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Select one or more layers in the active comp. All keyframes on the selected layers' Transform properties are deleted.

None — applies on click.

None.

• Undo: one Ctrl+Z.
• Re-apply: with no keyframes left, nothing changes.
• Keyframes are deleted from the last one backward, so each property keeps the value of its earliest keyframe, wherever the playhead is.
• Only the Transform group of the selected layers is affected. Keyframes on effects, masks, text and shape properties are left alone.
• Expressions are left alone.

Select one or more layers in the active comp. Every Transform property with 2 or more keyframes gets a loopOut("cycle") expression.

None — applies on click.

None.

• Undo: one Ctrl+Z.
• Re-apply: the same expression is written again, so the result is identical.
• Properties with fewer than 2 keyframes are skipped. If no property qualifies, the run ends with an error.
• An expression already on a target property is overwritten.
• Only loopOut is applied. loopIn is not created.
• There is no remove action. The expression is deleted from the property by hand.

Select one or more layers in the active comp. Every Transform property with 2 or more keyframes gets an overshoot expression, and its values appear in the layer's Effect Controls as one Overshoot · Controls effect.

None.

• Undo: one Ctrl+Z.
• Re-apply: replaces only the expression the tool wrote. The dialog opens filled with the values of the selected layer at the head of the selection that already carries this tool, and applying writes those values to the selected layers' Overshoot · Controls. Items that carry keyframes or expressions are not touched.
• After applying, adjust with Overshoot · Controls (Amp · Freq · Decay) in Effect Controls. Each value is clamped to its range (Amp 0.01–0.5 · Freq 0.5–10 · Decay 0.5–15). If the effect is duplicated, only the upper one is read.
• Properties with fewer than 2 keyframes are skipped. Properties that carry a hand-written expression are skipped too, and the count is reported. If no property qualifies, the run ends with an error.
• Cameras, lights, 3D mesh layers and 3D model layers cannot take effects, so they get no controls and keep the values from the moment of applying.
• A rig made by an older version of the plugin (the one with separate knobs such as Overshoot · Amp (0.01~0.5) in Effect Controls) still plays but cannot be applied again, and the dialog does not open. Delete those three knobs and apply, and the new scheme takes over.

Select 2 or more layers in the active comp. Stagger offsets the selected keyframes, or the layers when no keyframes are selected, by a frame interval; Chain joins the layers end to end regardless of any keyframe selection.

None.

• Undo: one Ctrl+Z.
• Re-apply (Stagger, layers): the layers are realigned from the in point of the topmost selected layer, so ↓ Forward gives the same result on every press. With ↑ Reverse the reference layer moves too, so each press shifts everything later, and ⤮ Random reshuffles on every press.
• Re-apply (Stagger, keyframes): the gap is added to the selected keyframes' current times, so it is not idempotent.
• Re-apply (Chain): the layers are rejoined in timeline order, so ↓ Forward gives the same result, and ↑ Reverse flips the order on every press.
• In keyframe mode each keyframe is removed and recreated at its new time with the same value, interpolation and easing. Spatial handles on the Position path are not carried over.
• A crossfade is skipped on a layer whose opacity already has keyframes or an expression, or that is too short. The skipped count is reported.
• Selecting fewer than 2 layers ends with an error.

Select one or more layers in the active comp. Each selected layer gets a press (a scale and brightness change) and a spring release, written as expressions, and a Click React marker that holds the start time.

None.

• Undo: one Ctrl+Z.
• Re-apply: only the expressions the tool wrote are replaced, so nothing stacks. An existing Click React marker is not moved, and its position sets the timing. Knobs without keyframes or expressions are overwritten with the dialog values.
• The scale expression multiplies value, so scale animation already on the layer is kept.
• Properties that carry a hand-written expression are skipped, and the count is reported.
• Cameras, lights, 3D mesh layers and 3D model layers are skipped.
• After applying, adjust with one effect per layer in Effect Controls, Click React · Controls (Press Scale %, Brightness, Press s, Hold s, Release s, Bounce, Delay s — the ranges match the dialog), and drag the Click React marker on the timeline to move the start. Delay s is a fine offset on top of the marker and starts at 0.
• A layer that an older version of the plugin set up (its knobs are separate Click React · … effects) still plays, but applying again is refused. Delete those knobs in Effect Controls and apply again — the expressions switch to the new controls and the knob values are set from the dialog.
• If the Click React · Controls effect is duplicated, only the upper one is read. Renaming it is fine.
• Timing is not linked to Cursor Click. The two tools are independent.

An active comp is required. A new carousel turns the layers selected when the dialog opens into cards. Footage, comp, solid, text and shape layers are accepted; cameras, lights, nulls, adjustment layers, 3D meshes/models, audio-only layers and the carousel's own layers (including another carousel's stage layer) are skipped. The pool holds up to 48 cards. When the selection is shorter than the preset's default card count, the Missing cards setting decides what happens (table below); with nothing selected, numbered cards preview the preset. Layers that become cards are hidden. Applying creates a separate stage comp, Carousel (N), and puts a single 2D precomp layer holding it (the stage layer) at the top of your comp. N is unique across the project, and the stage comp goes into a Carousel (N) · <your comp name> folder in the Project panel. The stage layer gets no name of its own, so it shows the comp's name and follows a rename. The stage comp takes your comp's size, pixel aspect, frame rate, duration, 3D renderer and motion blur settings. The cards, camera, controls and engine all live inside the stage comp. The control null carries one effect in Effect Controls, Carousel Controls: the Preset dropdown at the top, the nine basic knobs below it and a folded Advanced group (28 knobs). Each slider only moves inside its knob range (for example Falloff % runs 10 to 400), and Direction is a Reverse checkbox. Renaming the effect does not break the carousel. The dialog opens a carousel for editing when its stage layer is selected in your comp or when you are inside its stage comp, and shows one line naming the comp the carousel lives in. The header's Carousel to edit dropdown switches to another carousel reachable from the current comp or to New carousel (inside a stage comp there is no New carousel). Card add, fill and path follow read the selection at the moment the button is clicked.

• Enter — apply. Esc — close. Enter while a Korean IME is still composing confirms the text and does not apply.

• Undo: one apply (new carousel, Re-apply, Detach values) is one undo group (Carousel), and path follow is one group (Carousel Path). Release is one group (Carousel Release); card add, fill, reorder, remove and a Missing cards switch are one Ctrl+Z each.
• When changes take effect: card add, remove, reorder, fill and Missing cards apply immediately; knobs, preset and alignment need Re-apply. After applying, the Preset dropdown in Effect Controls switches without re-applying. Switching while it flows is a cut.
• Re-apply: recognises the carousel layers by name and replaces them, so it does not build a second set. The Preset selection and keyframes are kept. Knobs that carry keyframes or expressions are left alone with a notice. A path copied by path follow lives in the Custom row and survives re-apply. A carousel built by another plugin version (a Carousel Controls with a different knob set) refuses re-apply and editing — release it and build it again. If the controls null inside the stage comp is deleted or renamed, that comp is no longer recognised as a carousel. Applying from a dialog that was already open shows "This carousel is no longer in the comp (its Controls layer was deleted or renamed) — switched to a new carousel". Renaming it back makes it recognised again.
• When Preset has keyframes, the preset selection, Detach values and Follow selected path are not applied. Delete the keyframes and click again.
• The viewport window (Belt Step · Word Ticker · Window Swap) clips cards only when the comp's 3D renderer is Classic 3D. Advanced 3D ignores track mattes on 3D layers, so it does not clip and shows a notice only. The window stays screen-aligned, so rotating the rig does not rotate it, and its size follows the rig scale. The window needs AE 2023 or later; on an earlier version the carousel is built without it.
• Globe and Globe Step cards interpenetrate when Spread is near 0 (a known limit).
• With too little media, Missing cards either fits the card count to your cards or repeats your cards; with no media at all, numbered cards fill in. The card pool is capped at 48; selecting more uses only the leading 48.
• Repeated slots are laid out for the preset at the time you apply (its card count for Fit to preset (fill with mine), its minimum for Fit to my cards). Switching the Effect Controls Preset dropdown to a preset where that number differs can put them out of step: the order can break at a looping seam, or a two-sided card (Fins) can show a different card on its back. Press Re-apply in the dialog to lay them out for the current preset. With Fit to my cards, nothing goes out of step when you picked at least as many layers as both presets' minimums.
• Where the cards would need more than 48 layers (Ticker with 17 or more cards · Side Wheel, Accordion, Staircase, Parallax Drift with 25 or more), the carousel uses fewer card layers, picked so the loop still matches. In that case the order can restart once per lap of the belt. These cases cannot be matched by any count and jump at the looping seam: Ticker with exactly 24 cards · Side Wheel, Ticker, Accordion, Staircase and Parallax Drift with 48 cards. Fins is two-sided, so it uses only the leading 24 of your cards (pick 25 or more and 24 are used, every back mirrors its own front, and a note says so). Applying Fins fixes the pool at 48; if you apply another preset and switch to Fins in Effect Controls, with 25 or more cards a back can show a different card than its front (applying again fixes it).
• A comp using the Legacy ExtendScript expression engine is refused. Switch it to JavaScript under File › Project Settings.
• A carousel always has its own camera inside the stage comp. The camera and other 3D layers in your comp do not interact with the cards, and the carousel camera does not affect your comp's 3D layers. The stage layer is built to be used with Collapse Transformations off; the on state has not been tested.
• Motion blur: a new carousel turns motion blur on for the cards and, if the stage comp's motion blur switch was off, turns on that switch only and shows a notice. Your comp's switch is not touched. When you render your comp, the carousel's motion blur still follows the stage comp's switch, so to turn it off for previews, turn off the stage comp's switch. Re-apply does not turn a switch you turned off back on.
• Shadow copies: Hero Slider's card-colored shadow (a copy layer of each card) is built only when that preset is applied (other presets skip these layers and stay lighter). If you switch a carousel made with another preset to Hero Slider from the Preset dropdown in Effect Controls, that shadow does not show. Click Re-apply in the dialog to build it. Conversely, reapplying a Hero Slider rig with another preset deletes those copy layers (any edits you made to them go too).
• Render speed (known limitation): renders with motion blur on can be slower than a stock template with the same number of cards. For faster previews, turn off the motion blur switch of the Carousel (N) comp.
• When the 3D renderer is not Classic 3D, Accepts Lights is turned off on the cards and a notice is shown (confirmed under Advanced 3D; Cinema 4D takes the same path but has not been tested).
• Presets saved with the previous carousel tool show an error notice and are not migrated. Rebuild them in the Carousel tool.

Select layers other than cameras and lights (text, shape, footage, precomps, nulls, 3D meshes, 3D models and so on) in the active comp. A new rig creates a controller null, an effector null at the comp center and two guide rings that show the radius and falloff, and the selected layers become members that react to their distance from the effector null (100 % effect inside the radius, fading to 0 across the falloff band along a cosine curve).

Values on the Create tab stay on the controller after applying as one effect in Effect Controls (Effector · Controls) — Enable, Radius px, Falloff px and the channel checkboxes (Scale, Opacity, Position, Rotation, Text) on top, the values in per-channel settings groups (closed when added), and the guide and effector count under Advanced. The position offsets are split into a 2D point (Position Min, Max) and a Z knob (Position Z Min, Max). The Manage tab appears only when the comp holds a rig; its actions take effect on click and have no Apply button.

None.

• Undo: building the rig, taking layers off the rig, adding or deleting an effector null, adding or removing members, linking a map and deleting a map are one Ctrl+Z each. Applying an effect is one step for the effect, plus one for the link when it links automatically. Applying an effect together with the rig on the Create tab therefore takes up to three steps: rig, effect and link.
• Re-apply: choosing an existing rig and applying rewrites the controller knobs with the dialog values and adds the selected layers as members. Knobs that carry keyframes or expressions are not touched. Applying the same AE effect again reuses the instance the tool added, so effects do not stack, and an identical effect you added yourself is left alone and counted in the result. Linking a property that already has a map reuses the existing map number.
• Expressions already on a member's Anchor Point, Scale, Opacity or Rotation (on 3D layers also X and Y rotation and Orientation) are overwritten by the tool's expressions. Keyframes stay, and the tool multiplies or adds to their values. The tool writes no expression on Position.
• The Position channel's move comes from an Anchor Point expression. Every channel measures distance from where the member was before the move, so switching one channel on or off does not change the values of the others. Expressions on other layers that read a member's Position or anchor location see the pre-move location. On members with Auto-Orient on, the automatic rotation is not taken into account and the move direction is off.
• Transform properties that a channel writes an expression on (Anchor Point, Scale, Opacity, rotation, Orientation) do not appear in the property link list.
• 3D meshes (AE 26 parametric meshes) and 3D models: they can be members, and the Transform channels and maps work. After Effects does not accept effects on these layers, so applying an effect skips them and reports the count, and it is refused when every member is a mesh or model. A mesh's classic Material Options properties are left out of the property list, and its own shape, bevel and material properties appear under Mesh. Linking a property that After Effects does not accept an expression on fails and leaves no knobs behind.
• With a 3D member present, the effector nulls are switched to 3D. They are only switched on, never switched back, and Z starts at 0.
• Cameras, lights, and controller or guide layers cannot be members.
• The text channel works only with variable fonts (for example Pretendard Variable), and a member whose font is not variable is skipped. In an After Effects version that cannot script variable-font axes, the text channel is skipped with a notice (confirmed on AE 26.2.1). Character positions are approximated as a single line of equal-width characters, so changing the text, font or size needs a re-apply. Character positions are measured before the move by undoing the Position and Scale channels, but a layout turned by the rotation channels is not undone.
• Member count and effector null count have no cap. The measured cost per frame is about 1 ms per member, plus about 0.18 ms per member for each effector null (varies by computer). Beyond about 50 members real-time preview is unlikely.
• Maps are limited to 8 per rig.
• A rig made by an older version of the plugin (for example one whose Effect Controls knobs are many separate effects) still renders, but this window refuses to read, edit or manage it. Select its members, use Take the selected layers off the rig and apply a new rig — the knob values, effector null placement and maps have to be set again, and you delete the old controller, effector nulls and guides yourself.
• If the controller's Effector · Controls effect is duplicated, only the upper one is read. Renaming that effect is fine (don't rename the Map N · … map effects — they are found by name).
• Deleting an effector null by hand raises no error and is skipped; the numbering is tidied on the next manage action.

In the active comp, New cursor needs no selection and creates a new cursor shape layer, while Selected layers treats the selected layer as the cursor. Either way, the step list (click, drag, long press, move) becomes Position keyframes (the path) and markers (the events).

None.

• Undo: one Ctrl+Z.
• Re-apply (New cursor): every apply creates another cursor layer.
• Re-apply (Selected layers, append off): on a layer that holds this tool's markers, all Position keyframes are deleted and redrawn, so a path curved by hand is lost. Old markers that the new steps no longer use are deleted; the remaining ones are not moved, and their positions set the timing.
• Re-apply (append on): earlier steps stay and the new steps are added after them. If the playhead sits inside the existing journey, the new steps are pushed past the journey's end.
• One apply takes up to 12 steps. Appending lets a whole journey grow past 12.
• The press motion is a Scale expression, so it multiplies with scale keyframes set directly on the cursor layer. In Selected layers, an expression already on that layer's Scale is overwritten.
• After applying, adjust with one effect in Effect Controls, Cursor Click · Controls (Icon, Press Scale %, Press s, Hold s, Release s, Bounce, Hold Level and Ripple on top; Ripple Duration s and Ripple Opacity % in the closed Ripple Settings group), and the Click N, Down N and Up N markers on the timeline. In Selected layers, a layer that is not a cursor this tool created gets Cursor Click · Motion (the six press controls only). Speed and Overshoot (0 = off) only decide where keyframes go when applying, so they have no control in Effect Controls.
• A cursor that an older version of the plugin made (its knobs are separate Cursor Click · … effects) still plays, but Selected layers and append are refused on it. Delete those knobs in Effect Controls and apply again — the cursor switches to the new controls (set the knob values again).
• If the Cursor Click · Controls effect is duplicated, only the upper one is read. Renaming it is fine.
• Cameras, lights, 3D mesh layers and 3D model layers cannot be targets of Selected layers.
• A release step without a press step does nothing, and the dialog shows a warning.
• Timing is not linked to Click React. The two tools are independent.

Select a layer that has audio in the active comp. With several layers selected, only the layer at the head of the selection is analyzed, and the analyzed times are converted to comp time and planted as markers.

None.

• Undo: one Ctrl+Z removes the markers this run planted, together with any null it created.
• Re-apply: the dialog opens with the settings of the markers this tool planted before and the target they sit on. Replace replants only the same pass's markers and keeps markers you moved.
• Confirmed file formats: WAV, MP3, M4A (AAC), FLAC and uncompressed AIFF. Compressed AIFF-C is refused, and a file that cannot be decoded ends with an error.
• Layers that are not file sources (solids, text, shapes, nulls and similar) and layers without audio are refused.
• If the audio sits inside a precomp, the tool follows up to 8 nesting levels down to an audio layer (enabled ones preferred), analyzes it and reports its name in the result.
• Layers with Time Remap enabled and layers with a Stretch of 0 or less (reversed or frozen) are refused. The same rule applies at every level inside a precomp.
• No marker is planted outside the layer's in and out points or outside the comp duration, and times that land on the same frame produce one marker.
• If no marker position is found, the run ends with an error. Beats mode ends with an error when no tempo can be estimated, and plants an even grid at the estimated tempo when it cannot follow the beat.
• There is no cap on song length. The panel waits up to 120 s each for reading the audio info and for planting the markers; that time includes the conform AE runs on an audio file it has not used before.

Select layers that have a time axis, such as precomps, footage or audio, in the active comp. A Start marker is placed at each layer's in point and Time Remap is enabled, so the source plays from its beginning at the marker's time; dragging the marker changes the start time.

None — applies on click.

• Re-click — when every selected layer is already applied, the tool removes it. Time Remap is turned off and the layer's Start markers are deleted.

• Undo: one Ctrl+Z. Removing also takes one.
• Re-apply: if any selected layer is not applied yet, the click applies. An existing Start marker is not moved, so a dragged position is kept.
• Layers without a remappable time axis (cameras, still images and similar) are skipped.
• Layers that already use their own Time Remap are skipped and not overwritten.
• Layer in and out points are not changed. Enabling Time Remap does not extend the out point, so the tail may not reach the screen; the result reports such layers.
• Before the marker the source holds its opening frame, and from one frame short of the source duration onward the last frame holds.

Make a comp active and select one or more layers. The scale, position and anchor of the selected layers are set to match the comp size.

• Enter — applies.
• Esc — closes the dialog.
• There are no Alt, Shift, right-click or drag modifiers.

• Undo: one Ctrl+Z reverts the change on every selected layer.
• The size is computed from the layer bounds at the playhead time (sourceRectAtTime). Position goes to the comp center and the anchor to the center of the bounds.
• With keyframes on scale, position or anchor, a keyframe is added at the playhead time.
• A 3D layer keeps its Z position and gets a Z scale of 100%.
• Cameras, lights and layers with zero-size bounds are skipped. The tool reports an error when no layer was applied.
• Running again in the same mode writes the same values again. A parent layer's transform and the layer's own rotation are not part of the calculation.

Make a comp active and select one or more layers. Clicking a cell of the 3×3 grid moves the anchor point of the selected layers to that position.

• Esc — closes the dialog.
• Click outside the dialog — closes it.
• There are no Alt, Shift, right-click or drag modifiers.

• Undo: one Ctrl+Z reverts the change on every selected layer.
• The reference is the layer bounds at the playhead time (sourceRectAtTime). A null layer uses its layer size.
• Position is compensated so the layer stays in place on screen. The compensation includes the layer's scale and rotation, and for 3D layers also Orientation, X/Y/Z Rotation and the Z position. Parented layers work the same way. With position keyframes, the same compensation is added to every keyframe value; with separated position dimensions, X, Y and Z Position are each shifted.
• With anchor point keyframes, a keyframe is added at the playhead time. In that case the layer stays in place on screen only at the playhead time and can move at other times.
• Cameras and lights are skipped. One failing layer does not stop the others, and the tool reports an error when no layer was applied.
• The compensation uses the scale, rotation and orientation values at the playhead time. When these are keyframed, the layer stays in place on screen only at the playhead time and can move at other times. On a layer with Auto-Orient turned on, the rotation that Auto-Orient adds is not part of the compensation, so the layer can move on screen.

Make a comp active and select one or more text layers. The selected text is split into separate layers by character, word, line or jamo.

• Enter — applies.
• Esc — closes the dialog.
• There are no Alt, Shift, right-click or drag modifiers.

• Undo: one Ctrl+Z reverts every layer the split created.
• Character, word and line splits duplicate the source text layer per piece and hide the characters outside that piece with a text animator (opacity 0 plus a range selector). The layers stay live text, so positions match AE's own layout.
• Character, word and line piece layers are named <source name> | <piece text>, and the piece text is shown up to 16 characters.
• The jamo unit makes shape layers with Create Shapes from Text and splits them into one layer per jamo cluster. The result is shapes, not text, and the layers are named <syllable>_<jamo>, or numbered like <syllable>_1 when the piece count differs from the jamo count. The command is looked up by its menu name and run. If the name lookup finds nothing or the run produces nothing, a preset command number runs once more, only when it differs from the number the lookup found. When neither produces a result the tool reports an error. A text layer with no characters (empty or spaces only) is skipped without running the command.
• In the jamo unit, syllables whose strokes the font fuses are partly merged, and the count is shown in the result.
• With the character, word and line units, the new layers are selected after the split. The tool reports an error when there is no text to split.
• Each run stacks new layers. It does not replace an earlier split.

Select a precomp layer in the timeline, select a comp in the Project panel, or open a comp with nothing selected. The target comp and every precomp nested inside it are duplicated as independent copies.

None — applies on click.

None.

• Undo: one Ctrl+Z reverts the duplicated comps, the folder and any added layers together.
• There are three entry modes, checked in this order. Selected timeline layers target their source comps, otherwise the comps selected in the Project panel are the target, and with neither the open comp is the target.
• Timeline selection: each selected precomp layer is duplicated and only its source is swapped for the copy. The tool reports an error when the selection holds no precomp layer.
• Project panel selection: with a comp open, the copies are added to it as new layers.
• No selection: the copy of the open comp stays in the Project panel and is not added as a layer.
• Copied comps are named <original name>_dup, with _dup2, _dup3 … on a clash, and are collected in a <lead target name>_dup folder.
• A precomp shared by several places is duplicated once, so the sharing is kept in the copy.
• comp("original name") string references inside the copies are rewritten to the copy names. The number of rewrites is shown in the result.
• Only comps are duplicated, not footage. Precomp nesting is handled up to 50 levels, and the tool reports an error beyond that.
• Each run creates new copies and a new folder. It does not replace earlier copies.

Make a comp active. With layers selected, the overlap of the selection's lead layer In to Out and the Work Area is the tracking range, and with no selection the whole Work Area is. The comp image in that range is rendered at each sample interval, faces are detected, and each face gets a null with position keyframes.

• Enter — applies.
• Esc — closes the dialog. It does not close while tracking runs, and the Cancel button stays locked during the run.
• There are no Alt, Shift, right-click or drag modifiers.

• Undo: one Ctrl+Z reverts the nulls, boxes, labels and adjustment layer together.
• While frames render, a 32 bpc project switches to 16 bpc and a comp resolution below Half switches to Half for a moment, and both return after each render batch. These switches run outside the undo group above. Whether they leave their own entries in the Ctrl+Z history is decided by AE, not by this tool.
• What gets keyframed: the face null's position (at each sample time, not at the playhead). The box gets rectangle size keyframes, the label gets position keyframes, and mosaic or blur gets mask path keyframes. The null's scale, rotation and anchor are not touched.
• Nulls are green-labeled layers named Face 1, Face 2 …. The adjustment layer is named Face Mosaic or Face Blur.
• The detection model ships inside the install, so even the initial run has no download and needs no internet.
• The progress line shows the Rendering frames · Detecting faces · Creating nulls stage and the count done. Detection starts after every frame is rendered.
• Up to 1200 samples are processed in one run. A longer range returns an error to shorten the Work Area or raise the sample interval.
• Detections shorter than 5 samples are dropped and gaps longer than 8 samples split a track. A face that reappears within 0.7 s and within 1.3 face widths is joined to the same track.
• Tracks can be created even when some frames failed. The result message carries the failed frame count and the reason, and it shows as an error toast. When more than half of the frames fail, the run ends with an error.
• When no face is found, no track is created and the result says none were found.
• The mosaic and blur adjustment layer applies to every layer below it.
• Mosaic and blur strength follows the median face size, and the box size adds a 12% margin to the detected box.
• The intended uses are mosaic, stickers and follow. It is not a precision VFX match-move.
• Each run stacks new nulls and layers and does not replace an earlier result.

Make a comp active and select one or more video or still footage layers, or precomp layers. A depth map sequence is created for each layer and a depth of field (Camera Lens Blur) rig is wired onto the source layer.

Knobs that get created (one effect Depth · Controls on the control null Depth · Control (<layer name>)):

• Focus Distance 0–100, default 50 — the map brightness (white is near) to focus on.
• Blur Amount 0–100 px, default 15 — the Camera Lens Blur radius.
• Auto Focus checkbox (off by default) and Focus Point (default comp center) — when on, the map value under Focus Point is read every frame and used as the focus.
• Near Clip 0–100, default 100 · Far Clip 0–100, default 0 — the upper and lower bounds that clip the map input range.
• Parallax group (closed when added): Parallax X px · Parallax Y px −500–500, default 0 — the largest distance the near side shifts. Always created, but it moves the picture only in Blur + parallax. The default of 0 means adding the rig does not change the picture.
• Advanced group: Focus (auto) — the merged result of the two methods above (manual, auto), written by an expression. It is not a value to turn by hand, and the manual value is Focus Distance.
• The sliders move only within the ranges above. Renaming the effect is fine.

• Enter — applies.
• Esc — closes the dialog. It does not close while running.
• Cancel button — while running, it stops on the spot during depth inference; during import and rig wiring it finishes the current layer and stops before the next one. An existing map is left untouched. The Cancel button is locked while the runtime downloads and while AE renders the frames.
• Re-open — when the selected layer already has a rig, Quality is prefilled from the value the rig recorded and Wiring from the current rig state. An older rig without that record opens with only Quality at its default.
• There are no Alt, Shift, right-click or drag modifiers.

• Undo: each layer makes four undo groups in turn. From the last: rig, map import, cleanup of the temporary render comp, frame preparation. One Ctrl+Z reverts the rig and a second one the map; the groups before that bring back the temporary render comp _DP_ISO_… and afterwards remove it. With several layers they stack per layer. Deleting the render queue item right after the render and restoring the render checkbox of the other render queue items run outside any undo group. Whether these two steps leave their own entries in the Ctrl+Z history is decided by AE, not by this tool.
• Supported environments: on macOS only Apple Silicon works. Intel Mac is not supported because the upstream runtime has no binary for it, and the dialog shows the reason and locks Apply. Windows is x64.
• The GPU path is DirectML on Windows and WebGPU on macOS. When the GPU run fails, that layer is recomputed on the CPU from the start, and a range of 44 frames or fewer runs on the CPU from the start. The result message carries only the number of layers rebuilt on the CPU after a GPU failure; runs that were on the CPU from the start are not counted.
• On the initial run the runtime (about 110 MB) is downloaded with a progress display. When the same version is already installed it is not downloaded again.
• A map is produced by frame render, depth inference, import and rig wiring in that order. The frames are pulled through the AE render queue, and AE not responding during that stage is expected. While it renders, existing render queue items are switched off and restored afterward, and a 32 bpc project switches to 16 bpc and back.
• Target layers: video and still footage, and precomps. Cameras, lights, nulls, adjustment layers, audio-only, text, shape, solid and 3D model layers are rejected. Text and shape layers can be used after wrapping them in a precomp. A layer whose In/Out does not overlap the Work Area is rejected.
• The range is the overlap of the selected layer's In to Out and the Work Area. The tool is designed for short sequences of 3 to 10 seconds, and no cap on length or frame count exists.
• The inference resolution (the map's short side) is 280 px for Standard and 518 px for High, and the map files are scaled up to the source size. High thins the edges by about half and runs 4 to 5 times slower.
• Output: a guide layer Depth · Map (<layer name>) below the target (excluded from render, white is near), a control null above the target, and Camera Lens Blur on the source. Blur + parallax adds a guide layer Depth · Shift (<layer name>) and a Displacement Map.
• The map files are stored in a Depth Pass/ folder next to the .aep. For an unsaved project, or a project path with characters outside ASCII (Korean and so on), the app data folder is used.
• Running again replaces the earlier result (map and rig) instead of stacking a new rig, and the knob values are kept. Running again in Blur removes the parallax layer and the Displacement Map. When a run is cancelled or fails, the existing map stays as it was.
• A rig made by an earlier version of the plugin (the control null's knobs split into several effects) still renders, but that layer is listed separately under Targets with the reason and is not run again. Delete the whole control null (Depth · Control (<layer name>)) and run again — deleting only the knobs breaks the source layer's Camera Lens Blur expressions. The knob values go back to their defaults.
• The map and the control null are found by the target layer's name. After renaming the target, running again creates a new map and null instead of replacing the earlier ones.
• The map follows the target's position, scale and rotation through the comp name and the target layer name, and the Near Clip and Far Clip knobs are linked through the comp name. After a comp rename the map stops following the target and no clip is applied, and running again restores both. After a target rename the map stops following the target.
• On a 3D layer the map does not follow the target's position, scale and rotation.
• Known limit: the blurred background can pull in the sharp subject's color and leave a halo around the subject. Fine strands such as hair are beyond what the depth map (518 px at most on the short side) can hold.

Make a comp active and select one or more layers. Each selected layer is assigned one color from the palette. The tool is named Multi Fill and its internal id is randomFill.

• Enter — applies.
• Esc — closes the dialog.
• While the color picker is open, Enter and Esc close only the picker.
• Swatches cannot be reordered by dragging. In In order the number is the list position, and the order changes only by deleting and adding colors.
• There are no Alt, Shift or right-click modifiers.

• Undo: one Ctrl+Z reverts the change on every selected layer.
• The color goes to the color channel the layer already has. Shapes use every solid Fill inside them, text uses its fill color, and other solid, footage and precomp layers get a Fill effect named Palette · Fill.
• The solid's source color is not changed. An effect is added to the layer, so other layers using the same solid are not affected. Removing that effect restores the original color.
• Running again replaces the color in the Palette · Fill effect instead of stacking a new one. A Fill effect you added yourself under another name is not touched.
• Random assigns afresh at random on each run. In order gives the same result for the same input, so running it again changes nothing.
• Skipped layers: cameras, lights, nulls, guides, adjustment layers, audio-only layers, shapes without a solid Fill, and layers whose color is driven by keyframes or an expression. The skipped count is shown in the result, and the tool reports an error when no layer was painted.
• A skipped layer does not use up a sequence number or a palette slot.
• The palette is kept while the panel stays open, even after the dialog closes. The mode returns to Random each time the dialog opens.
• With a one-color palette in Random the repeat avoidance cannot apply, so every layer gets the same color, and the result says so.

Make a comp active and select one or more layers. A null layer is created at the comp center and every selected layer becomes its child.

None — applies on click.

None.

• Undo: one Ctrl+Z removes the null and the parent links together.
• The null is named Null, spans the comp duration, has its anchor at its center and its position at the comp center.
• Each run creates a new null instead of reusing an earlier one, and re-parents the selected layers to it.
• A parent the selected layer already had is replaced by the new null.
• Parenting keeps each child where it is on screen. In exchange, the child's transform values (position and so on) are recomputed relative to the null and change.

Make a comp active and select one or more layers. Each selected layer gets a different fixed value on one property. Values go in, not expressions, so they stay editable in AE afterward.

• Enter — applies. Enter on a focused button presses that button.
• Esc — closes the dialog.
• There are no Alt, Shift, right-click or drag modifiers.

• Undo: one Ctrl+Z reverts the values and the 3D switch together.
• The numbers in the preview list are exactly what goes into AE. AE does not recompute them.
• The dialog reads AE once when it opens. If layer numbers or names change in between, nothing is changed and the error asks to open the dialog again.
• Layers without the property, or layers that stay 2D for a 3D-only value, do not use up an index. They show — in the list.
• A property with keyframes gets a keyframe at the playhead time and its other keyframes stay. The preview list marks it with ◆.
• Layers with separated position dimensions are written on the matching axis property. A hidden property (such as X or Y rotation on a 2D layer) rejects the write and only that layer is skipped.
• When the formula result is not a number or is infinite, Apply is locked and no value is applied. Assignments, quotes, brackets and names outside the allowed list are rejected.
• Running again writes the values again with the same rules. With Add to current value on, repeating adds each time.
• The Selected button is absent when no property is selected.

Make a comp active. If the selected layers include precomps, their source comps are cropped; otherwise the active comp is cropped. The crop size is the content bounding box.

None — applies on click.

None.

• Undo: one Ctrl+Z. Active-comp mode and precomp mode each use a single undo group.
• Bounds are computed from one frame: the playhead in active-comp mode, the source comp's own current-time indicator in precomp mode. Only layers in use at that time (time inside in~out) count.
• Layers excluded from the bounds: disabled layers, guide layers, cameras, lights, adjustment layers.
• Active-comp mode resizes the comp and moves parentless layers by the same amount. Child layers follow their parents.
• Precomp mode crops the source comp without opening it and corrects the anchor of every layer that uses that source, so the picture stays put. Layers with an anchor expression cannot be corrected and are skipped. The result notice shows the count.
• In active-comp mode, content bounds under 4 px wide or tall, or no content, stop the tool with an error. Precomp mode skips only such source comps, and stops with an error if all of them are.
• Re-applying recomputes the current bounds. If the content is unchanged, size and position stay the same.

Make a comp active. Every precomp nested inside it is set to the active comp's duration. No layer selection is needed.

None — applies on click.

None.

• Undo: one Ctrl+Z.
• It follows nesting all the way down (precomps inside precomps, up to 64 levels). The deepest comps are fitted before the ones above them, and layer out points are tidied afterwards. A comp used in several places is processed once.
• The active comp's own duration is not changed. Precomps longer than the active comp get shorter.
• A precomp layer's out point is moved to the new source end only if the layer was showing its source to the end. Other layers are moved to the new comp end only if they reached the old comp end. A layer deliberately cut short stays as it is.
• Layers with time stretch (not 100%) or time remap are skipped.
• Layers whose values cannot be written, such as locked layers, are skipped.
• The result notice only says it is done; the number of skipped layers is not shown.
• Re-applying leaves already-fitted comps unchanged.
• Unlike this tool, Trim Layers to Comp does not recurse into nested comps.

Make a comp active. The comp duration becomes the out point of the layer that ends latest.

None — applies on click.

None.

• Undo: one Ctrl+Z.
• All layers are measured, including disabled and guide layers. The selection has no effect.
• The new duration is snapped to the comp's frame grid.
• If the duration is already equal, nothing changes and no undo step is left.
• No layers, or no usable out point, stops the tool with an error.
• The comp duration can grow or shrink. The layers themselves are not touched.
• The opposite direction (cutting layers to the comp length) is Trim Layers to Comp.

Make a comp active. With layers selected, only those layers; with none selected, every layer in the comp has its in and out points trimmed to the comp's time range (0 to comp duration).

None — applies on click.

None.

• Undo: one Ctrl+Z.
• Only the active comp's layers are trimmed. It does not recurse into nested comps.
• A layer lying entirely outside the comp range would end up with zero length, so it is skipped.
• Layers whose values cannot be written, such as locked layers, are skipped.
• The result notice only says it is done; the number of skipped layers is not shown. If every target layer is already inside the range, the notice says so.
• Layers already inside the comp range are unchanged. Re-applying to the same comp gives the same result.
• Only the layer's in and out points change. Source and keyframes are not deleted.

Select one or more precomp layers in a comp. The layers inside each precomp are copied into the current comp and placed directly above the precomp layer in their original order.

None — applies on click.

None.

• Undo: the timing and parent correction and the disabling of the original run inside one undo group, and one Ctrl+Z reverts that group. Copying and repositioning run outside that group, layer by layer, because AE can refuse to copy a layer that has a parent or a linked expression while an undo group is open. How the ungrouped copying and repositioning are recorded in the Ctrl+Z history is decided by AE, not by this tool.
• Selected layers that are not precomps are ignored. With no selection, or no precomp selected, the tool stops with an error.
• Copied layers' start times are shifted by the precomp layer's start time. Time is shifted in seconds; no frame-rate conversion is done.
• Parent links made inside the precomp are reconnected between the copies.
• Locked layers inside the precomp are copied too. Each copy is unlocked only while it is repositioned and its timing and parent are corrected, and it is locked again at the end.
• If a step fails partway, the copies made by this run are deleted and the original precomp layer keeps the enabled state it had before the run. If some copies cannot be deleted, the error message gives their count and names. How the deleted copies are recorded in the Ctrl+Z history is decided by AE, not by this tool.
• The precomp layer's own transform, effects, in/out points, time stretch and time remap are not applied to the copies.
• The original precomp layer is not deleted; it is disabled. The source comp also stays in the project.
• Selecting the disabled original and applying again makes another set of copies. A disabled layer is still a precomp layer, so it is a target.

No selection is needed. The Project panel's comps and footage are sorted by a folder template. The dialog shows the plan (how many items go to which folder) as soon as it opens, before anything is applied.

Default template:

• 00_RENDER — FINAL · PREVIEW
• 01_COMP — MAIN · SHOT · PRECOMP
• 02_SOURCE — AI · PSD · GEN_AI · IMAGE · VIDEO (FOOTAGE · OVERLAY · TEX) · SOUND (BGM · SFX · VOICE) · ETC
• 03_SOLIDS
• 04_REFERENCE

• Enter — apply. Esc — close. On the template editing screen Esc returns to the plan and Enter does nothing.

• Undo: one Ctrl+Z. The preview opens no undo group.
• The order of the checks cannot be changed. A template only decides the folder each kind goes to and the word and extension lists.
• Re-applying: items already inside the template folders are left alone and counted as left as they are. The template folders are the folders directly under the root whose name equals a template root name (case and surrounding spaces ignored) and everything under them, including subfolders you made. Only items at the root or in folders outside the template are moved. Scene folders (#01) are places this tool made, so turning scene split on or off re-places items within them.
• Unsorted slots are re-judged every time. Items sitting directly in the folders that hold what could not be classified, ETC and the SOUND root, are not left alone but classified again. Add an extension or a word to the template and they find their place on the next run; if one still cannot be matched it stays there. Only what stays in ETC counts toward the unsorted count and the notice; audio left in the SOUND slot stays where it is and is not counted. Subfolders of these slots were made by you, so they are left alone.
• If the template merges the Unsorted kind (ETC) or the Audio · other kind (the SOUND root) into a folder shared with other kinds, that whole folder is an unsorted slot. Items you put directly in that folder are classified again and moved on every run. To keep a place you chose, do not merge these kinds with others, or put the items in a subfolder you make inside that folder.
• If the saved file cannot be read (edited by hand, or made by a newer version), sorting stops. Tool buttons stop too, and nothing is quietly sorted with the default template. Restore the default in the dialog, or fix and save, to continue. Merely opening the dialog never overwrites the saved file.
• Comps: a comp in the render queue goes to the FINAL folder regardless of its name. A comp no other comp uses goes to FINAL if its name has the word fin · final · master · 출고, to PREVIEW for prev · preview · prv · draft · wip · 테스트, and to MAIN otherwise. A comp used only by top-level comps is SHOT; the rest are PRECOMP. Name words are not applied to comps that other comps use.
• Footage: solids go to SOLIDS. If the name, or the name of the folder holding the file on disk, has the word ref · reference · 레퍼런스 · 참고, it goes to REFERENCE. The rest is split by extension into AI · PSD · IMAGE · VIDEO · SOUND; images and videos whose name has a generator service word (genai · gen and others) go to GEN_AI.
• Subfolder words (defaults): OVERLAY = overlay · leak · flare · lut · grade, TEX = tex · texture · grain · noise · paper, otherwise FOOTAGE. BGM = bgm · music · track · bg, SFX = sfx · fx · foley · whoosh · hit, VOICE = vo · voice · narr · dialog · 나레이션, otherwise directly under SOUND.
• A word is a piece of the name split at every character that is not a Latin letter, digit or Hangul. Words match whole pieces only, never substrings. Case is ignored.
• Unsorted: footage whose extension is not listed or missing, and placeholders, go to ETC. The plan's unsorted count is this number, and the notice after applying shows it too.
• Folder items themselves are not classified. Only the comps and footage inside them are moved into the template folders.
• Existing template folders (case and surrounding spaces ignored) are reused. Re-applying does not create same-named folders again.
• The preview has no deleted-folder count. The count is in the notice after applying.
• No comps and no footage stops the tool with an error.
• Only folders and item locations change. Layers and keyframes are not touched.

Activate a comp and select a shape layer, a text layer, or one text layer together with one shape layer. Each stroke group gets a Trim Paths End keyframed from 0 to 100, so the artwork appears as if being written.

None — applies on click.

None.

• Undo: one apply is one undo group, reverted by one Ctrl+Z. With a text-only selection AE's menu command Create Shapes from Text runs inside the same undo group. Any separate steps that the menu command leaves in the Ctrl+Z history are decided by AE, not by this tool.
• Shape layers: shape groups directly under the root that hold a bezier path count as strokes. They are ordered left to right by content x position, and each group's Trim Paths (added if missing) gets End keyframes 0→100.
• On a closed path the start vertex is moved so writing begins at its top-left vertex; the shape stays the same. An open path keeps its vertex order and is written in the direction it was drawn.
• Timing: every selected layer starts at the playhead. The strokes share 2 seconds in proportion to their path length, so the writing speed is constant. Each next stroke starts 15% of the previous stroke's time early, so the strokes overlap and the total runs shorter than 2 seconds. An ease slows each stroke's end keyframe.
• Text only: each text layer goes through Create Shapes from Text to build an outline shape layer. Glyphs are split top to bottom, and left to right within a line, and animated the same way. The source text layer is disabled, not deleted. The conversion command is looked up by its menu name and run. If the name lookup finds nothing or the run produces nothing, a preset command number runs once more, only when it differs from the number the lookup found. A text layer with no characters (empty or spaces only) is skipped without conversion.
• One text plus one shape: the shape is linked as the text's alpha matte and the write-on is applied to the shape. The matte link uses the track matte API of AE 2023 (23.0) or later. If linking fails, the write-on still applies and a note reports the failure.
• Re-apply: the group's existing Trim Paths is reused, Start is set to 0, and the Start and End keyframes are deleted and rebuilt. With a text-only selection, each run creates a new outline shape layer.
• A group holding only parametric shapes such as rectangles and ellipses is not a target. With no bezier path found, the tool returns an error with a Convert To Bezier Path hint.
• When a group has no stroke, a note gives the count of such groups and says the result may not show there.

Activate a comp and select one or more layers that have masks or shape paths. One null is created for every vertex of every mask and shape path.

• Enter — creates.
• Esc — closes the dialog.
• No Alt, Shift, right-click or drag modifiers.

• Undo: one Ctrl+Z.
• Re-apply: every run adds a new set of nulls. Names follow <layer>_<mask or path>_p<number>, with _2 onward when a name is taken. Existing nulls are neither deleted nor updated. Running Points → Nulls again rewrites the path expression to follow the new nulls, and the earlier nulls stay unlinked.
• There is no dedicated remove action.
• Nulls → Points and Points → Nulls reference the source layer by name. If another layer in the comp has the same name, the source layer is renamed to a unique name.
• On a shape path under a group transform, Points → Nulls cannot stay live and falls back to Bake. Nulls → Points stays live under a group transform. Masks are exact in every mode.
• Parametric shapes (rectangle, ellipse, polygon/star) are read for vertices in Bake and Nulls → Points. Points → Nulls skips them and reports how many it skipped.
• If no mask or shape path is found anywhere in the selection, nothing is created and the tool returns an error. When only parametric shapes were skipped, the error adds a Convert To Bezier Path hint. A layer without one is skipped while the others proceed.

Select a vector layer (AI, EPS and similar) in the active comp and AE's Create Shapes from Vector Layer command makes a shape layer from it, and the result is split into one layer per root group. Selecting only shape layers skips the conversion and only splits. With several layers selected, each one is processed. After a split, the pre-split shape layer stays in the comp with its video switch off.

None — applies on click.

None.

• Undo: one apply is one undo group (You Name It: Shapes from Vector). When only shape layers are split, one Ctrl+Z reverts it. On the conversion path AE's menu command Create Shapes from Vector Layer runs inside the same undo group. Any separate steps that the menu command leaves in the Ctrl+Z history are decided by AE, not by this tool.
• Splitting happens when there are 2 or more root groups. When there is one root group holding 2 or more groups (a single wrapper group from AI), it goes one level down and splits those groups. Otherwise the layer is left as it is.
• Fills, strokes and compound paths inside a group are not split. Holes and compound shapes are kept.
• Split layers take the group names, and the group stacking order is preserved.
• If the selection contains any non-shape layer, the conversion command runs on the whole selection and only the shape layers that the command created are split. The conversion command is looked up by its menu name and run. If the name lookup finds nothing or the run produces nothing, a preset command number runs once more, only when it differs from the number the lookup found.
• On non-vector layers (solids, images, footage) AE's command makes nothing. When no new shape layer appears, only the shape layers in the selection are split; with no shape layer either, the tool ends with an error saying nothing was converted to shapes.
• On the conversion path AE does not bring over live text from AI. Text outlined in Illustrator converts as it is. A notice about this appears every time a conversion happens.
• Re-apply: not idempotent. Each press runs again on the current selection. Pressing it again with the hidden original selected makes another set of split layers. Pressing it with a split layer selected splits one level further only when that layer's group holds 2 or more groups; otherwise a notice says there are no groups to split.

An active comp is required. grid creates cards regardless of the selection, fill places the selected layers into cells, and cut slices each selected layer into one tile per cell. The grid and fill grids divide the whole comp; the cut grid divides each layer's bounds (its source rectangle at the current time). Fill order is AE's selection order: click-selected layers keep the order they were clicked in; with a drag selection, the layer the drag reached initially is number 1 and the rest follow timeline top to bottom. The dialog reads AE once when it opens, and in fill it shows the actual fill order on the Fill order: line. In fill and cut, pressing apply reads the selection again; if it differs from when the dialog opened, nothing is applied and the new order is shown. A second press applies.

• Enter — apply. Esc — cancel.

• Undo: one apply is one undo group (You Name It: Bento Grid or You Name It: Bento Cut). One Ctrl+Z reverts it.
• Re-apply (cut): removes only that layer's own tiles (Bento Cut <layer id> NN) and their tile precomps, and builds new ones. The original and other layers stay. Edits made on the tiles are lost, and a layer whose name matches the tile naming is replaced even if edited by hand. Opening the dialog with a previously cut layer selected opens it in cut mode with the last settings.
• Re-apply (grid and fill): nothing is replaced. Applying again keeps the existing set and makes another one.
• There is no layer count limit. Below the status line the dialog always shows the layers (including those inside precomps), masks and precomps this apply will create. Above 1,000 layers in one apply, a warning line appears and the button text changes to state that count; a second press applies. A changed count asks again.
• Cost reference: at 20×20, grid (shapes) took about 22 s and cut about 38 s (2026-09-30, measured on one development computer). Large grids can freeze AE for minutes.
• fill skips layers that have a parent or anchor, position or scale keyframes, locked layers, cameras and lights. With stagger on, layers with opacity keyframes are skipped too. With more layers than cells, the surplus layers are lifted above the grid; with fewer layers than cells, the remaining cells stay as cards.
• cut skips layers that have a parent or anchor, position or scale keyframes, 3D layers, locked layers, cameras and lights. With stagger on, layers with opacity keyframes are skipped too.
• cut duplicates the original's effects and masks into every tile. Audio inside and outside the tiles is off, and the sound keeps coming from the hidden original, once. The original stays with only its video switch off (like an audio-only layer); its audio switch and its in/out times are left as they were. If the original has no sound the result is silent, and if you had muted it beforehand it stays muted. Deleting the hidden original also deletes the sound (re-applying needs that original too).
• Merged patterns other than random and uniform need at least 2 rows and 2 columns; below that a uniform grid is built.
• When spacing leaves no room for cells, grid and fill are not applied and cut skips that layer.
• With many cells the preview is reduced to a lattice drawing. Apply still builds every cell.

Activate a comp and select one or more shape, text, solid, footage or precomp layers. Path or mask corners are rounded by a live expression, and the radius holds in comp px when the layer or its parents scale.

• Alt+click — Alt+clicking the tool button removes the rounding rig from the selected layers without opening the dialog.
• Enter — applies.
• Esc — closes the dialog.
• No Shift, right-click or drag modifiers.

• Undo: one Ctrl+Z for apply and for remove.
• Controls: each layer gets one Round · Controls effect. Radius px (0–500 px, dragging covers 0–200 px) sits on top. A layer with one path of 16 vertices or fewer also has a Per Corner checkbox and collapsed per-corner fields, and the per-corner fields are used only while Per Corner is on. When four vertices map one-to-one onto the four quadrants the fields are TL px, TR px, BR px and BL px in the Corners group, otherwise Point 1 px…Point 16 px in the Points group (path vertex order), and fields past the vertex count are unused. A rectangle that stays a native Rect, a layer with two or more paths and a path with more than 16 vertices have Radius px only. The expressions find the effect by its internal identifier, not its name, so renaming the effect or its fields keeps them working.
• Re-apply: a Round · Controls of the same kind is reused, and Radius px and the per-corner fields in use get this run's requested values again. Values changed in Effect Controls are overwritten, but fields with keyframes or expressions are left alone. Per Corner is turned on only when the per-corner values differ, and is otherwise left as it is. When a changed vertex or path count calls for another kind, Round · Controls is swapped for the new kind and the earlier values are dropped — a layer always has one rounding effect.
• Remove takes off only what this tool made: its expressions, the Round · Controls effect (including ones made by an earlier plugin version, and Round · sliders and checkboxes) and the Round · Bounds Mask mask. A converted shape stays a bezier path and does not return to its parametric form.
• A layer with two or more paths and masks combined takes a uniform radius instead of per-corner values, and the result message says so. An earlier per-corner Round · Controls is replaced by one with Radius px only.
• A layer rounded by an earlier plugin version (separate sliders such as Round · Global, or a Round · Controls from another version) keeps rendering, and applying again returns an error. Alt+click removes it, and applying again after that works. If any selected layer is like that, nothing is applied to any layer.
• Individual corners fall back to a uniform radius above 16 vertices.
• Solids, footage, precomps and text with no mask get a new Round · Bounds Mask. The mask is built once from the layer bounds at the playhead and does not follow later content changes. On text it rounds the box, not the glyphs, and letters can be clipped.
• A rectangle stays a native Rect when all corner values match and the radius error caused by unequal horizontal and vertical scale is 1 px or less. Otherwise it is converted to a bezier path, and only Ctrl+Z reverses that conversion. Stars and polygons always convert. Ellipses have no corners and are skipped. Converted shape names appear in the result message.
• On a layer whose world transform is not orthogonal, the radius is approximate and the result message says so.
• Null, camera and light layers are skipped. If no corner to round is found, the tool returns an error.

An active comp is required. Texture needs no selection and creates one new pattern layer. Apply to layer works on one layer (shape, solid, text, image, footage or precomp) and uses that layer's brightness as the pattern density. Apply goes to the layer selected at the moment it is pressed. Opening the dialog with exactly one layer selected (not a camera or light) starts in Apply to layer. Opening it with a layer made by Pattern Lab selected starts in that layer's mode with its last values, and applying rebuilds that layer in place. The Apply to layer preview assumes a layer that is dark on the left and bright on the right, and draws the same grid the apply produces.

• Enter — apply. Esc — cancel. While the color popover or the font list is open, Enter and Esc act on that popover or list only.
• Preview at 100% — drag to pan.
• Font list — ↑↓ moves through the items.

• Undo: one apply is one undo group (You Name It: Pattern Lab). One Ctrl+Z reverts it. Choosing a font not used before in ASCII field adds a separate undo entry for the character-width measurement (_donys_pl_fontMeasure); that entry does not change the comp.
• Re-apply (Apply): when the selection is our Pattern · Apply layer, only its bands, tiles, background and cells are removed and rebuilt. The original layer and its keyframes, layers added inside the precomp by hand, and the outer transform keyframes stay. Keyframes set on the bands, tiles, background or cells are lost. Values changed in Effect Controls return to this dialog's values. If the Pattern · Apply layer's opacity is animated, this dialog's opacity is not applied.
• Re-apply (Texture): our layer is recognized by the receipt line in its layer comment. With that line removed, the re-apply section does not appear. Shape groups added by hand are kept. Animated properties are not overwritten.
• Apply is refused for: anything other than a single selected layer, camera, light, null, adjustment, guide and 3D layers, audio layers without video, layers with a parent or children, layers that use a track matte or serve as another layer's matte, and a comp inside a pattern precomp. Re-applying our Pattern · Apply layer skips this check.
• In apply with Layer anchoring, a layer larger than the comp is cropped at the comp edge and a notice appears. Apply runs its effect stack every frame, so it is heavier than Texture.
• Texture uses no expressions or effects, so there is no per-frame recalculation cost. Truchet takes several seconds with many cells.
• In apply, primitive count grows close to the square of the column count, so large counts take AE a long time. 4K with 512 columns and 8 bands took 62–116 s, and the same settings vary widely with AE's state (measured on a development computer).
• Proportional fonts in ASCII field can misalign columns in text output because glyph widths differ. PNG output and Shape place each character per cell and do not misalign. The preview shows the browser's real glyph widths; when the browser lacks that font it draws a similar font instead and shows a notice.
• PNG output files are written to a temp folder (macOS /tmp/donys, Windows C:/Users/Public/donys_temp). Apply's ASCII tile PNGs are written to a Pattern Lab Tiles folder next to the project file, or to the app data folder for an unsaved project. Ctrl+Z does not delete these files.
• After a timeout AE may still be building. Pressing apply again only lengthens the queue.
• In Apply to layer, Shape runs AE's menu command Create Shapes from Text for each glyph tile inside the same undo group. Any separate steps that the menu command leaves in the Ctrl+Z history are decided by AE, not by this tool.
• In Shape, the command is looked up by its menu name and run. If the name lookup finds nothing or the run produces nothing, a preset command number runs once more, only when it differs from the number the lookup found. When neither produces a result, apply stops with an error. A whitespace character runs no command and becomes an empty tile.

Select one or more visual layers (shape, image, footage, solid, text) in the active comp. One grid shape layer (Vertex Grid · <layer name>) is created per selected layer. Lines follow the layer's own plane axes through each vertex out to the comp edge, and a mark is placed at each vertex. The lines and marks read the target layer through expressions and follow it every frame, so moving the layer or turning it with rotation, 3D or a camera moves them too. It is a rendered shape, not a guide.

• Enter — apply. Esc — cancel.

• Undo: one apply is one undo group (Vertex Grid). One Ctrl+Z reverts it.
• Re-apply: the grid layer that points to the selected layer is recognized, removed and built again instead of stacking. It is recognized even after the target or the grid has been renamed. Applying with a grid layer selected applies again to that grid's target. A grid from an earlier version, without the layer control, is recognized by the name Vertex Grid · <layer name> and is rebuilt with the layer control. Effects or edits added on the grid layer are removed with it. Opening the dialog with the grid or its target layer selected opens it with that grid's last values.
• The expressions read the layer that the grid layer's Layer Control effect Vertex Grid · Target points to. The control points to the layer itself, not to its name, so the grid keeps following when the target is renamed or the layer order changes. Apply does not rename the target, and when several layers share a name each grid follows its own target.
• Line count: a rectangular layer gets 4 lines (2 vertical, 2 horizontal), in 2D or 3D. On a tilted or rotated layer the lines lean with perspective and rotation. With path vertices, one line is made per distinct x and y of the vertices in layer coordinates.
• The line and mark count is fixed at apply time. If the path's vertex count changes later the count stays; applying again replaces it with the new count.
• Nothing is created when the vertex total across the selected layers exceeds 200.
• Parametric shapes drawn with the shape tools (rectangle, ellipse, polygon, star) have their vertices computed and used too. The grid follows even when the shape group carries a transform.
• Cameras and lights are skipped, as are layers whose bounds cannot be measured.
• The Cinema 4D renderer draws 3D layers about +0.5 px wider, so the lines and the rendered edge differ by that much. With Classic 3D this error measured 0.00 px.
• There are no glow or fade controls. Effects can be applied to the grid layer.
• When the target layer is deleted, the layer control points to the grid layer itself and the expressions read nothing, so the grid draws nothing. Setting Vertex Grid · Target to another layer in Effect Controls makes the grid follow that layer, but the line and mark count and the vertex addresses stay those of the target at apply time.

Activate a comp, select one or more layers and apply. Each layer gets stacked Drop Shadow effects that stretch the shadow out, and the values are driven by one effect in Effect Controls (Master Shadow · Controls).

• Enter — applies.
• Esc — closes the dialog.
• No Alt, Shift, right-click or drag modifiers.

• Undo: one Ctrl+Z each for Apply, Remove and Clear rig. Select all makes no undo step.
• What each layer gets: one effect Master Shadow · Controls and the Drop Shadow effects Shadow 1…N. The control effect has Opacity %, Distance px, Softness, Direction, Color and the Use Light and Use Global checkboxes on top, the Gradient checkbox and Color 2 in the Gradient group (closed when added), and Falloff under Advanced. After applying, this effect keeps adjusting it. The sliders show the dialog's ranges (Distance 0–200, Softness 0–100); typing a value goes up to Distance 4000 and Softness 30000 (Drop Shadow's own limits). Opacity is 0–100 and Falloff 0–1.
• The global null (Master Shadow Global) gets one effect Master Shadow · Global (without Use Light and Use Global).
• The layer comment is not written. Applied layers are recognized by the Master Shadow · Controls effect (rigs from an earlier version by the MS * controls and the Shadow N effects). Layers whose comment an earlier version set to DonyMS are recognized too, and removing clears the comment only when it is exactly DonyMS.
• Renaming the effect is fine. If Master Shadow · Controls is duplicated, only the upper one is read.
• A rig made by an earlier version of the plugin (control effects split into MS Color and the rest) still renders, but applying to that layer again is refused. Take it off with Remove and apply again. An earlier version's global null is refused when applying with All together and its values are not read into the dialog — remove it with Clear rig and apply again.
• The status line reads the comp when the dialog opens and after every button action, and shows how many layers are applied and whether a light or global null exists.
• Re-apply: a layer that is already applied has its Master Shadow effects stripped and rebuilt from the dialog values. Values tuned in the control effects are overwritten by the dialog values. Applying with All together also overwrites an existing global null's values with the dialog values.
• Remove takes off only the control effects (an earlier version's too) and Shadow N effects this tool made. The light and global nulls stay, and Clear rig removes them.
• Camera and light layers and 3D mesh or model layers (layers that cannot take effects) are skipped. Ordinary layers with the 3D switch on are not skipped. The rig nulls (light, global) are never applied to. With no applicable layer, the tool returns an error.
• A shadow effect holds one color, so a gradient exists only between copies. Few copies show as bands.
• A rig made under the earlier DonySC / SC * names cannot be removed by this tool.

Activate a comp and select one or more layers that can take effects (shape, text, solid, footage, precomp and so on). Each selected layer becomes three channel layers, R, G and B, recombined with an Add blend to produce chromatic aberration.

None — applies on click.

None.

• What is added or changed per layer:
  • The source is duplicated three times, with _R, _G and _B added to the name. Label colors are red, green and blue.
  • Each duplicate gets a Shift Channels effect that keeps one channel and sets the other two to Full Off.
  • The duplicates' blending mode is Add.
  • Position x moves −8 px for R and +8 px for B, and G stays in place.
  • The source layer is disabled, not deleted.
• If Position has keyframes or an expression, that duplicate's offset is skipped. The channel split still applies.
• Undo: one Ctrl+Z.
• Re-apply: not idempotent. Every run adds three new duplicates for each selected layer. Duplicates this tool made and disabled sources are duplicated again like any other layer.
• Camera and light layers and 3D mesh or model layers are skipped. With no splittable layer, the tool returns an error.
• The offset distance (8 px) and direction (horizontal) cannot be changed from the tool button. After applying, the duplicates' Position values can be edited directly.

Activate a comp and select one or more visual layers: shape, text, solid, footage or precomp. The edges get a hand-redrawn boiling wobble.

None — applies on click.

None.

• Effects and controls added per layer:
  • Roughen Edges, named Edge Boil · Rough — Border 10, Edge Sharpness 5.67.
  • Turbulent Displace, named Edge Boil · Boil — Amount 80, Size 2. Random Seed carries a time × speed expression, so the wobble changes speed times per second.
  • Edge Boil · Controls — one speed knob, Speed, range 0.5–20 · default 4. The seed expression reads this value. If the effect is deleted, the expression keeps running at the speed baked in at apply time.
• Undo: one Ctrl+Z.
• Re-apply: a layer that already has Edge Boil · Rough or Edge Boil · Boil gets nothing added and its values are left alone. A layer where both are gone but Edge Boil · Controls remains gets the two effects again and keeps the Speed value.
• Roughen Edges and Turbulent Displace under other names are left alone.
• A rig made by an older version of the plugin (the one with a separate Edge Boil · Speed (0.5~20) knob, or a Turbulent Displace whose Random Seed expression reads time * <number>) still plays but cannot be applied again. Delete those effects in Effect Controls and apply, and the new scheme takes over.
• The tool button has no remove action. Remove the effects in Effect Controls.
• Camera and light layers and 3D mesh or model layers are skipped. With no applicable layer, the tool returns an error.

Activate a comp and select one or more text layers (layers that are not text are skipped). Each layer's text types out in Hangul jamo steps (initial consonant → initial plus vowel → finished syllable when there is a final consonant), and a blinking | cursor follows.

None — applies on click.

None.

• One Typewriter · Controls effect (Effect Controls) is added per layer, with these items:
  • Duration s — total typing time, 0.01–600 s, default 2 s.
  • Blink Rate — times per second the cursor toggles on and off, 0–20, default 2; 0 keeps it visible.
  • Start Delay s — wait from the layer's In point to the start of typing, 0–600 s, default 0 s.
  • Cursor — checkbox, default on. Off removes the | and shows the typing only.
• A typing expression is set on Source Text. When alignment shifts the text by the cursor width (center alignment, for example), a compensating expression is set on Anchor Point too. Left alignment gets none. The layer's motion blur is turned off.
• Values are clamped to each item's range. If the effect is deleted, typing keeps running with the values baked in at apply time instead of stopping. If the effect is duplicated, only the upper one is read.
• Undo: one Ctrl+Z.
• Re-apply: the existing expression is switched off briefly to read the original text, so the | is not baked in as source text. An existing Typewriter · Controls is kept with its values instead of being recreated. The expression is rewritten and its fallback values refresh to the defaults. When compensation is no longer needed, only an Anchor Point expression made by this tool is cleared and one you wrote is left as it is. When compensation is needed, the Anchor Point expression is overwritten, including one you wrote.
• If Source Text has keyframes, the text at the playhead is the one that types out. In that case the cursor-width compensation is measured on a temporary layer, so it can be off on a layer whose Text Animators or Path Options change the letter spacing.
• A rig made by an older version of the plugin (the one with four separate knobs such as Typewriter · Duration in Effect Controls) still plays but cannot be applied again. Delete those knobs and apply, and the new scheme takes over.
• Empty or whitespace-only text is skipped. If every layer is empty, the tool returns an error. It also returns an error when no text layer is selected.
• Non-Hangul characters appear one character per step.

Make a comp active. That comp is added to the render queue as an item.

None — applies on click.

None.

• Undo: this tool adds the one render queue item inside one undo group. Whether adding a render queue item is recorded in the Ctrl+Z history is decided by AE, not by this tool.
• The render is not started. Render settings, output module and save location are AE's render queue defaults; this tool sets none of them.
• This tool applies no low-resolution setting either. That is set in the render queue.
• When the render finishes, the result is not assigned as a proxy automatically. Assigning it as a proxy is done by hand in the Project panel.
• Re-applying to the same comp adds another render queue item.
• With no active comp the tool stops with an error.

Make a comp active. After you set the options in the dialog and convert, the comp is rendered and saved as a GIF file.

• Enter — convert. Does nothing on the install screen.
• Esc — close. Does not close while downloading.

• Undo: adding the temporary render queue item and its render settings run inside one undo group, and the item is deleted after rendering. Once the conversion finishes, no change is left in the project. The GIF file that was made is not deleted.
• An unsaved project stops the tool with an error before anything is added to the render queue.
• The comp is rendered to the system temp folder as lossless video. Render settings use AE's highest-quality template; the output module uses the Lossless with Alpha (MOV) template on macOS and Lossless (AVI) on Windows. FFmpeg makes the GIF from that video and Gifsicle shrinks the file size.
• The tool does not set the render range; it follows the time span of the render settings template. AE's default Best Settings template renders only the work area.
• Other items queued in the render queue are rendered along with it.
• AE takes no other work while rendering. The panel waits up to 5 minutes; past that it ends with an error and makes no GIF.
• If Gifsicle is not found or the Gifsicle step fails, the GIF from before the size reduction is kept. In that case the lossy compression and loop settings are not applied.
• The temporary video file (<comp name>_gif_<time>.mov or .avi) stays in the system temp folder after conversion.
• The installed check looks at FFmpeg only. It searches, in this order, bin/ in the app data folder, the system PATH and common install paths (macOS /usr/local/bin · /opt/homebrew/bin, Windows C:\ffmpeg\bin · C:\Program Files\ffmpeg\bin); found anywhere, it counts as installed. Gifsicle is searched in the same order.
• Downloading needs an internet connection. Offline, the install fails.
• VLC misreads GIF frame delays and plays longer. Browsers and the Windows Photos app play correctly.

Make a comp active and put the playhead on the frame to capture. Clicking opens a folder picker, and the frame is saved there as a PNG.

None.

• Undo: the project is not changed, so there is no undo step. The render queue is not used.
• The save location is only the folder picked on each click. There is no fixed output folder.
• The file name is <comp name>_F<frame number, 4 digits>.png. The frame number is counted from the comp start (0 s) and ignores the comp's start-frame display setting. The characters \ / : * ? " < > | in the comp name become _.
• Capturing the same frame into the same folder again uses the same file name and overwrites the existing file. No confirmation or error appears.
• After saving, the file is revealed in Explorer (Finder on macOS).
• With no active comp, the tool stops with an error after the folder is picked.