Requiring a track matte to be right above the layer it modifies seems like an archaic convention at best. Get rid of that requirement and make them like parent layers which can be anywhere and used by many layers.

I want to be able to divide the position of the transform of the effect into dimensions.

Because the expression of animation of keyword spreads

エフェクトのトランスフォームの位置を次元分割できるようにしてほしい。速度グラフでの表現の幅が広がる為。

The reshape tool would become way more helpful with digital beauty work if AE had a way to parent Masks to a Null object that received tracking data from Mocha.

an effect to create text via effect would be useful to keep your composition compact. imaging you have to create a button, you right now need at least 2 layers. 1 textlayer and 1 shapelayer.

with an text effect (like the timecode effect)
you would only need 1 layer.

But the effect should respect the layers coordinates,
not like the timecode effect, which ignores them.

When you're animating a mask on a layer that has effects applied, the mask doesn't update live. You have to purge the memory or disable all the effects on the mask in order to be able to see the updated layer.
We need to see the mask updated even with effects applied.

When I tried to import an animated gif, as I did with the actual file earlier on other computer, I get the message from the picture, in spanish "Error de After Effects: No se puede leer el origen. Compruebe la configuración y vuelva a intentarlo. ( 86 :: 1 )"; which translates to: "After Effects error: Cannot read from source. Please check the settings again. ( 86 :: 1 )"

I hope someone could help me because I don't think is much of a big deal. Thanks in advance.

Timeline folders. We have them in Animate, Photoshop, Illustrator... precomps can utterly ruin your work and is NOT an alternatives to having a simple folder hierarchy - especially when dealing with shape layers or anything that requires continual rasterization.

Need a native edge blur tool similar or better to the key correct suite by RG.

An example is Lumetri Color. It would be great to be able to simply copy (ctrl+c) that effect's properties in Premiere, then paste (ctrl+v) onto a layer in After Effects, so I don't need to manually re-enter all of the properties, particularly the color wheels.

At new composition window, next to Width and Height, a button to flip horizontal to vertical and reverse when click again.

To make it easier creating compositions when choosing standard 1920x1080 then i want it vertical, its very common and repeated situation.

This little problem leaves us with no possibility to add controllers to the layers for which the collapse transformations flag is on. Even though the controller effects do not affect the image directly now they somehow manage to break functionality. Although I understand the internal logic behind it, it steals some precious possibilities from us. Please add a workaround for this

Due to the volatility of Colorista Free in new versions, and it being what makes ACES workflow possible, it breaks the ability to have AE be a compositing tool for ACES.

Please develop a 32 bit CDL effect that will not require Lumetri.

Allow us to have more than 1 inverted mask on a project to allow for multiple points to be blanked out for a moving object.

We should be able to copy from one program to the other such effects as lumetri as they are similar in both programs, so to have creative choices whether to color grade the selected clips in premiere or in ae and then return back to where the main program is.

Not sure why there isn't a Dehaze effect in After Effects or Premiere Pro - it's in Lightroom and Elements.

Makes ZERO sense.

Certain effects parameters, such as set matte, reset when copying layers over to other comps. Anything with a set matte on needs to be manually reset. Please fix.

... to bring in the feature of searching and relinking footage pathes (e.g. I just needed to change the driveletter - but it´s not possible. Confimed by Customers Support. Belongs to Premiere as well. This is maybe a very old wish around here, wich still hasnt been taken to heart