Every version, explained like a colleague would — not a commit log. The panel updates itself, so you already have all of this.
The latest three versions. Older ones below; the terse list is in the changelog.
Drag the panel narrow and the keys become a column of coloured icons. Each one works in one click: keys with options repeat the last thing you did with them.
Retime, reverse and the other Keyframes tools now reach every selected effect, even with plugins like Twixtor, not just the first one.
Every option you set in the drawers stays as you left it, even after restarting After Effects. New presets show up by themselves, and Plugins copies all the effects of a clip at once.
Subtitles and link downloads now work on Mac too, on Apple Silicon and Intel. The panel fetches the Mac versions by itself the first time. The Mac installer also opens right away now.
Pick an effect or plugin and it goes on every selected clip. Animate it on one clip the way you like, press Copy to all, and every other clip gets the same settings and keyframes, ease included, fitted to its own length.
One key removes every effect from all the selected layers. Ctrl+Z brings them back.
The video now comes in exactly as the site has it: best quality up to 1080p, original frame rate, nothing re-encoded. Add to comp puts it at the playhead reliably, and a sudden login wall makes the panel update itself and try again.
The foundation: still here, still one click.
Want Reverb, a blur or Twixtor on twenty clips? Search it in Presets like any preset and Apply puts it on every selected layer at once. Every effect and plugin installed in After Effects is in the list.
Not sure what a key does? The Guide button at the top of the panel opens the explanation of every key in your browser.
Some videos come with an odd or changing frame rate, and After Effects let the sound drift. They now arrive at a standard frame rate, so picture and sound stay together.
Paste a TikTok, YouTube or Instagram link and the video or the sound lands in your project, already imported — on the timeline if you want it there. Pick the quality from 720p to 4K; it always arrives as H.264, so After Effects never refuses it.
Editors don't cut on a metronome, they cut on the sounds that stand out. The Beat Marker now finds exactly those, a hair before the peak. Fewer, Auto or More sets how many. Type a BPM when you do want the even grid.
Press one key and your subtitles are written as text layers, each timed to the words. It listens on your own machine — nothing is uploaded, nothing is charged. Choose one word at a time up to a full line, any font you have installed, the colours, a shadow, outline or box behind the text, where they sit, and how they enter. Windows for now; Mac follows.
Every key's options panel got the same treatment: the label sits above the control, controls run the full width, and related settings are grouped. Less squinting, fewer mis-clicks.
The download now carries a Mac installer as well: right-click Install.command and open it. Same panel, same keys.
Two buttons on the home page, so you get just the installer for your machine instead of both.
Apply a preset to every selected layer at once — clips, adjustment layers, whatever is selected — with the keyframes placed at each layer's in point, out point, or stretched across it.
Select several clips and Adjustment Layer gives each one its own, trimmed to that clip, ready for an effect or a preset.
Fit to layer end, Align, Stretch and Reverse now take all the keyframes you selected — across Twixtor, Sapphire, transforms, whatever — in one click, each curve kept intact like Alt-drag.
Install once. Every new version arrives on its own the next time you open the panel — no more downloads.
Select five precomps, press Adjustment Layer with "One per selected layer": five adjustment layers, each trimmed to its clip, ready for effects or a preset.
The panel now reads the audio file itself (MP3, WAV or the video): finds the tempo, locks to the grid, and puts markers on the hits you'd actually cut on — not a metronome, not the hi-hats.
Select your clips, press once: each one starts on a beat marker and ends on the next. Cut every 1, 2 or 4 beats.
Search After Effects' own animation presets from the panel, star your favorites, and Apply puts one on every selected clip — keyframes at each clip's in point, out point or stretched over it.
The panel asks once for the email you used to download, then remembers you.
Cut all selected layers at the playhead; scale to comp width / height / fit; center.
Align to playhead, Fit to layer end, Reverse, Stretch — curves kept like Alt-drag.
Overshoot, Bounce, Elastic as one-click expressions. Remove with one click.
Layers one after another, or N frames apart, bottom→top or top→bottom.
Save your own curves, rename or delete inline, Read selection, All keys on layers.
Drag keys by the corner grip; ⋯ or right-click opens options; a plain click runs.
Exact in/out, no lost last frame, "Each separately" for one precomp per layer.
The shaded area under the curve is the speed — see the snap before you apply it.