A E for a Background an Art Background and Says E in the Middle

1. After Effects User Guide
   
2. Beta releases
   1. Beta Program Overview
   2. Later Furnishings Beta Domicile
   3. Features in Beta
      1. Properties console (Beta)
3. Getting started
   1. Go started with After Effects
   2. What'southward new in After Effects
   3. Release Notes | After Effects
   4. After Effects organisation requirements
   5. Keyboard shortcuts in After Effects
   6. Supported File formats | After Effects
   7. Hardware recommendations
   8. After Effects for Apple silicon
   9. Planning and setup
   10. Setup and installation
4. Workspaces
   1. Full general user interface items
   2. Get to know Later Effects interface
   3. Workflows
   4. Workspaces, panels, and viewers
5. Projects and compositions
   1. Projects
   2. Composition basics
   3. Precomposing, nesting, and pre-rendering
   4. View detailed performance data with the Composition Profiler
   5. Cinema 4D Composition Renderer
6. Importing footage
   1. Preparing and importing still images
   2. Importing from Later on Furnishings and Adobe Premiere Pro
   3. Importing and interpreting video and audio
   4. Preparing and importing 3D image files
   5. Importing and interpreting footage items
   6. Working with footage items
   7. Find edit points using Scene Edit Detection
   8. XMP metadata
7. Text and Graphics
   1. Text
      1. Formatting characters and the Graphic symbol panel
      2. Text effects
      3. Creating and editing text layers
      4. Formatting paragraphs and the Paragraph panel
      5. Extruding text and shape layers
      6. Animative text
      7. Examples and resource for text blitheness
      8. Live Text Templates
   2. Movement Graphics
      1. Piece of work with Motion Graphics templates in Later on Effects
      2. Utilize expressions to create drop-down lists in Motion Graphics templates
      3. Work with Essential Properties to create Motility Graphics templates
      4. Replace images and videos in Motion Graphics templates and Essential Properties
8. Drawing, Painting, and Paths
   1. Overview of shape layers, paths, and vector graphics
   2. Paint tools: Castor, Clone Postage, and Eraser
   3. How to taper shape strokes
   4. Shape attributes, paint operations, and path operations for shape layers
   5. Apply Start Paths shape issue to change shapes
   6. Creating shapes
   7. Create masks
   8. Remove objects from your videos with the Content-Enlightened Fill up console
   9. Roto Brush and Refine Matte
9. Layers, Markers, and Photographic camera
   1. Selecting and arranging layers
   2. Blending modes and layer styles
   3. 3D layers
   4. Layer properties
   5. Creating layers
   6. Managing layers
   7. Layer markers and composition markers
   8. Cameras, lights, and points of involvement
10. Animation, Keyframes, Motion Tracking, and Keying
    1. Animation
       1. Animation basics
       2. Animative with Boob tools
       3. Managing and animating shape paths and masks
       4. Animating Sketch and Capture shapes using After Effects
       5. Assorted blitheness tools
       6. Work with Data-driven animation
    2. Keyframe
       1. Keyframe interpolation
       2. Setting, selecting, and deleting keyframes
       3. Editing, moving, and copying keyframes
    3. Motion tracking
       1. Tracking and stabilizing motion
       2. Confront Tracking
       3. Mask Tracking
       4. Mask Reference
       5. Speed
       6. Fourth dimension-stretching and time-remapping
       7. Timecode and time display units
    4. Keying
       1. Keying
       2. Keying furnishings
11. Transparency and Compositing
    1. Compositing and transparency overview and resources
    2. Alpha channels, masks, and mattes
12. Adjusting color
    1. Color basics
    2. Utilise the Adobe Color Themes extension
    3. Colour direction
    4. Colour Correction furnishings
13. Effects and Animation Presets
    1. Effects and animation presets overview
    2. Effect listing
    3. Simulation furnishings
    4. Stylize furnishings
    5. Audio effects
    6. Distort furnishings
    7. Perspective furnishings
    8. Aqueduct effects
    9. Generate effects
    10. Transition furnishings
    11. The Rolling Shutter Repair effect
    12. Blur and Sharpen effects
    13. 3D Aqueduct effects
    14. Utility furnishings
    15. Matte effects
    16. Noise and Grain effects
        
    17. Detail-preserving Upscale effect
    18. Obsolete effects
14. Expressions and Automation
    1. Expression
       1. Expression nuts
       2. Understanding the expression language
       3. Using expression controls
       4. Syntax differences between the JavaScript and Legacy ExtendScript expression engines
       5. Editing expressions
       6. Expression errors
       7. Using the Expressions editor
       8. Use expressions to edit and admission text properties
       9. Expression language reference
       10. Expression examples
    2. Automation
       1. Automation
       2. Scripts
15. Immersive video, VR, and 3D
    1. Construct VR environments in After Effects
    2. Employ immersive video effects
    3. Compositing tools for VR/360 videos
    4. Tracking 3D camera movement
    5. Work in 3D Design Space
    6. 3D Transform Gizmos
    7. Practice more with 3D animation
    8. Preview changes to 3D designs existent time with the Real-Time Engine
    9. Add responsive pattern to your graphics
16. Views and Previews
    1. Previewing
    2. Video preview with Mercury Transmit
    3. Modifying and using views
17. Rendering and Exporting
    1. Nuts of rendering and exporting
    2. Consign an Subsequently Effects projection equally an Adobe Premiere Pro project
    3. Converting movies
    4. Multi-frame rendering
    5. Automatic rendering and network rendering
    6. Rendering and exporting still images and still-image sequences
    7. Using the GoPro CineForm codec in After Effects
18. Working with other applications
    1. Dynamic Link and After Furnishings
    2. Working with Afterwards Furnishings and other applications
    3. Sync Settings in After Effects
    4. Artistic Cloud Libraries in After Furnishings
    5. Plug-ins
    6. Movie theater 4D and Cineware
19. Collaboration: Frame.io, and Team Projects
    1. Collaboration in Premiere Pro and After Effects
    2. Frame.io
       1. Install and activate Frame.io
       2. Utilize Frame.io with Premiere Pro and Later Effects
       3. Oft asked questions
    3. Team Projects
       1. Get Started with Team Projects
       2. Create a Team Project
       3. Collaborate with Team Projects
20. Memory, storage, performance
    1. Retention and storage
    2. Improve performance
    3. Preferences
    4. GPU and GPU driver requirements for After Furnishings

Layer properties in the Timeline panel

Each layer has backdrop, many of which you tin modify and animate. The basic group of properties that every layer has is the Transform grouping, which includes Position and Opacity properties. When you add sure features to a layer—for example, past adding masks or effects, or by converting the layer to a 3D layer—the layer gains additional properties, collected in belongings groups.

All layer properties are temporal—they tin can change the layer over time. Some layer properties, such as Opacity, accept only a temporal component. Some layer properties, such as Position, are also spatial—they can move the layer or its pixels across limerick infinite.

You can expand the layer outline to brandish layer properties and modify property values.

About properties have a stopwatch . Whatsoever property with a stopwatch can exist animated—that is, changed over fourth dimension. (See Near animation, keyframes, and expressions.)

Expanded holding grouping in layer outline

Collapsed property group in layer outline

Properties in the Effects holding group (event properties) are also layer properties. Many effect properties tin can also exist modified in the Upshot Controls panel.

• To expand or collapse a property group, click the triangle to the left of the layer name or property group proper noun.
• To expand or plummet a property group and all of its children, Ctrl-click (Windows) or Command-click (Mac Os) the triangle.
• To expand or plummet all groups for selected layers, printing Ctrl+` (accent grave) (Windows) or Control+` (accent grave) (Mac Os).
• To reveal an effect property in the Timeline panel, double-click the property proper noun in the Event Controls console.
• To hide a belongings or belongings group, Alt+Shift-click (Windows) or Choice+Shift-click (Mac OS) the name in the Timeline panel.
• To show only the selected properties or belongings groups in the Timeline console, press SS.

The SS shortcut is especially useful for working with paint strokes. Select the pigment stroke in the Layer panel, and press SS to open the belongings group for that stroke in the Timeline panel.

• To show but a specific property or belongings group, press its shortcut key or keys. (See Showing properties and groups in the Timeline panel (keyboard shortcuts).)
• To add a holding or holding group to the backdrop shown in the Timeline panel, hold Shift while pressing the shortcut cardinal for the belongings or belongings group.
• To evidence only properties that take been modified from their default values, press UU, or cull Animation > Reveal Modified Properties.
• To show simply properties that have keyframes or expressions, press U, or cull Animation > Reveal Animative Properties.

The U and UU commands are particularly useful for learning how animation presets, template projects, or other blithe items work, considering they isolate the properties that were modified past the designer of those items.

You tin also filter layers in the Timeline console to show only layers with backdrop that match a search string. See Search and filter in the Timeline, Projection, and Effects & Presets panels.

Select a belongings or property group in the Timeline panel

• To select a belongings or property group—including all values, keyframes, and expressions—click the proper noun in the layer outline in the Timeline panel.

Re-create or indistinguishable a property or property grouping in the Timeline console

• To copy properties from one layer or property group to another, select the layer, property, or property group, printing Ctrl+C (Windows) or Control+C (Mac Bone), select the target layer, property, or property group, and press Ctrl+V (Windows) or Command+V (Mac Os).
• To duplicate a holding group, select the belongings group and press Ctrl+D (Windows) or Command+D (Mac Os).

  You can just indistinguishable some property groups, including shapes, masks, and furnishings. However, you can't indistinguishable top-level property groups such as Contents, Masks, Effects, and Transforms. If you attempt to duplicate a top-level property group, the entire layer is duplicated, instead.

Copy a value from a layer property that contains no keyframes

You can copy the current value of a layer property to another layer, even when the original layer contains no keyframes.

In the Timeline console, testify the layer holding containing the value you desire to copy.

Click the name of the layer belongings to select it.

Select the layer into which you want to paste the value.

If the target layer contains keyframes, motility the current-time indicator to the time where you want to paste the value. If the target layer does non incorporate keyframes, the new value applies to the entire elapsing of the layer.

Gear up a property value

If multiple layers are selected and you change a holding for one layer, and then the belongings is changed for all selected layers. Sliders, bending controls, and some other property controls are only available in the Effect Controls panel.

To alter the units for a holding, right-click (Windows) or Control-click (Mac OS) the underlined value, choose Edit Value, and cull from the Units menu. The available units are dissimilar for different belongings types. You tin't change the units for some properties.

• Place the pointer over the underlined value, and drag to the left or correct.
• Click the underlined value, enter a new value, and then press Enter (Windows) or Return (Mac OS).

You can enter uncomplicated arithmetics expressions for property values and other number entries. For example, y'all tin enter 2*3 instead of 6, 4/2 instead of 2, and 2e2 instead of 200. Such entries tin exist especially useful when incrementing a value past a specific corporeality from its original value.

• Correct-click (Windows) or Control-click (Mac OS) the underlined value and cull Edit Value.
• Drag the slider left or correct.
• Click a point inside the angle control or drag the bending control line.

After you lot click inside the angle control, you tin elevate exterior it for more precision.

• To increase or subtract the property value past 1 unit of measurement, click the underlined value and press the Up Arrow or Down Arrow key. To increase or decrease by ten units, hold Shift while pressing the Up Arrow or Down Arrow fundamental. To increase or decrease past 0.1 units, hold Ctrl (Windows) or Command (Mac OS) while pressing the Up Arrow or Down Arrow primal.
• To reset properties in a property grouping to their default values, click Reset adjacent to the property grouping name. To reset an private property, right-click (Windows) or Command-click (Mac OS) the belongings name (non the value) and cull Reset from the context card.

  If the property contains keyframes, a keyframe is added at the current time with the default value.

Alan Shisko provides a video tutorial on his Move Graphics 'n Such blog shows how to utilise characterization colors and multiple selections to rapidly change properties for multiple layers simultaneously.

Charles Bordenave (nab) provides a script on the After Effects Scripts website that sets the backdrop in the Transform group for selected layers to random values within constraints that you set.

The LockProperties script, bachelor from the Afterward Furnishings Scripts website, locks only specified properties so that you can prevent accidental changes.

Layer anchor points

Transformations, such as rotation and scale, occur effectually the ballast point (sometimes called transformation signal or transformation center) of the layer. By default, the anchor point for most layer types is at the center of the layer.

Though there are times when yous'll want to breathing the anchor bespeak, information technology'due south most mutual to set the anchor point for a layer before you begin animating. For example, if you're animating an image of a person made up of 1 layer for each trunk part, you'll probably desire to motion the anchor betoken of each mitt to the wrist area so that the hand rotates around that point for the whole animation.

The easiest way to pan and browse over a big image is to animate Anchor Indicate and Calibration backdrop.

Alan Shisko provides a detailed video tutorial on his website, demonstrating how to create a complex 3D environment from 3D layers, first with simple 2d avails. Manipulating layer anchor points is a crucial part of this tutorial.

Anchor indicate in eye of text layer (left) compared to anchor betoken moved to the end of the text layer (right)

When you use the Pan Backside (Anchor Point) tool to motility the anchor signal in the Limerick panel (left), Later Furnishings automatically compensates for the move and then that the layer maintains its position relative to the composition frame (right).

If you don't see the anchor point in the Layer panel, select Anchor Point Path from the View menu at the lower-right area of the Layer console.

Move a layer anchor betoken

• Drag the anchor signal using the Choice tool in the Layer console

Layers of some types, such as text layers and shape layers, tin't exist opened in the Layer panel.

• To move a layer anchor point i pixel, choose Anchor Point Path from the View menu at the lower-right area of the Layer console, and press an pointer cardinal. To move 10 pixels, hold Shift as you printing an arrow central. Pixel measurements are at the current magnification in the Layer panel.
• To motility a layer ballast point in the Composition panel without moving the layer, select the layer and utilise the Pan Behind (Anchor Point) tool to drag the anchor bespeak .

Moving an anchor betoken with the Pan Behind (Anchor Signal) tool changes Position and Ballast Signal values so that the layer remains where it was in the composition before you moved the anchor point. To change but the Ballast Point value, Alt-drag (Windows) or Option-drag (Mac OS) with the Pan Behind (Anchor Point) tool.

Charles Bordenave (nab) provides a script on the After Effects Scripts website that moves the anchor points of selected layers without moving the layers in the composition frame.

Reset a layer anchor signal

• To reset the anchor point to its default location in the layer, double-click the Pan Behind (Anchor Signal) tool button in the Tools panel.
• To reset the anchor point to its default location in the layer, Alt-double-click (Windows) or Option-double-click (Mac Os) the Pan Backside (Anchor Point) tool button. The layer moves to the center of the composition

Set up layer anchor point to heart of content

You tin can set the anchor point to be in the center of the layer content in any of the post-obit ways:

• Select Layer > Transform > Eye Anchor Betoken In Layer Content
• Employ the keyboard shortcut Ctrl+Alt+Home (Windows) or Control+Option+Home (Mac Os)
• Ctrl+double-click (Windows) or Command+double-click (Mac Bone) the Pan Behind (Ballast Betoken) tool

Here are a few uses of this command:

• setting the anchor point of a shape layer to the center of a single shape or to the centroid of a group of shapes in a shape layer
• setting the anchor bespeak for a text layer to the center of the text content
• setting the anchor indicate of a layer to the center of the visible expanse within a masked region
  

Scale or flip a layer

Equally with other transformations, scaling of a layer occurs around the anchor point of the layer. If you lot move the ballast point away from the middle of the layer, the layer may move when you lot flip it. Some layers—such every bit photographic camera, light, and audio-just layers—don't have a Scale property.

Y'all can scale a layer across the composition frame.

For information on scaling exponentially, equally with a zoom lens, run across Use Exponential Scale to modify the speed of scaling.

For information on scaling or resizing entire movies rather than a unmarried layer, run across Scaling a film up and Scaling a flick downward.

To flip a layer is to multiply the horizontal or vertical component of its Scale property value by -1. A layer flips around its anchor indicate.

• To flip selected layers, choose Layer > Transform > Flip Horizontal or Layer > Transform > Flip Vertical.
• To scale a layer proportionally in the Composition console, Shift-drag any layer handle.
• To calibration a layer freely in the Composition panel, elevate a corner layer handle.
• To scale one dimension only in the Composition panel, drag a side layer handle.
• To increase or subtract Scale for a selected layer by ane%, hold down Alt (Windows) or Option (Mac OS) as y'all press + or – on the numeric keypad.
• To increase or decrease Calibration for selected layers by 10%, agree down Alt+Shift (Windows) or Choice+Shift (Mac Bone) equally you press + or – on the numeric keypad.
• To scale an entire composition, choose File > Scripts > Scale Composition.jsx.
• To scale and center selected layers to fit in the composition frame, cull Layer > Transform > Fit To Comp.
• To scale and eye selected layers to fit the width or height of the composition frame, while preserving the attribute ratio of the layer, cull Layer > Transform > Fit To Comp Width, or Layer > Transform > Fit To Comp Height.
• To scale a layer proportionally in the Timeline console, select the layer, printing S to display the Calibration property, click the Constrain Proportions icon to the left of the Scale values, and enter a new value for the ten, y, or z scale.

To activate the Constrain Proportions icon and match the top to the width, Alt-click (Windows) or Option-click (Mac OS) it.

• To scale to a specific set of pixel dimensions, right-click (Windows) or Control-click (Mac Bone) the Scale value in the Timeline panel, choose Edit Value, and alter the units to pixels in the Scale dialog box. Select Include Pixel Attribute Ratio to see and arrange dimensions in terms of the composition's pixel aspect ratio.

Scaling down a raster (not-vector) layer sometimes causes a slight softening or blurring of the image. Scaling up a raster layer past a large cistron tin cause the image to appear blocky or pixelated.

Item-preserving Upscale issue

The Detail-preserving Upscale issue is capable of scaling upwards images by big amounts while preserving details in the image.

For more than data, see Detail-preserving Upscale effect.

Bilinear and bicubic sampling

Yous tin cull betwixt bicubic and bilinear sampling for selected layers, which determines how pixels are sampled for scaling and for all transformations applied using the Transform upshot.

For more data, come across Layer image quality and subpixel positioning.

Adobe Photoshop provides fine control over resampling methods used for scaling of images. For fine control of resampling, you can export frames to Photoshop to change the image size and then import the frames back into After Effects.

Though it'due south not very well suited for movies, the content-aware scaling feature in Photoshop is very useful for extending and scaling still images. This feature tin be useful when repurposing images for broad-screen formats that were created for standard-definition formats.

For a script that scales multiple compositions simultaneously, get to the AE Enhancers forum.

Lloyd Alvarez provides a script on the After Effects Scripts website that scales selected layers to fit the composition frame, and provides options for cropping or letterboxing.

Aharon Rabinowitz provides a video tutorial on the Artistic COW website that demonstrates the uses of changing and animating a 3D layer'southward Scale property, including changing only the z dimension of Scale.

Rotate a second layer

As with other transformations, rotation of a layer occurs around the anchor point of the layer.

To reveal the Rotation belongings value for selected layers in the Timeline panel, printing R.

The first office of the Rotation property value is the number of whole rotations; the second part is the fractional rotation in degrees.

For data on rotating 3D layers, see Rotate or orient a 3D layer.

• To rotate a layer by dragging in the Composition console, drag the layer using the Rotation tool . To constrain rotation to 45° increments, hold down Shift equally you drag.
• To rotate selected layers by ane caste, printing plus (+) or minus (-) on the numeric keypad.
• To rotate selected layers by 10 degrees, printing Shift+plus (+) or Shift+minus (-) on the numeric keypad.

Adjust audio volume levels

When y'all apply footage containing audio, the default audio level for playback is 0 dB, meaning that the level is unadjusted in Afterward Effects. Setting a positive decibel level increases volume, and setting a negative decibel level decreases volume.

Double-clicking an Audio Levels keyframe activates the Audio panel.

The VU meter in the Audio panel displays the volume range for the audio equally it plays. The cerise blocks at the summit of the meter represent the volume limit of your arrangement.

For more precision in setting audio levels by dragging sliders, increase the height of the Sound panel.

In the Audio panel, to adjust volume, practise one of the following:

• To set the level of the left and correct channels together, drag the center slider up or downwardly.

• To set up the level of the left channel, elevate the left slider upwardly or down, or type a new value in the levels box at the lesser of the left slider.

• To set up the level of the correct channel, drag the right slider upwardly or down, or type a new value in the levels box at the bottom of the correct slider.

Parent and child layers

To synchronize changes to layers by assigning 1 layer's transformations to another layer, use parenting. After a layer is made a parent to another layer, the other layer is chosen the kid layer. When y'all assign a parent, the transform backdrop of the kid layer go relative to the parent layer instead of to the composition. For example, if a parent layer moves 5 pixels to the correct of its starting position, so the child layer also moves v pixels to the right of its position. Parenting is similar to group; transformations made to the group are relative to the ballast point of the parent.

Parenting affects all transform properties except Opacity: Position, Scale, Rotation, and (for 3D layers) Orientation.

When parenting layers, helpful text describing alternate parenting behaviors is displayed on the layer bar below the mouse position and in the Info panel.

A layer can take just ane parent, simply a layer can be a parent to whatsoever number of layers in the same composition.

Y'all tin can animate child layers independent of their parent layers. You lot tin can also parent using zero objects, which are hidden layers.

You cannot animate the human activity of assigning and removing the parent designation—that is, y'all cannot designate a layer as a parent at one point in fourth dimension and designate it as a normal layer at a unlike point in fourth dimension.

When yous create a parenting relationship, you lot can cull whether to have the child take on the transform property values of the parent or retain its own. If you lot choose to have the child have on the transform property values of the parent, the child layer jumps to the parent's position. If you cull to take the child retain its own transform property values, so the child stays where it is. In both cases, subsequent changes to the transform property values of the parent are applied to the child. Similarly, you can choose whether the child jumps when the parenting relationship is removed.

When parenting layers, you can utilise the Shift key to motion the child layer to the location of the parent. This can exist useful when you want to attach a layer to a null, but have the layer move to the location of the parent null (for example, attaching a 3D text layer to a null layer created from the 3D Photographic camera Tracker).

Dragging the option whip in the Timeline panel from Shape layer 1 (child layer) to designate Shape Layer 2 as the parent layer

To show or hide the Parent column in the Timeline console, choose Columns > Parent from the Timeline panel menu.

• To parent a layer, in the Parent column, drag the pick whip from the layer that is to be the kid layer to the layer that is to be the parent layer.
• To parent a layer, in the Parent cavalcade, click the carte of the layer that you want to exist the child, and choose a parent layer proper name from the menu.
• To remove a parent from a layer, in the Parent cavalcade, click the menu of the layer to remove the parent from, and choose None.
• To extend the option to include all kid layers of a selected parent layer, right-click (Windows) or Control-click (Mac Os) the layer in the Limerick or Timeline panel, and choose Select Children.
• To make a kid layer jump when a parent is assigned or removed, hold downwards Alt (Windows) or Option (Mac Bone) as you assign or remove the parent.
• To remove a parent from a layer (that is, set Parent to None), Ctrl-click (Windows) or Command-click (Mac Os) the parenting selection whip of the child layer in the Timeline panel. Alt+Ctrl-click (Windows) or Option+Command-click (Mac Bone) the parenting pick whip of the child layer to remove the parent and cause the child layer to leap.

Online resources well-nigh parent and child layers

Paul Tuersley provides a script on the AE Enhancers forum for duplicating a parent layer and all of its children, preserving the parenting bureaucracy.

Carl Larsen provides a video tutorial on the Artistic Moo-cow website that demonstrates how to use expressions and parenting to relate the rotation of a set of wheels to the horizontal movement of a vehicle.

Robert Powers provides a video tutorial on the Slippery Rock NYC website that demonstrates the utilise of parenting and the Puppet tools to breathing a graphic symbol.

Null object layers

To assign a parent layer, simply keep that layer from being a visible element in your project, use a nil object. A nada object is an invisible layer that has all the backdrop of a visible layer so that it can be a parent to any layer in the composition. Adjust and animate a nothing object as you would any other layer. You utilise the same commands to modify settings for a zip object that you use for a solid-color layer (Layer > Solid Settings).

You can apply Expression Controls effects to null objects and then apply the nothing object as a control layer for effects and animations in other layers. For case, when working with a camera or light layer, create a null object layer and use an expression to link the Point Of Interest property of the camera or light to the Position property of the cipher layer. And then, you tin can animate the Point Of Involvement property by moving the null object. It is often easier to select and see a zippo object than it is to select and run into the indicate of interest.

A composition can contain whatever number of cipher objects. A null object is visible only in the Composition and Layer panels and appears in the Composition panel as a rectangular outline with layer handles. Effects are not visible on null objects.

To create a null object, select the Timeline or Composition panel and choose Layer > New > Null Object.

The anchor point of a new nil object layer appears in the upper-left corner of the layer, and the layer is anchored in the center of the composition at its anchor indicate. Change the anchor point as you would for any other layer.

If a null object is visually distracting in your composition frame, consider dragging it out of the frame, onto the pasteboard.

Andrew Kramer provides a video tutorial on his Video Copilot website that demonstrates the employ of a zip object to breathing a 3D stroke.

Guide layers

You can create guide layers from existing layers to use for reference in the Limerick panel, to assistance yous position and edit elements. For example, you tin use guide layers for visual reference, for audio timing, for timecode reference, or for storing comments to yourself.

A guide layer icon appears next to the name of a guide layer or its source in the Timeline panel.

By default, guide layers aren't rendered when you create output but tin can be rendered when desired by changing the render settings for the composition.

Guide layers in nested compositions tin can't be viewed in the containing composition.

• To convert selected layers to guide layers, choose Layer > Guide Layer.
• To render a composition with its visible guide layers, click Render Settings in the Render Queue panel, and choose Current Settings from the Guide Layers menu in the Render Settings dialog box.
• To return a limerick without rendering guide layers, click Render Settings in the Return Queue panel, and cull All Off from the Guide Layers menu in the Render Settings dialog box.

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Source: https://helpx.adobe.com/after-effects/using/layer-properties.html

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