ZERO-DAY by beeple

ZERO-DAY from beeple on Vimeo.

An awesome, high-paced, loud, techno/machine/robot animation by beeple (Mike Winkelman) with a warning message about cyber-warfare.

I specially love how the music drives the animation and the amazing finish on both animation and render.

Winkelman notes: "Trapcode Form worked great in the middle part to make the screens all glitchy as well as some ambient dust throughout."

directed by: beeple
video: beeple
audio: standingwave

PROCESS VIDEO: vimeo.com/140163256
BEHANCE W/ STILLS: behance.net/gallery/29729491/BEEPLE-ZERO-DAY

download the entire Cinema4D / SFX project files: beeple-crap.com/resources.php

more creative commons: vimeo.com/channels/beeple
info: beeple-crap.com
daily artwork: facebook.com/beeple | instagram.com/beeple_crap
twitter: twitter.com/beeple
standingwave: soundcloud.com/standingwave 

Tove Styrke music video by Slobodan Zivic

The super cool and talented Swedish artist Tove Styrke has a music video for the awesome track "Even If I'm Loud It Doesn't Mean I'm Talking to You" directed by Slobodan Zivic that uses Trapcode Mir to create beautiful geometric patterns. Also, check out the sweet 303 that solos at 2:10 -- just lovely.

Director: Slobodan Zivic
Spotify: http://spoti.fi/1hJUmIH
iTunes: http://bit.ly/1sJpGOV
Wimp: http://bit.ly/1g3Ce12

Written by Tove Styrke & Calle Ask
Produced by Calle Ask
Additional Production by Johan T Karlsson
Published by Sony ATV Music Publishing Scandinavia AB

Video by Studio Slobodan
DOP: Daniel Takacs
Editor: Artur Wolgers
Graphic Designer & Animatior: Slobodan Zivic & Tobias Petersson
Choreographer: Linnéa Sundling

Also the lyric video has some great, perhaps even more interesting Trapcode Mir work:

FITC Tokyo 2015 Titles

Trapcode Form was used in these amazing titles for the FITC Tokyo 2015 conference. Lots of tools and tricks are used of course, and Form plays perhaps a small role here but a good example of non-obvious and creative use of Form. Read more about the making of in this great Motionographer article.

Nicolas notes here in the comments "We actually used FORM quite a bit in this. Most of the textures of the glitch were generated with form."

These titles feel fresh, exciting, new and yet relatable. The music is great too. It's pretty much a perfect work in my opinion. Enjoy! And congrats to the makers!

Credits
Director: Ash Thorp
Producer: Andrew Hawryluk
Art Director: Michael Rigley
Type Designer: Nicolas Girard
Designers: Ash Thorp, Michael Rigley, Nicolas Girard
Type Animators: Nicolas Girard, Alasdair Willson
Animators: Michael Rigley, Chris Bjerre, Andrew Hawryluk 
Computational Artist: Albert Omoss
Process Reel Editor: Franck Deron
Composer: Pilotpriest

Process Reel is killer too:

And this type animatic:

FITC Type animatic from Nicolas Girard on Vimeo.

Rainfall - My Panda Shall Fly - Yoshihide Sodeoka

Yoshihide Sodeoka has made a colorful, playful and quite psychedelic music video for My Pands Shall Fly's beautiful track "Rainfall".

Yoshihide used "tons of Particular, some Form, Starglow and Echospace" when making the video.

Read an article and interview about this video from The Creators Project

Also check out Yoshihide's website and listen to My Panda Shall Fly on soundcloud.

machenschaft

Facing a tight three-week production deadline for the project, machenschaft decided to ditch the 3D apps and use GPU-based Trapcode Mir in AE to create their awesome graphics.

I asked Damir Zrno why they used Mir for this project, how it was used and what he thought of it. "First of all I was curious about Mir and wanted to give it a try. The short timeframe was the reason why 3D was not an option. I totally enjoyed the speed of Mir. There were mostly two kinds of Mir combined with a light setup; one was using an amplitude map (Fractal Noise) and the other without the map. After a couple of trial-and-error runs we had what we wanted. Pulling on some values changed every shot pretty fast into a new sculptures. 3000x800 vertices were used. Every extension was done with Mir, besides the packshot. Production was three weeks not including shooting in India."