Motion designer Harry Frank shows how to breath new life or make a retro look with standard After Effects Lens Flare by using Shape Layers and Trapcode Shine.

This brief tutorial covers the compositing technique of light wrapping.

Clean 3D background with a soft movement. Ideal for company presentations, TV shows and DVD projects.

Stylish and modern lower third. It features an ample area for secondary information where you can add not just text, but also images or video.

This script gives the ability to make your own custom toolbar with Effects, presets or any commands you use the most often

This plugin will create mattes that are attached to objects in 3D renders by using a PPass

YY_MagicKey is a very powerful keying plugin, minus the complicated settings. It was designed specifically with the keying-out of premultiplied stock elements (explosions, blood, muzzle flares, etc) in mind, and never takes a long time to set up.

Compositing fog elements seems like a pretty straightforward thing to do in After Effects. Shoot or render your fog element against black, and then Add or Screen it on top of your footage, right? Wrong. This method is incorrect. Let's go over why.

It shouldn't matter what rotation methods and parenting the original camera has, as it translates all of that into a free camera with only position, rotation, and zoom parameters.

Photoshop files can contain layer sets, groups of layers that are imported into AE as precomps. Unfortunately these precomps are always the same size as the main comp.