Tuesday, May 6, 2014 at 4:55PM 
This is a two-part tutorial on using Trapcode Mir for design. The first part covers how to make the look above. The finished AE project file can be downloaded at the bottom of this post.
In the second part, we look at some of the variations, for example these:
Watch the second part of the tutorial:
Download the finished After Effects CS6 project file: DesignWithMir.aep
Sunday, January 12, 2014 at 7:17AM 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."
Saturday, January 11, 2014 at 8:33PM 
Here are some pictures of tests I've done recently with Trapcode Mir. I'm using the two bend's found under Geometry and combining with the two other bend's found under Fractal and the Repeater using a rainbow coloured texture. Pretty spaced-out patterns! They remind me of images that pop up during meditation. You can get the AEP and play around with it (AE CS 5.5): Hopefields.aep
Wednesday, November 27, 2013 at 5:14PM 
Trying something new - a PUBLIC beta! That means anyone can participate. Well, you need to own Mir 1.0 or be stuck in demo mode with the red X.
Check it out in the brand new BETA section to the right in the top menu above!
Tuesday, November 19, 2013 at 7:10PM An amazing track, an amazing video!
James Murphy's (formerly LCD Soundsystem) fantastic remix of David Bowie's LOVE IS LOST gets a super-edgy, glitchy, introspective, just beautiful video directed by Barnaby Roper. The remix works partly as an homage to Steve Reich's "Clapping Music" and the video starts out with visuals of hands clapping laid out in different symmetric compositions. Both music and video can be observed in its move from analog to digital.
Harry Martis ("denial of service") did some loveley CGI work, partly using Trapcode plug-ins in After Effects. Martis notes:
"Sound Keys handled all of the audio reaction throughout the particle and sound-reactive bits. Totally invaluable tool! I also used Form for some of the particle work on the second section (utilising the .obj import capability) and MIR (with the DoF trick) for the obvious fractal landscape traveling. Particular is used throughout most pieces for ambient particle effects & atmospherics."
Martis notes on the project:
"I was recently given the opportunity to work on a 'taboo' project of sorts. so... here's goes.. lots & lots of intense sound-reactive particle work and utter worship of the glitch. be it displacement. as well as, old-fashioned hand-made data-moshing. my sincere thanks to all these wonderful people stateside! this has been the smoothest collaboration i have ever had so far."
At a certain point in the track Murphy ingeniously brings in some sounds from Ashes to Ashes and Roper responds by bringing in the iconic image of Bowie into the glitchy beautiful mess.
As a long-time Bowie fan it's an honor to be able to feature this work of art in the Trapcode Gallery. It's an honor that my software was used in its production. I think both the music and video are amazing. It is an homage to the past whilst pointing to the future, a move to understand the present. It is a complete work in my opinion. Kudos to all involved!
Full Credits
Label: ISO / RCA Records
Production Company: Black Dog Films
Director: Barnaby Roper
Executive Producer: Coleen Haynes
DP: Santiago Gonzalez
Assistant Camera: Tim Romero
DIT: Dai Yoshida and Nick McCann
Lighting Assistant: Christian Larsen
Producer: Richard Hutchins
Production Manager: Doug McCafferty
Director Rep @ Cadence NY: Neil Cooper
Editorial: Modern Post NYC
Editor: Matt Nee
Producer: Seema Naik
Post Production: Industrial Color
Animators: Joe White, Boris Coyere
3D Scanning: Direct Dimensions
CGI Artists: Geoffrey Pons, Harry Martis
CGI Artists: Stephen Hallquist and Sam Blalark
Producer: James Demetri
Models: Dorothea Barth-Jorgensen @ Elite NYC, Reid Prebenda @ Wilhelmina Men
Hair/Make-up: Valery Gherman @ Art Department
