Jeff Almasol has graciously made a bundle of 50 After Effects scripts freely available on his website.
Please, read and heed Jeff’s request to consider donating to your favorite cause. He spends his spare time developing utilities like these to help others, and I think that it’s only fair that he ask the beneficiaries of this generosity to consider how they can be generous in return. He’d also like to hear about what scripts you find useful and what donations you’re making; use the hashtag #devforacause to let him know on Twitter. When I read Jeff’s request, I sent a donation to my favorite non-profit theater organization, since I know that I certainly have gotten a tremendous amount of value from Jeff’s work.
Other script authors are also participating in the #devforacause project, including Sébastien Perier, Christian Lett, and Lloyd Alvarez—each of whom are giving a portion of the proceeds from the sales of scripts on aescripts + aeplugins to their chosen charities. See Jeff’s website for an up-to-date list of who is participating in the #devforacause project.
Details of the scripts in Jeff’s script bundle are available on his website.
Here is a list of the 50 scripts included in the bundle:
rd: Average Trackers
rd: Batch Layer Converter
rd: Batch Vector to Shape
rd: Composition Renamer
rd: Composition Setter
rd: Comp Sheet
rd: Copy Markers
rd: Count Markers
rd: Divvy Up
rd: Edit Text
rd: Expression Tweaker
rd: Get Smart
rd: Gimme Prop Info
rd: Gimme Prop Path
rd: Gimme Props
rd: Guess What
rd: Key Markers
rd: Kinda Sorta
rd: Map Text File to Markers
rd: Marker Navigator
rd: Masks to Shapes
rd: New Parallax Null
rd: New Project From Comp
rd: Picker Switcher
rd: Que Es Span Null
rd: Remove Keys
rd: Remove Markers
rd: Render Layers
rd: Reverse Masks Order
rd: Script Launcher
rd: Shapes to Masks
rd: Simple Console
rd: Snap Decisions
rd: Solid Renamer
rd: Split Render
Today we released the After Effects CC 2014.0.2 (13.0.2) update. 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.
This update replaces, and corrects a bug in, the After Effects CC 2014.0.1 (13.0.1) update that we released and removed last week. If you installed After Effects CC 2014.0.1 (13.0.1), you should update to After Effects CC 2014.0.2 (13.0.2).
When it comes to computer graphics, there really isn’t a better tradeshow to know what’s hot and coming in the world of graphics technology. The name itself implies innovation (Special Interest Group on GRAPHics) and is the perfect ‘geek-out’ week: August 12-14. 2014.
Adobe’s Presence & Partners
A bunch of Adobe folk will be participating in partner booths at Siggraph so come by and see what’s new in After Effects and Premiere Pro. Also, you may run into me and some After Effects engineers checking out the new technology that the show is sure to bring to us in the future.
IMPORTANT: The After Effects CC 2014.0.1 (13.0.1) update has been replaced by the After Effects CC 2014.0.2 (13.0.2) update. This new update fixes the same issue with the trial period and corrects a bug with preferences in the After Effects CC 2014.0.1 (13.0.1) update. If you installed After Effects CC 2014.0.1 (13.0.1), you should update to After Effects CC 2014.0.2 (13.0.2). See this forum thread for more information.
We have released updates for the CC 2014 versions of After Effects, Prelude, and SpeedGrade: After Effects CC 2014.0.1 (13.0.1), Prelude CC 2014.0.1 (3.0.1), and SpeedGrade CC 2014.0.1 (8.0.1). These updates contain only one fix for a problem with the trial period in these applications.
When you launch the CC 2014.0.1 version of the applications as a trial, it will reset the trial period if you had used the trial of the previous (CC) version of the applications. This is the only change in these updates.
[UPDATE: Note that this bug is listed as fixed in the upcoming After Effects CC 2014.1 (13.1) update.]
The After Effects team are investigating a bug in After Effects CC 2104 (13.0) where a memory leak occurs while scrubbing audio (holding down the CTRL or Command key while scrubbing). This memory leak can eventually consume all free RAM, which can lead to the warning message “After Effects error: RAM Preview needs 2 or more frames to playback” when you try to initiate a RAM preview.
While we investigate this problem, you can avoid the bug and memory leak by not scrubbing with audio. When the problem occurs you can resolve it by closing and restarting After Effects.
Using the Edit > Purge commands do not affect this problem, as the leaked memory is not tracked by the image cache. Leaked memory is memory that an application consumes but does not return to the operating system as free memory when it is finished with it, preventing re-use of that memory. In Activity Monitor on Mac OS or Task Manager on Windows, you can track the amount of free memory on your system and memory in use by After Effects.
The “RAM Preview needs 2 or more frames” warning means that After Effects can not build a RAM Preview because it can’t build a second frame.This may because your composition or work area is only one frame long, or as in this case it can happen when there is not enough free RAM to build the second frame. High resolution compositions and 16bpc or 32bpc color have higher memory requirements and therefore may experience this warning more frequently.
To discuss this bug, please post in this thread in the After Effects User to User forum.
Adobe Media Encoder CC 2014.0.1 (8.0.1) update: bug fixes, H.264 at 4K, new YouTube presets, and more
Today, the Adobe Media Encoder CC 2014.0.1 (8.0.1) update was released. This version provides important fixes and enhancements and is recommended for all users.
This update addresses several bugs, adds support for 4K in H.264, new and simplified presets for YouTube, and other features. Read the details below in the “what’s new” and “fixed bugs” sections.
Ideally, you should install the updates automatically through the Creative Cloud desktop application or by choosing Help > Updates, but you can also directly download the update packages from the download page for Mac OS or Windows.
For information about updates for other Adobe professional video applications, see this page.
If you want to ask questions about these new and changed features, come on over to the Adobe Media Encoder user-to-user forum. If you’d like to submit feature requests (or bug reports), you can do so here.
- Improved DCP color calibration: Improved color calibration from QuVIS for BT709 workflows. This will result in improvements in source color matching, color saturation, and increased detail in darker areas.
- Moved user preferences and presets to new location: Preference and preset files are now located in your user profile’s Documents folder, instead of a folder hidden by the operating system. All preferences and presets from Adobe Media Encoder CC 2014 (8.0) will be automatically moved to the new location. Premiere Pro CC 2014 and Prelude CC 2014 will continue to see and make available your encoding presets.
- 4K support in H.264: A new 5.2 Level choice for H.264 provides full support for 4K frame sizes and frame rates.
- New YouTube encoding presets: The encoding presets for YouTube have been completely rebuilt and simplified. The changes include:
- A new preset for 4K resolution (3840 x 2160).
- All 360p presets have been removed.
- The Frame Rate and TV Standard settings on all YouTube presets now use Match Source, so only a single preset is required for each frame size.
- The Target and Max bitrate of the new presets are higher to better align to YouTube’s recommended settings for High Quality uploads.
- 1-pass instead of 2-pass encoding, which reduces encoding times without a significant loss in quality. Note that YouTube automatically re‐encodes all uploaded videos for optimized streaming, regardless of source codec. YouTube recommends H.264, which offers both high quality bitrates and reduced upload times.
- The new presets are:
- YouTube 2160p 4K (40 Mbps)
- YouTube 1080p HD (16 Mbps)
- YouTube 720p HD (16 Mbps)
- YouTube 480p SD Wide (8 Mbps)
- YouTube 480p SD (8 Mbps)
- 25fps XDCAMEX files were 1 frame short when smart rendering was in use. This is fixed.
- Complex video assets produced blurry image every 1 second when encoded into H.264. This is fixed.
- XAVC Intra 2K or 4K encoding without including audio failed. “Error Compiling movie. Unknown error.” This is fixed.
- Media Pending frames did not go away after an MPEG source had been indexed. This is fixed.
- Error “[..\..\src\Command_FormatChanged.cpp‐93]” appeared when a preset was deleted. This is fixed.
- Export failures, assert and error messages occurred when selecting “Match Sequence Settings” for a 120fps GoPro file. This is fixed.
- Transcoding DPX files to XAVC at UHD resolution failed. This is fixed.
- Exporting a merged clip from Premiere Pro would result in silent audio or a failed encode. This is fixed.
- Encoding a 4K clip with text or timecode overlay effects using OpenCL Mercury Playback Engine acceleration on Mac OS resulted in bad frames. This is fixed.
workaround for slow performance and poor resolution with RED R3D files in After Effects CC 2014 (13.0)
UPDATE: These problems are fixed in the After Effects CC 2014.1.1 (13.1.1) update. Details of the update: http://bit.ly/AE_1311_details
The After Effects team are investigating a bug in After Effects CC 2104 (13.0) where RED (.R3D) files are very slow and the image resolution is poor, about 1/8 sampling.
The following workaround has been reported to solve the problems in some cases:
1. Save the project.
2. Choose Edit > Purge > All Memory & Disk Cache.
Please post whether or not this workaround helped you on this thread in the After Effects User to User forums.
After Effects CC 2014 (13.0), Premiere Pro CC 2014 (8.0), and Adobe Media Encoder CC 2014 (8.0) do not include exporters for creating FLV and F4V files.
You can still import videos in FLV and F4V formats into After Effects and Adobe Media Encoder. You can still import videos in the F4V format into Premiere Pro.
If you want to create a video to play in Flash Player, then you should generally be using H.264 (.mp4), not the obsolete FLV or F4V formats. This has been the recommendation from the Adobe Flash team for quite some time already (as far back as Flash Player 9).
We removed the exporters for FLV and F4V files from the Adobe video applications (Adobe Media Encoder, After Effects, and Premiere Pro) because maintaining these obsolete exporters was a large amount of work, and we could better spend that effort on developing new features and fixing bugs in areas that are used by more people.
We are still committed to creating video files that play well in Flash Player, and that is why we are focusing our efforts on the H.264 (.mp4) exporter, which is what is currently recommended by the Adobe Flash team.
If you do still have a need to create FLV or F4V files for some legacy workflows, then we recommend that you keep the previous versions—Adobe Media Encoder CC (7.2) and After Effects CC (12.2.1)–installed alongside the current versions. Then, whenever you need to transcode or export a file in one of these legacy formats, you can just start the previous version of the application for this specific purpose.
After Effects CC 2014 (13.0) does not include exporters for creating H.264, MPEG-2, and WMV videos directly from the render queue. To create videos in these formats, you should use Adobe Media Encoder.
You can still import videos in these formats into After Effects.
How do you create H.264, MPEG-2, and WMV videos using Adobe Media Encoder with After Effects?
You have two primary options for using Adobe Media Encoder with After Effects to create videos in H.264, MPEG-2, and WMV formats:
- Render and export a losslessly encoded master file out of After Effects to a watch folder monitored by Adobe Media Encoder.
- Send the composition directly to Adobe Media Encoder from After Effects (Composition > Add To Adobe Media Encoder Queue).
Here’s some more detail about these options, including pros and cons of each:
The fastest way to create videos in these formats using Adobe Media Encoder with After Effects is to use the After Effects render queue to export a losslessly encoded master file (e.g., using the PNG video codec in a QuickTime .mov container file) to a watch folder that Adobe Media Encoder monitors. You can assign encoding presets to a watch folder in Adobe Media Encoder so that it automatically encodes using whichever settings you have specified. One advantage of using this method is that it uses After Effects performance features for rendering (such as GPU acceleration and multiprocessing where applicable) and Adobe Media Encoder performance features for encoding (such as parallel encoding). The disadvantage of using this method is that it occupies the main After Effects application for the entire rendering operation, during which time you can’t use After Effects for anything else.
Another method to create videos in these formats using Adobe Media Encoder with After Effects is to directly add the composition from After Effects to the Adobe Media Encoder queue. This method has the advantage of allowing you to continue working in After Effects while the rendering and encoding takes place, since the rendering is performed by a background instance of After Effects. The rendering phase may be slower in some cases, compared with using the After Effects render queue, because the headless version of After Effects rendering in the background does not have access to GPU acceleration and multiprocessing features.
Why were these exporters removed from the After Effects render queue?
The reason that we removed the H.264, MPEG-2, and WMV exporters from the After Effects render queue is simple: Maintaining these exporters in After Effects took quite a lot of work, and fixing several significant bugs in these exporters would take even more work. We could have done this work, but it would have subtracted a lot from the resources that we had available to develop other features and fix other bugs. Since Adobe Media Encoder already had superior H.264, MPEG-2, and WMV exporting capabilities, it was more prudent to rely on Adobe Media Encoder for export of these formats. This allowed the After Effects team to focus our efforts on animation, motion graphics, compositing, and digital imaging features—our core areas.
One thing that makes Adobe Media Encoder so much better than After Effects for creation of files in final delivery formats is its Preset Browser and easy-to-use system for creating, saving, sharing, and applying encoding presets. Another is the assortment of features in the Effects tab with which you can automatically add watermarks, timecode overlays, et cetera.
What if I still need to create these kinds of videos from the After Effects render queue?
If you still need to be able to create videos in these formats from the After Effects render queue for some reason, you can still do so by leaving After Effects CC (12.2.1) installed alongside After Effects CC 2014 (13.0) and using the previous version for these specific output tasks.
We intend to continue working closely with the Adobe Media Encoder team to make the workflow between After Effects and Adobe Media Encoder better. Please, don’t hesitate to send in feature requests and bug reports to tell us what we need to improve in this area.
For a complete list of what’s new and changed in After Effects CC 2014 (13.0), see this page.