.1)
  • After Effects CS6 (11.0.4)

As long as you’re updating your operating system, be sure to also get the most recent updates for your Adobe applications. Details about the most recent updates for the Adobe professional video and audio applications are here.

If you encounter a problem with After Effects on Mac OSX v10.10, please let us know on the After Effects forum and with a bug report.

known issues:

  • We are aware of one issue regarding RAM preview in After Effects on Mac OSX v10.10: When a RAM preview begins to play, the first several frames of the video will not play the first time through; subsequent loops through the same RAM preview duration will play all frames. This bug with Mac OSX v10.10 (Yosemite) affects all versions of After Effects.
  • We are aware of one issue regarding RED (.r3d) files in After Effects CS6 on Mac OSX v10.10: RED files may not import, and if they do import they will stop displaying frames after a short time. This problem only appears in After Effects CS6; it does not happen in After Effects CC (12.x) or After Effects CC 2014 (13.x).
  • We are aware of one issue regarding Adobe Media Encoder (AME) on Mac OSX v10.10: Adobe Media Encoder can take an unusually long time (a couple of minutes) to start the first time on this version of Mac OS. After the first start of AME, subsequent starts of AME should happen in the normal amount of time.

See this page for information about other Adobe applications and Mac OSX v10.10 (Yosemite).

After Effects CC 2014.1.1 (13.1.1) bug-fix update

The After Effects CC 2014.1 (13.1.1) bug-fix update is now available.

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.

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 added, changed, and fixed in After Effects CC 2014.1 (13.1), 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 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 the After Effects CC 2014.1.1 (13.1.1) update


  • 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.

We’ve created an Animal

Project Animal was shown in our sneak peek at MAX. If you missed it or want to see it again, check it out here.

For those who don’t know what I’m talking about, the Advanced Product Development team who work closely with the After Effects team has been working on a character animation product code-named Project Animal. While your character is the puppet, you are the one holding the strings. By accessing your computer’s webcam, Project Animal will track the movement of your head, mouth, and eyes—including your blinking, glancing, and eye-brow raising—and move your puppet accordingly. When you talk, your character talks. When you feign surprise, so does your character. When you’re grumpy, your character is too.

Project Animal is for two different types of After Effects artists: those who want to rig complex characters without creating a confusing tangle of expressions, and those who just want to create simple characters easily. Either way, once the character is set up, bringing it to life is just a matter of acting out your performance in front of your webcam.

The workflow starts with importing layered Illustrator or Photoshop files. If the layers are named to indicate which body part they correspond to, then there’s no further rigging required – you can immediately control your puppet with your face.

I know you’re excited. We are too. However before we can bring Project Animal to market, we need a few people that can really help us work out a few wrinkles. While we’d love to give everyone a chance to use Project Animal, we on the team can only handle so many people putting it through its paces. If you or your company can possibly use Project Animal immediately in your workflow and can commit to giving us feedback on a regular basis, we would love for you to submit your application to test Project Animal.

In the meantime, thanks for wanting to know more about Project Animal. We look forward to shipping it!

Michelle
Sr. Marketing Manager, After Effects

what’s new in mocha AE CC 2014

For details of the After Effects CC 2014.1 (13.1) update, see this page.

In the After Effects CC 2014.1 (13.1) update, mocha AE has been updated to mocha AE CC 2014 (version 4.0.1). This is a major version update that includes compatibility with mocha Pro 4 project files. For details about all that is new in mocha 4.0, see the Imagineer website.

Here’s a brief summary of what’s new in mocha AE CC 2014:

  • new project-based structure: Project settings in mocha AE can now be modified independently from the clip used to create the project. Choose File > Project Settings to modify the project settings. You can also now open a project file to view a layer’s content without relinking clips.
  • anchor point removed from Adobe After Effects Transform Data: To reduce confusion about how to use the tracking results, mocha AE no longer exports anchor point data. If your intent is to stabilize instead of matching motion, enable the Invert option in the Export Tracking Data dialog box.
  • keyboard shortcut customization: Keyboard shortcuts can now be customized for almost every tool, action and menu item in mocha AE.
  • streamlined, high-DPI interface: The mocha AE interface has been updated to streamline the workflow, reduce interface clutter, and take advantage of Apple Retina displays on Mac OS X.
  • RED Dragon import: RED Dragon 6K footage can now be used in mocha AE.
  • Linear Controls behavior enhancements: When Linear Controls is enabled in Preferences > System, dragging anywhere inside a parameter’s value field will change the value. Previously, this only worked when dragging over the number in the field. While dragging, you can now hold the Shift key to increase mouse sensitivity or hold the Command (Mac OS) or Control (Windows) key to decrease the mouse sensitivity.
  • edge width subtraction: The Edge Properties panel now has buttons to both Subtract (-) or Add (+) edge width.

After Effects CC 2014.1 (13.1) update

My colleagues, Todd Kopriva and Tim Kurkoski, have put together a detailed post on what’s new and changed in this version of After Effects.

Wow, what a year! The Adobe pro-video team has been working on making the Creative Cloud video applications better at managing media and projects as well as offers new features such as Consolidate and Transcode and Search Bins in Adobe Premiere Pro and curve adjustment improvements in SpeedGrade. All the apps, including After Effects, are sporting a refined user interface with HiDPI support.

In After Effects, this refined user interface has new icons and some customization tweaks. The goal of this update is to reduce the visual clutter that often comes with a 20+ year old product. Also, this new UI not only supports HiDPI monitors on the Mac but also on Windows. The cool thing is the new UI approach is just the first step with all our applications so you can be sure to expect more on this topic in the future.

Last year, we announced one of the biggest industry turns by partnering with Maxon and developing a Live 3D Pipeline with CINEMA 4D. This was a game-changer for so many in the industry. And, rest assured, we did not step back on development on how After Effects talks to C4D. In the Fall release, we’ve added Cineware 2.0 which offers enhanced layer support and R16 compatibility enabling users to work with 3D elements faster.

While many of you may not have experienced the power of Adobe Anywhere, we have a lot of customers in the broadcast space that have been asking for better collaboration between After Effects’ users. We are pleased to offer AE artists using Adobe Anywhere the ability to streamline the creation process without worrying about which .AEP file is being sent. With this new integration, Adobe Anywhere and your MAM will track which files you’re using and store them for you.

The After Effects CC 2014 update (version 13.1) is available to all Adobe Creative Cloud members. Just go to the Creative Cloud download center or open the Creative Cloud desktop application to download the new updates for After Effects and many other applications.

S.

After Effects CC 2014.1 (13.1): what’s new and changed in this update

[UPDATE: Be sure to install the After Effects CC 2014.1.1 (13.1.1) bug-fix update.]

After Effects CC 2014.1 (13.1) is available.

If you have a Creative Cloud membership, you always have access to the latest version of After Effects. You can install this update by choosing Help > Updates within any Adobe application or by opening the Creative Cloud desktop application. Go to the Creative Cloud site to download applications or to sign up for Creative Cloud.

For more information about Creative Cloud, see this overview video and the Creative Cloud FAQ list.

For information about updates for all of our professional video and audio applications, see this page.

For details of what was new in After Effects CC 2014 (13.0), 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. That’s the best place for questions (and, if you follow that link, you’ll find more information about how to communicate with us). Questions left in comments on a blog post are much harder to work with; the blog comment system just isn’t set up for conversations. If you’d like to submit feature requests (or bug reports), you can do so here.


top new features for After Effects CC 2014.1 (13.1)


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  • high-DPI content and UI (Mac OS, Windows)
  • refreshed user interface design
  • Copy With Relative Property Links command
  • color management for Dynamic Link
  • Adobe Anywhere for Video improvements
  • Maxon Cinema 4D Lite R16 and Cineware 2.0
  • Collect Files for Cinema 4D assets
  • native GoPro CineForm codecs
  • scripting improvements for text layers
  • improved Adobe Media Encoder watch folders
  • mocha AE CC 2014, based on mocha 4.0
  • many bug fixes

details of all new and changed features in After Effects CC 2014.1 (13.1)


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.

high-resolution (high DPI) content viewers and user interface elements on Mac OS and Windows

After Effects CC 2014.1 (13.1) displays content and user interface items at the appropriate resolution on high-resolution displays (sometimes called “high-DPI” or “HiDPI”) on both Windows and Mac OS. This makes After Effects easier to use on high-pixel-density monitors, like Apple Retina displays and Microsoft Surface Pro devices.

In content viewers, After Effects will take advantage of the pixel density of the display 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 high-DPI display as on a non-high-DPI 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 high-DPI display to a non-high-DPI display, you’ll see the zoom value change, while the content occupies the same space on the screen.

User interface elements such as icons, text labels, pointers, buttons, etc. will now scale according the operating system display DPI setting. Mac OS computers with a Retina display will scale to 200%. Windows computers with a high-DPI display will scale to 150% or 200%.

refreshed user interface design

The user interface (UI) of After Effects, as well as Premiere Pro and other Adobe professional video and audio applications, has been updated with a new design. Pointers, icons, text, controllers, and button styles have all been refreshed.

The layout of the interface has not changed significantly, but some simplification has been made to panel functionality.

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 still 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 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 range of the Brightness slider in the Appearance preference category is more limited than in previous versions; there is no longer a “light” mode for the interface. The default brightness setting is darker than in previous versions.

Because some scripts that create ScriptUI panels have not been updated to accommodate the new user interface design, some of these scripts may appear wrong with the new UI skin. If this occurs with a script that you use, you can make an individual ScriptUI panel appear using the old UI skin by enabling the Use Legacy UI option in the panel menu for the ScriptUI panel.

Copy With Relative Property Links command

A new command in the Edit menu, Copy With Relative Property Links, works like the existing Copy With Property Links command, except that it creates expressions that do not reference the source composition by name. This maintains a relative link between the layer with the expression and the composition containing that layer. This can be useful 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. The expressions created using the Copy With Relative Property Links command are identical to those created using the expression pickwhip.

For copying a layer’s Position property, the result would be this:
thisComp.layer("control_layer").transform.position

The existing Copy With Property Links command will specifically reference the layer’s source composition in the expression:
comp("source_comp").layer("control_layer").transform.position

color management for Dynamic Link

When color management is enabled for an After Effects project, compositions viewed or rendered over Dynamic Link will be transformed using the HDTV (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 the HDTV (Rec. 709) color space. Prior to After Effects CC 2014.1 (13.1), 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 HDTV (Rec. 709). This mismatch resulted in a noticeable color or gamma shift when the project’s working color space was significantly different from HDTV (Rec. 709) or when Linearize Working Space was enabled.

In After Effects CC 2014.1 (13.1), 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.

Maxon Cineware 2.0 plug-in and CINEMA 4D Lite R16

After Effects CC 2014.1 (13.1) includes a version 2.0 of the Cineware plug-in, which serves as the primary interface for integration with Cinema 4D.

After Effects CC 2014.1 (13.1) also includes version R16 of Cinema 4D Lite, which provides several new features, such as the new Reflectance channel. (For details about each edition of Cinema 4D, see the Maxon website.)

John Dickinson summarizes the changes in Cineware 2.0 in a video on the Motionworks website.

  • Automatic Cineware effect settings synchronization: When adding multiple instances of a CINEMA 4D scene layer in a composition, including adding Multi-Pass layers, you will see an on/off checkbox at the top of the Effect Controls panel labeled Synchronize Layer. It is on by default, meaning that the Cineware effect settings on all instances of the layer will automatically synchronize. If this 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 that composition. The Apply To All button from previous versions of Cineware has been removed.
  • Default Layer: The CINEMA 4D layers dialog box now shows a Default Layer option if the renderer supports it. Objects that have not been assigned to an explicit layer in the .c4d project file will be visible with Default Layer enabled.
  • Content Browser: When using a full retail version of CINEMA 4D R16 as the renderer, textures applied via installed content libs (.lib4d files) will render in After Effects using Cineware.
  • region of interest: If you use the region of interest feature in After Effects to constrain the preview to a subset of the frame, the Cineware effect will respect this setting and limit rendering to the area within the region of interest. This only applies when the Renderer control is set to Standard (Final).
  • Purge Memory: This option only works when the CINEMA 4D render path in Options is set to the default render server Cineware R16, or a full retail version of CINEMA 4D R16 or later. For complex scenes, the render server may use memory for internal caches. To free up that memory click “Purge Memory” in order to extend the length of previews in After Effects.

Collect Files for Cinema 4D assets

The Collect Files command in After Effects now collects assets associated with .c4d footage items, such as textures.

automatic encoding of compositions in After Effects project files in Adobe Media Encoder watch folders

If you place an After Effects project (.aep) file in a watch folder that is being monitored by Adobe Media Encoder, the compositions at the top level in the project (i.e., those not in folders in the Project panel) will automatically be added to the Adobe Media Encoder encoding queue.

For more information about what’s new and changed in Adobe Media Encoder CC 2014.1 (8.1), see this page.

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, meaning that you do not need to install additional codecs to use and create such files.

At the higher quality settings, this codec is an excellent choice for intermediate files—i.e., files that you create from one application in a post-production pipeline to pass to the next application in the pipeline. Movie files encoded with the GoPro Cineform codec at the higher quality settings include an alpha channel.

To use the GoPro CineForm codec for output, choose QuickTime as the format in the Output Module Settings dialog box, click the Format Options button, and choose GoPro CineForm as the video codec.

For details about quality and pixel format settings for the GoPro CineForm codec, see this page.

scripting improvements for text layers

You can now read additional information through scripting about the font and style used in a text layer, including the location of the font file on disk.

The new read-only attributes for the textDocument object are these:

  • fontLocation: returns string with path of font file, providing its location on disk (not guaranteed to be returned for all font types; return value may be empty string for some kinds of fonts)
  • fontStyle: returns string with style information — e.g., “bold”, “italic”
  • fontFamily: returns a string with the name of the font family

The value returned is for the first character in the text layer at the current time.

mocha AE CC 2014, based on mocha 4.0

mocha AE has been updated to mocha AE CC 2014 (version 4.0.1). This is a major version update that includes compatibility with mocha Pro 4 project files. For details, see this page

miscellaneous new and changed features

  • The Anchor Point icon on selected layers has been enhanced for better contrast and visibility, and it is now easier to select and use.
  • The application title bar now shows the full path to the project file.
  • The Welcome Screen dialog box will automatically close when you open a project by double-clicking it in Finder or Explorer.
  • While tracking an effect mask, the mask mode no longer temporarily changes to None. This preserves the appearance of the masked effect during tracking.
  • The motion tracker (point tracker) no longer offers a pre-processing Blur control. This option never worked as designed.
  • There is now a Render And Replace command in Premiere Pro for replacing a Dynamic Link After Effects composition with a rendered movie.
  • Use the new Browse Add-ons command in the File menu to go to the new Adobe Exchange, from which you can download and install animation presets, scripts, template projects, et cetera.
  • The new Adobe Color Themes panel replaces the panel previously named “Adobe Kuler”. Choose Window > Extensions > Adobe Color Themes to open this panel.

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:

  • memory leak when scrubbing to preview audio
  • slow rendering of After Effects compositions used in Premiere Pro through Dynamic Link when the main After Effects application is open
  • errors when using the Create Stereo 3D Rig
  • errors when using and creating custom (pseudo) effects
  • mismatch in interpretation of layer bounds for imported .psd files in projects from previous versions of After Effects
  • incorrect rendering of vector objects from Photoshop
  • pixelation and and other problems with RED (.r3d) files
  • incorrect VRAM amount reported for some AMD GPUs on Mac OS
  • crash when copying and pasting layer styles from one layer to another
  • problems with effect eyedropper control
  • incorrect date when using Current Date option in Numbers effect
  • many other causes of crashes and errors

what’s new and changed in Adobe Media Encoder CC 2014.1 (8.1)

If you have a Creative Cloud membership, you always have access to the latest version of Adobe Media Encoder. Go to the Creative Cloud site to download applications or to sign up for Creative Cloud.

For more information about Creative Cloud, see this overview video and the Creative Cloud FAQ list.


overview of what’s new in Adobe Media Encoder CC 2014.1 (8.1)


refined user interface with high-DPI functionality

Like most professional applications, Adobe Media Encoder provides a wealth of controls and options, so one of our priorities is to simplify and streamline the user interface, so that video professionals can focus on tasks with a minimum of distraction. With an updated color scheme, cleaner icons, and a subtly sleeker look, this release is an important first step in that direction. In addition, the new user interface scales to appropriate resolutions on high-DPI displays, including Retina displays on Mac computers and high-resolution displays on computers running Windows 8.1.

ame

destination publishing

Render and deliver your work in one fell swoop. Add destination options to encoding presets, including FTP sites and your Creative Cloud folder. Send to multiple locations and track rendering and upload from the same panel.

rendering and encoding of items from projects in watch folders

Automate rendering and encoding of sequences and compositions in project files by placing After Effects projects, Premiere Pro projects, and Final Cut Pro XML projects into your watch folder. And remember, you can create and customize as many watch folders as you need to automate common rendering and encoding tasks.

extended Match Source functionality
In response to requests from our users, Match Source functionality has been extended to include QuickTime.

rewrap functionality for MXF OP1a formats

MXF OP1a formats, including those using DNxHD codecs, now include encoding presets that allow you to quickly rewrap your source video in an MXF wrapper. If your source media is already in an MXF wrapper, you can use those presets to take the guesswork out of smart rendering.

multiplexing during encoding

For faster results, multiplexing (MUXing) video and audio components into a single MPEG-2 file will occur while encoding instead of as a separate process at the end.

extended DCP (Digital Cinema Package) functionality

Now, you can also output 25-fps content in Digital Cinema Package format for European standards.

extended Sony XAVC functionality

Options for XAVC export now include both VBR (variable bit rate) and CBG (constant bit rate GOP) for 2k and higher resolutions.

native decoding and encoding using GoPro CineForm codecs

Adobe Media Encoder CC 2014.1 (8.1) can encode and decode movies using the GoPro CineForm codecs on both Mac OS and Windows. Options include 8-bpc (bits per channel) and 16-bpc color precision and alpha channels.

16-channel AS-11 export
You can now export AS-11 content with 16 channels of audio.


notable bug fixes


  • Fixed: Dolby exports were not able to run in parallel.
  • Fixed: When projects were imported, there was no progress status during the conforming process.
  • Fixed: YouTube HD presets had a level that was too low for high framerate sources.
  • Fixed: The “Use Previews” option wasn’t available when creating presets in the Preset Browser.
  • Fixed: Timecode in timecode overlay would drift slightly when using OpenCL.
  • Fixed: Advanced XDCAM settings in the Export Settings dialog were missing.
  • Fixed: Smart rendering some sources would result in black or red frames.
  • Fixed: Captions options were unavailable even though a source file had valid captions.
  • Fixed: Issues where smart rendering spanned CanonXF media would fail.
  • Fixed: Captions options were unavailable even though a source file had valid captions
  • Fixed: Some effects were not being consistently applied to exports

 

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