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Subsequently Effects User Guide
Beta releases
1. Beta Programme Overview
2. Later Furnishings Beta Home
3. Features in Beta
  1. Backdrop console (Beta)
Getting started
1. Go started with After Effects
2. What's new in After Furnishings
3. Release Notes | Afterward Furnishings
4. After Effects arrangement requirements
5. Keyboard shortcuts in After Effects
6. Supported File formats | After Effects
7. Hardware recommendations
8. Planning and setup
9. Setup and installation
Workspaces
1. General user interface items
2. Get to know Later Effects interface
3. Workflows
4. Workspaces, panels, and viewers
Projects and compositions
1. Projects
2. Composition nuts
3. Precomposing, nesting, and pre-rendering
4. View detailed functioning information with the Composition Profiler
5. Movie theatre 4D Composition Renderer
Importing footage
1. Preparing and importing however images
2. Importing from After Effects and Adobe Premiere Pro
3. Importing and interpreting video and audio
4. Preparing and importing 3D image files
5. Importing and interpreting footage items
6. Working with footage items
7. XMP metadata
Working with text and graphics
1. Text
  1. Formatting characters and the Grapheme panel
  2. Text effects
  3. Creating and editing text layers
  4. Formatting paragraphs and the Paragraph console
  5. Extruding text and shape layers
  6. Animative text
  7. Examples and resources for text animation
  8. Live Text Templates
2. Motility Graphics
  1. Piece of work with Motility Graphics templates in After Effects
  2. Utilize expressions to create drop-down lists in Motion Graphics templates
  3. Work with Essential Properties to create Motion Graphics templates
  4. Replace images and videos in Motion Graphics templates and Essential Properties
Drawing, painting, and paths
1. Overview of shape layers, paths, and vector graphics
2. Pigment tools: Brush, Clone Postage, and Eraser
3. How to taper shape strokes
4. Shape attributes, paint operations, and path operations for shape layers
5. Use Get-go Paths shape outcome to change shapes
6. Creating shapes
7. Create masks
8. Remove objects from your videos with the Content-Enlightened Fill console
9. Roto Brush and Refine Matte
Working with layers
1. Selecting and arranging layers
2. Blending modes and layer styles
3. 3D layers
4. Layer properties
5. Creating layers
6. Managing layers
7. Layer markers and composition markers
8. Cameras, lights, and points of involvement
Animation, keyframing, motion tracking, and keying
1. Animation
  1. Blitheness basics
  2. Animating with Puppet tools
  3. Managing and animating shape paths and masks
  4. Animating Sketch and Capture shapes using After Furnishings
  5. Assorted animation tools
  6. Piece of work with Data-driven animation
2. Keyframe
  1. Keyframe interpolation
  2. Setting, selecting, and deleting keyframes
  3. Editing, moving, and copying keyframes
3. Motion tracking
  1. Tracking and stabilizing movement
  2. Face Tracking
  3. Mask Tracking
  4. Mask Reference
  5. Speed
  6. Fourth dimension-stretching and fourth dimension-remapping
  7. Timecode and time brandish units
4. Keying
  1. Keying
  2. Keying effects
Transparency and compositing
1. Compositing and transparency overview and resource
2. Alpha channels, masks, and mattes
Adjusting color
1. Colour basics
2. Utilise the Adobe Color Themes extension
3. Color management
4. Color Correction effects
Effects and animation presets
1. Effects and blitheness presets overview
2. Effect list
3. Simulation effects
4. Stylize effects
5. Audio effects
6. Distort furnishings
7. Perspective effects
8. Channel effects
9. Generate furnishings
10. Transition effects
11. The Rolling Shutter Repair event
12. Blur and Sharpen effects
13. 3D Channel effects
14. Utility effects
15. Matte effects
16. Racket and Grain furnishings
17. Detail-preserving Upscale effect
18. Obsolete furnishings
Expressions and automation
1. Expression
  1. Expression nuts
  2. Agreement the expression linguistic communication
  3. Using expression controls
  4. Syntax differences betwixt the JavaScript and Legacy ExtendScript expression engines
  5. Editing expressions
  6. Expression errors
  7. Using the Expressions editor
  8. Use expressions to edit and admission text backdrop
  9. Expression language reference
  10. Expression examples
2. Automation
  1. Automation
  2. Scripts
Immersive video, VR, and 3D
1. Construct VR environments in Subsequently Effects
2. Apply immersive video furnishings
3. Compositing tools for VR/360 videos
4. Tracking 3D photographic camera movement
5. Work in 3D Design Infinite
6. Preview changes to 3D designs real time with the Real-Time Engine
7. Add together responsive design to your graphics
Views and previews
1. Previewing
2. Video preview with Mercury Transmit
3. Modifying and using views
Rendering and exporting
1. Basics of rendering and exporting
2. Consign an Afterwards Effects project as an Adobe Premiere Pro projection
3. Converting movies
4. Multi-frame rendering
5. Automated rendering and network rendering
6. Rendering and exporting yet images and still-image sequences
7. Using the GoPro CineForm codec in Afterward Effects
Working with other applications
1. Dynamic Link and Later Effects
2. Working with After Effects and other applications
3. Sync Settings in Later Furnishings
4. Collaborate with Team Projects
5. Share and manage changes with Team Projection collaborators
6. Artistic Deject Libraries in After Effects
7. Plug-ins
8. CINEMA 4D and Cineware
Memory, storage, operation
1. Memory and storage
2. Meliorate operation
3. Preferences
4. GPU and GPU commuter requirements for After Effects

Layer properties in the Timeline panel

Each layer has backdrop, many of which yous tin change and breathing. The basic grouping of properties that every layer has is the Transform group, which includes Position and Opacity properties. When you add sure features to a layer—for instance, by calculation masks or furnishings, or by converting the layer to a 3D layer—the layer gains additional properties, collected in property groups.

All layer backdrop are temporal—they tin alter the layer over time. Some layer properties, such as Opacity, have only a temporal component. Some layer properties, such as Position, are also spatial—they tin can motion the layer or its pixels beyond composition space.

You can aggrandize the layer outline to display layer properties and alter property values.

Well-nigh properties have a stopwatch . Whatsoever property with a stopwatch can be animated—that is, inverse over time. (Encounter About blitheness, keyframes, and expressions.)

Expanded Layer properties in the Timeline panel — Expanded property group in layer outline

Collapsed Layer properties in the Timeline panel — Collapsed holding group in layer outline

Properties in the Effects property group (effect backdrop) are also layer properties. Many effect properties tin can also exist modified in the Result Controls console.

To expand or collapse a holding group, click the triangle to the left of the layer proper noun or property group name.
To aggrandize or plummet a holding group and all of its children, Ctrl-click (Windows) or Command-click (Mac OS) the triangle.
To aggrandize or collapse all groups for selected layers, press Ctrl+` (accent grave) (Windows) or Command+` (accent grave) (Mac Os).
To reveal an consequence holding in the Timeline panel, double-click the property proper noun in the Effect Controls panel.
To hide a property or property group, Alt+Shift-click (Windows) or Pick+Shift-click (Mac Bone) the name in the Timeline panel.
To show just the selected properties or property groups in the Timeline panel, press SS.

The SS shortcut is especially useful for working with paint strokes. Select the pigment stroke in the Layer console, and press SS to open the property grouping for that stroke in the Timeline panel.

To bear witness only a specific property or property group, press its shortcut key or keys. (See Showing properties and groups in the Timeline panel (keyboard shortcuts).)
To add a holding or property group to the backdrop shown in the Timeline panel, agree Shift while pressing the shortcut central for the belongings or property group.
To show only backdrop that have been modified from their default values, printing UU, or cull Animation > Reveal Modified Properties.
To testify just properties that accept keyframes or expressions, printing U, or cull Animation > Reveal Animating Properties.

The U and UU commands are peculiarly useful for learning how animation presets, template projects, or other animated items piece of work, considering they isolate the properties that were modified past the designer of those items.

You can also filter layers in the Timeline panel to show only layers with backdrop that lucifer a search string. Run into Search and filter in the Timeline, Projection, and Effects & Presets panels.

Select a property or belongings grouping in the Timeline panel

Anchor point selected

To select a property or property group—including all values, keyframes, and expressions—click the proper name in the layer outline in the Timeline console.

Copy or duplicate a property or property grouping in the Timeline panel

To re-create backdrop from 1 layer or holding group to another, select the layer, property, or property grouping, press Ctrl+C (Windows) or Command+C (Mac OS), select the target layer, property, or belongings group, and press Ctrl+V (Windows) or Command+V (Mac OS).
To duplicate a property group, select the belongings group and press Ctrl+D (Windows) or Command+D (Mac OS).
You can only indistinguishable some property groups, including shapes, masks, and effects. All the same, you lot tin't indistinguishable acme-level property groups such as Contents, Masks, Furnishings, and Transforms. If you attempt to duplicate a height-level property group, the entire layer is duplicated, instead.

Re-create a value from a layer belongings that contains no keyframes

Yous tin can re-create the electric current value of a layer holding to another layer, even when the original layer contains no keyframes.

In the Timeline panel, evidence the layer property containing the value you want to re-create.

Click the proper name of the layer property to select it.

Select the layer into which you want to paste the value.

If the target layer contains keyframes, move the current-time indicator to the time where you want to paste the value. If the target layer does non incorporate keyframes, the new value applies to the entire duration of the layer.

Set a belongings value

If multiple layers are selected and you modify a property for one layer, then the property is changed for all selected layers. Sliders, angle controls, and some other property controls are only available in the Result Controls panel.

To change the units for a belongings, correct-click (Windows) or Control-click (Mac OS) the underlined value, choose Edit Value, and cull from the Units menu. The available units are different for different holding types. You can't change the units for some backdrop.

Place the pointer over the underlined value, and elevate to the left or right.
Click the underlined value, enter a new value, and so printing Enter (Windows) or Return (Mac OS).

You can enter elementary arithmetic expressions for property values and other number entries. For instance, you tin enter 2*3 instead of 6, 4/2 instead of 2, and 2e2 instead of 200. Such entries tin be especially useful when incrementing a value by a specific amount from its original value.

Right-click (Windows) or Control-click (Mac OS) the underlined value and cull Edit Value.
Drag the slider left or right.
Click a bespeak inside the angle control or drag the bending control line.

After you lot click inside the angle control, you can elevate outside it for more than precision.

To increment or decrease the property value by 1 unit, click the underlined value and printing the Up Pointer or Downwardly Pointer fundamental. To increase or decrease by x units, hold Shift while pressing the Up Arrow or Down Arrow key. To increment or decrease by 0.1 units, hold Ctrl (Windows) or Command (Mac OS) while pressing the Up Pointer or Down Arrow fundamental.
To reset backdrop in a belongings group to their default values, click Reset next to the belongings group name. To reset an private property, right-click (Windows) or Control-click (Mac OS) the property proper noun (not the value) and cull Reset from the context menu.
If the property contains keyframes, a keyframe is added at the current time with the default value.

Alan Shisko provides a video tutorial on his Motion Graphics 'due north Such web log shows how to use label colors and multiple selections to speedily change properties for multiple layers simultaneously.

Charles Bordenave (nab) provides a script on the Subsequently Effects Scripts website that sets the backdrop in the Transform group for selected layers to random values within constraints that you set.

The LockProperties script, bachelor from the After Effects Scripts website, locks only specified properties so that you can prevent accidental changes.

Layer anchor points

Transformations, such as rotation and calibration, occur around the anchor betoken (sometimes chosen transformation point or transformation center) of the layer. Past default, the ballast point for near layer types is at the centre of the layer.

Though there are times when you'll want to breathing the anchor point, information technology's almost common to set the anchor indicate for a layer before y'all brainstorm animating. For example, if you're animating an paradigm of a person made upwardly of one layer for each body role, you'll probably desire to move the ballast point of each mitt to the wrist area then that the hand rotates around that point for the whole animation.

The easiest way to pan and browse over a big epitome is to animate Anchor Point and Scale properties.

Alan Shisko provides a detailed video tutorial on his website, demonstrating how to create a complex 3D environment from 3D layers, offset with unproblematic 2D assets. Manipulating layer ballast points is a crucial part of this tutorial.

Layer anchor points — Anchor point in eye of text layer (left) compared to anchor indicate moved to the end of the text layer (right)

If you don't meet the anchor point in the Layer console, select Anchor Signal Path from the View menu at the lower-right area of the Layer panel.

Move a layer anchor point

Drag the anchor signal using the Selection tool in the Layer panel

Layers of some types, such every bit text layers and shape layers, tin can't be opened in the Layer panel.

To move a layer anchor betoken one pixel, choose Ballast Bespeak Path from the View menu at the lower-right expanse of the Layer panel, and press an arrow key. To move 10 pixels, hold Shift as you printing an pointer key. Pixel measurements are at the current magnification in the Layer panel.
To move a layer anchor point in the Composition panel without moving the layer, select the layer and use the Pan Behind (Anchor Point) tool to drag the anchor point .

Moving an anchor point with the Pan Behind (Anchor Bespeak) tool changes Position and Anchor Bespeak values so that the layer remains where it was in the composition before you moved the anchor signal. To change only the Anchor Signal value, Alt-elevate (Windows) or Option-drag (Mac Os) with the Pan Backside (Ballast Bespeak) tool.

Charles Bordenave (nab) provides a script on the Afterward Furnishings Scripts website that moves the anchor points of selected layers without moving the layers in the composition frame.

Reset a layer anchor point

To reset the anchor bespeak to its default location in the layer, double-click the Pan Behind (Anchor Indicate) tool button in the Tools panel.
To reset the ballast bespeak to its default location in the layer, Alt-double-click (Windows) or Option-double-click (Mac OS) the Pan Behind (Anchor Bespeak) tool button. The layer moves to the heart of the composition

Fix layer anchor point to center of content

You lot tin can ready the anchor signal to be in the center of the layer content in any of the following ways:

Select Layer > Transform > Center Anchor Point In Layer Content
Use the keyboard shortcut Ctrl+Alt+Home (Windows) or Command+Pick+Home (Mac Os)
Ctrl+double-click (Windows) or Command+double-click (Mac Os) the Pan Backside (Anchor Point) tool

Here are a few uses of this command:

setting the ballast bespeak of a shape layer to the heart of a single shape or to the centroid of a grouping of shapes in a shape layer
setting the anchor indicate for a text layer to the center of the text content
setting the anchor point of a layer to the center of the visible surface area inside a masked region

Scale or flip a layer

Every bit with other transformations, scaling of a layer occurs around the anchor point of the layer. If you motility the anchor betoken away from the center of the layer, the layer may movement when you flip it. Some layers—such every bit camera, light, and audio-only layers—don't accept a Scale property.

You lot can scale a layer beyond the limerick frame.

For information on scaling exponentially, equally with a zoom lens, see Utilize Exponential Scale to change the speed of scaling.

For information on scaling or resizing entire movies rather than a unmarried layer, see Scaling a motion picture up and Scaling a moving-picture show down.

To flip a layer is to multiply the horizontal or vertical component of its Scale property value by -1. A layer flips around its anchor signal.

To flip selected layers, choose Layer > Transform > Flip Horizontal or Layer > Transform > Flip Vertical.
To scale a layer proportionally in the Composition panel, Shift-elevate whatsoever layer handle.
To scale a layer freely in the Limerick panel, drag a corner layer handle.
To scale 1 dimension only in the Composition console, drag a side layer handle.
To increase or decrease Scale for a selected layer by i%, hold down Alt (Windows) or Option (Mac OS) as yous press + or – on the numeric keypad.
To increase or subtract Scale for selected layers by 10%, hold down Alt+Shift (Windows) or Option+Shift (Mac Bone) as yous printing + or – on the numeric keypad.
To scale an entire composition, choose File > Scripts > Calibration Composition.jsx.
To calibration and middle selected layers to fit in the composition frame, cull Layer > Transform > Fit To Comp.
To scale and center selected layers to fit the width or height of the composition frame, while preserving the aspect ratio of the layer, choose Layer > Transform > Fit To Comp Width, or Layer > Transform > Fit To Comp Height.
To calibration a layer proportionally in the Timeline panel, select the layer, press S to display the Scale property, click the Constrain Proportions icon to the left of the Calibration values, and enter a new value for the ten, y, or z calibration.

To actuate the Constrain Proportions icon and match the height to the width, Alt-click (Windows) or Option-click (Mac OS) it.

To scale to a specific set of pixel dimensions, right-click (Windows) or Command-click (Mac Bone) the Calibration value in the Timeline panel, choose Edit Value, and modify the units to pixels in the Scale dialog box. Select Include Pixel Aspect Ratio to see and adjust dimensions in terms of the composition's pixel aspect ratio.

Scaling down a raster (not-vector) layer sometimes causes a slight softening or blurring of the image. Scaling upwardly a raster layer by a large gene tin can cause the image to appear blocky or pixelated.

Particular-preserving Upscale effect

The Item-preserving Upscale consequence is capable of scaling up images by large amounts while preserving details in the prototype.

For more than information, run across Item-preserving Upscale upshot.

Bilinear and bicubic sampling

You can cull betwixt bicubic and bilinear sampling for selected layers, which determines how pixels are sampled for scaling and for all transformations applied using the Transform effect.

For more data, see Layer image quality and subpixel positioning.

Adobe Photoshop provides fine command over resampling methods used for scaling of images. For fine control of resampling, y'all can export frames to Photoshop to change the image size and then import the frames back into After Effects.

Though it's non very well suited for movies, the content-aware scaling feature in Photoshop is very useful for extending and scaling still images. This feature can be useful when repurposing images for broad-screen formats that were created for standard-definition formats.

For a script that scales multiple compositions simultaneously, go to the AE Enhancers forum.

Lloyd Alvarez provides a script on the After Furnishings Scripts website that scales selected layers to fit the composition frame, and provides options for cropping or letterboxing.

Aharon Rabinowitz provides a video tutorial on the Creative Cow website that demonstrates the uses of changing and animative a 3D layer's Calibration property, including changing only the z dimension of Scale.

Rotate a 2nd layer

As with other transformations, rotation of a layer occurs effectually the anchor indicate of the layer.

To reveal the Rotation belongings value for selected layers in the Timeline panel, press R.

The first function of the Rotation holding value is the number of whole rotations; the 2nd part is the fractional rotation in degrees.

For information on rotating 3D layers, see Rotate or orient a 3D layer.

To rotate a layer by dragging in the Composition panel, drag the layer using the Rotation tool . To constrain rotation to 45° increments, agree downwardly Shift every bit you drag.
To rotate selected layers by ane degree, press plus (+) or minus (-) on the numeric keypad.
To rotate selected layers past 10 degrees, printing Shift+plus (+) or Shift+minus (-) on the numeric keypad.

Arrange audio volume levels

When you use footage containing audio, the default audio level for playback is 0 dB, pregnant that the level is unadjusted in Later on Effects. Setting a positive decibel level increases volume, and setting a negative decibel level decreases book.

Double-clicking an Audio Levels keyframe activates the Audio panel.

The VU meter in the Audio console displays the volume range for the sound as it plays. The scarlet blocks at the top of the meter represent the volume limit of your system.

For more precision in setting sound levels by dragging sliders, increment the height of the Audio panel.

In the Audio panel, to adjust volume, exercise one of the following:

To set the level of the left and correct channels together, drag the center slider upward or down.
To set the level of the left aqueduct, elevate the left slider upwards or down, or type a new value in the levels box at the lesser of the left slider.
To ready the level of the right channel, elevate the right slider upwards or down, or type a new value in the levels box at the bottom of the right slider.

Parent and child layers

To synchronize changes to layers by assigning i layer'due south transformations to another layer, utilise parenting. Afterwards a layer is fabricated a parent to another layer, the other layer is called the kid layer. When y'all assign a parent, the transform properties of the kid layer go relative to the parent layer instead of to the composition. For example, if a parent layer moves 5 pixels to the right of its starting position, and so the child layer too moves five pixels to the right of its position. Parenting is similar to grouping; transformations made to the group are relative to the anchor point of the parent.

Parenting affects all transform backdrop except Opacity: Position, Scale, Rotation, and (for 3D layers) Orientation.

When parenting layers, helpful text describing alternate parenting behaviors is displayed on the layer bar below the mouse position and in the Info panel.

A layer can have just one parent, just a layer can be a parent to any number of layers in the aforementioned composition.

You can animate kid layers contained of their parent layers. Y'all can also parent using null objects, which are hidden layers.

You cannot breathing the deed of assigning and removing the parent designation—that is, you cannot designate a layer as a parent at one signal in fourth dimension and designate it as a normal layer at a dissimilar indicate in time.

When you create a parenting relationship, y'all can choose whether to have the child take on the transform property values of the parent or retain its own. If you cull to have the kid take on the transform property values of the parent, the kid layer jumps to the parent'south position. If you choose to have the child retain its own transform property values, and then the child stays where it is. In both cases, subsequent changes to the transform property values of the parent are practical to the child. Similarly, you tin cull whether the child jumps when the parenting human relationship is removed.

When parenting layers, you can utilise the Shift cardinal to movement the kid layer to the location of the parent. This can be useful when you want to attach a layer to a nada, but have the layer move to the location of the parent nix (for example, attaching a 3D text layer to a aught layer created from the 3D Photographic camera Tracker).

Dragging the pick whip in the Timeline panel — Dragging the choice whip in the Timeline panel from Shape layer ane (kid layer) to designate Shape Layer 2 as the parent layer

To show or hide the Parent column in the Timeline panel, choose Columns > Parent from the Timeline panel menu.

To parent a layer, in the Parent cavalcade, elevate the pick whip from the layer that is to be the kid layer to the layer that is to be the parent layer.
To parent a layer, in the Parent column, click the carte of the layer that yous want to exist the child, and choose a parent layer proper noun from the menu.
To remove a parent from a layer, in the Parent cavalcade, click the carte du jour of the layer to remove the parent from, and choose None.
To extend the selection to include all child layers of a selected parent layer, right-click (Windows) or Control-click (Mac OS) the layer in the Composition or Timeline panel, and choose Select Children.
To brand a child layer leap when a parent is assigned or removed, hold down Alt (Windows) or Option (Mac OS) as you assign or remove the parent.
To remove a parent from a layer (that is, ready Parent to None), Ctrl-click (Windows) or Command-click (Mac OS) the parenting pick whip of the child layer in the Timeline console. Alt+Ctrl-click (Windows) or Pick+Command-click (Mac OS) the parenting selection whip of the kid layer to remove the parent and cause the child layer to leap.

Online resource about parent and child layers

Paul Tuersley provides a script on the AE Enhancers forum for duplicating a parent layer and all of its children, preserving the parenting hierarchy.

Carl Larsen provides a video tutorial on the Artistic COW website that demonstrates how to use expressions and parenting to chronicle the rotation of a set of wheels to the horizontal motion of a vehicle.

Robert Powers provides a video tutorial on the Glace Rock NYC website that demonstrates the use of parenting and the Puppet tools to breathing a character.

Goose egg object layers

To assign a parent layer, only keep that layer from being a visible element in your project, use a zilch object. A zippo object is an invisible layer that has all the properties of a visible layer so that information technology tin be a parent to any layer in the composition. Conform and breathing a nothing object as you would whatsoever other layer. Yous use the same commands to modify settings for a null object that you apply for a solid-color layer (Layer > Solid Settings).

You tin can apply Expression Controls effects to null objects and then use the zippo object as a control layer for furnishings and animations in other layers. For example, when working with a camera or light layer, create a goose egg object layer and use an expression to link the Point Of Interest belongings of the camera or light to the Position property of the naught layer. Then, you can animate the Indicate Of Involvement property past moving the null object. Information technology is often easier to select and encounter a null object than it is to select and see the indicate of interest.

A composition tin can contain any number of nada objects. A null object is visible only in the Composition and Layer panels and appears in the Limerick panel as a rectangular outline with layer handles. Furnishings are not visible on zilch objects.

To create a null object, select the Timeline or Composition console and choose Layer > New > Null Object.

The anchor point of a new zero object layer appears in the upper-left corner of the layer, and the layer is anchored in the center of the composition at its anchor betoken. Alter the anchor indicate equally you would for any other layer.

If a null object is visually distracting in your composition frame, consider dragging information technology out of the frame, onto the pasteboard.

Andrew Kramer provides a video tutorial on his Video Copilot website that demonstrates the use of a nil object to animate a 3D stroke.

Guide layers

You can create guide layers from existing layers to use for reference in the Limerick panel, to assist you position and edit elements. For example, you lot can utilise guide layers for visual reference, for audio timing, for timecode reference, or for storing comments to yourself.

A guide layer icon appears next to the name of a guide layer or its source in the Timeline console.

Past default, guide layers aren't rendered when yous create output just can exist rendered when desired by irresolute the render settings for the composition.

Guide layers in nested compositions can't exist viewed in the containing limerick.

To convert selected layers to guide layers, choose Layer > Guide Layer.
To render a composition with its visible guide layers, click Render Settings in the Render Queue panel, and choose Current Settings from the Guide Layers card in the Render Settings dialog box.
To render a composition without rendering guide layers, click Render Settings in the Return Queue panel, and choose All Off from the Guide Layers menu in the Render Settings dialog box.

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Source: https://helpx.adobe.com/after-effects/using/layer-properties.html