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。

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.

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.

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.

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

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.

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.

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.

... 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

this Expression 'thisProperty.propertyIndex'
when written in EXPOSURE(effect) OFFSET(property),
i can‘t get the right propertyIndex.
it return 2 but it should be 4 to work correct.
I'm using the AfterEffects latest version 16.1.2 (Build 55).

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

Makes ZERO sense.

Shear is a quite common distortion (I think more used than the ZigZag deformer which is already present).

Please add this to the Shapes' menu.

The Mask Feather Tool should have its own separate keyframes.

As of now, its keyframes are the same, as the mask shape keys, so if you already animated a mask shape, you cannot animate the "feather tool" separately.

Alternatively, please give us a "Uber Key" as seen in Mocha.
Thanks.

Dragging a specific puppet pin (ex puppet pin 3) to a different position in the FX area will cause AE to stop creating cache. For instance putting 4 between puppet pin 2 and puppet pin 3. Re-ordering it correctly fixes the issue.

Found a very easy way to replicate buggy behavior with CC Vignette.
1.Put any image or media in the timeline
2.Create an adjustment layer on top of it and add CC Vignette.
3. set a couple position keys on the adjustment layer and animate it.
4. You should see lots of strange behavior on the layers beneath the adjustment layer.

I ran into this issue lots when working with full-screen comps that had to shift over to split-screen.

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.

A pass similar to an adjustment layer one can add to a comp and manipulate the input (all layers rendering below) freely, using some sort of shader language variation.