Unleash the monster in every keyframe.
After Effects plugins that bring the kind of imagery into your comp that used to send you to another app, a render queue, and a quiet prayer that the client would leave the edit alone: 3D fractals with materials and lighting, real cloud-filled skies, glass that bends whatever sits behind it, and magazines that turn like paper, all calculated on the GPU.
45–60 s, 1920×1080 (plus a 1080×1920 social cut). Let the plugins lead: Fractal’s Macro Zoom, a full day in Skies, Glassy text. Cut to the rhythm of Monster Ease, then close with the Plugin’s bite and the logo.
Without leaving your comp
You know that back-and-forth: render in another app, import a sequence, then redo the whole thing because the client nudged the timing by two frames? That detour disappears here. The effect lives on the timeline, follows the comp camera, and behaves like any native After Effects effect.
- Comp camera and lightsFractal and Magazine follow the active camera, including depth of field, and Fractal can also use up to eight lights you have already placed in the scene.
- Multi-Frame RenderingFractal, Skies, and Glassy render multiple frames at once without changing a single pixel, so the render queue moves along faster.
- 8 · 16 · 32 bpcThe sun and glow can shine past white without clipping, and their detail survives into color grading, just as a 32-bit project should allow.
Four plugins for tough shots
Each one started with a shot After Effects could not quite handle on its own. Every plugin has its own page, with a live preview and every control laid out group by group, so you can see exactly what you will find in Effect Controls.
KFM 3D Fractal Pro
3D fractals with lighting, materials, and camera control.
Explore the pluginKFM Volumetric Skies
Real skies, from first light to blue hour.
Explore the pluginKFM Glassy
Glass that bends what is behind it.
Explore the pluginKFM Magazine Pro
3D magazines that really turn.
Explore the pluginMade with Keyframe Monster
A 16:9 still or video, with the artist’s name, link, and plugin used.
Same idea. Prioritize one production-company project and one freelancer project.
Same idea. A before-and-after breakdown could work here.
A short quote, name, role, and studio, with a photo.
5–8 monochrome logos from production companies or brands using the plugins.
Call for the first challenge or open preset (the brand guide’s idea of backing the creative community).
Our standard
Real GPU rendering
Everything is calculated on the GPU. If something goes wrong, After Effects reports the error instead of handing you a black frame and pretending all is well.
Native to After Effects
The plugins work at 8, 16, or 32 bits, render multiple frames at once, and follow the comp camera; Fractal can also use up to eight scene lights.
Every control earns its place
Each control goes through an automated check to make sure it actually changes the image. If it does nothing, it does not make it into the panel.
Passes for compositing
Depth and normals from Fractal, glass-only or mask-only output from Glassy, and a transparent background from Magazine, so you can keep fine-tuning in your comp.
Made by people who live in the timeline
Keyframe Monster was born inside After Effects. The plugins are made by a motion designer who spent years pushing AE to its limits at production companies and agencies, then got tired of leaving it just to create certain kinds of imagery.
The idea is to bring imagery that usually requires another app into the comp and deliver it as an effect you can animate like any other, without a pile of workarounds in between.
Flávio Takemoto
Founder and plugin developer
Art director, motion designer, and digital product creator with more than 15 years across design, motion, and technology. He started out as a developer and web designer at 16, and created his first motion design project in 2005.
At Keyframe Monster, he builds the plugins from end to end: from the idea to the shader, from the Effect Controls panel to the tests that prove every control changes pixels.
- 15+
- years in design, motion, and technology
- 2005
- first motion design project
- 4
- plugins at version 1.0
Other projects
What you need
| KFM 3D Fractal Pro | KFM Volumetric Skies | KFM Glassy | KFM Magazine Pro | |
|---|---|---|---|---|
| Version | 1.0 | 1.0 | 1.0 | 1.0 |
| Sistema | Windows x64 | Windows x64 | Windows x64 | Windows x64 |
| GPU | OpenGL 3.2 | DirectX 12 | DirectX 12 | DirectX 12 |
| After Effects | Tested in 2025 and 2026 | Tested in 2025 | To be confirmed | Tested in 2026 |
| macOS | No | No | No | No |
| Bit depth | 8 · 16 · 32 bpc | 8 · 16 · 32 bpc | 32 bpc float | 8 · 16 · 32 bpc |
| Multi-Frame Rendering | Yes | Yes | Yes | To be confirmed |
| Comp camera | Yes, with DOF | Yes, orientation and zoom | N/A | Yes, with DOF |
| Apply to | Solid | Solid | Text, Shape Layer, or mask | Solid, with precomps as pages |
Before the render
Does it work on Mac?
Not yet. All plugins run on Windows x64.
Do I need a powerful GPU?
The plugins are GPU-first: KFM 3D Fractal Pro requires OpenGL 3.2, while KFM Volumetric Skies, KFM Glassy, and KFM Magazine Pro require DirectX 12. A stronger GPU means a faster preview. On our test machine, Skies previews 1080p in about 70 ms.
Does it support Multi-Frame Rendering?
Yes. On Skies, an automated test runs 8 MFR threads at once and checks that the result is bit-for-bit identical to a sequential render.
Can it use my comp camera and lights?
KFM 3D Fractal Pro uses the active camera by default, with native DOF, and reads up to 8 AE lights. For Skies, turn on Use AE Camera and the comp camera’s orientation and zoom will drive the view.
Where can I find the effect?
Under Effect › Keyframe Monster. That is where all Keyframe Monster plugins live.
The next shot is yours
New releases, updates, and a look behind the shots, whenever there is real news to share—not just another email to fill your inbox.