A Halloween CM animation featuring Mame Shiba, famous for “Hey, did you know?” The video also features camo Mame Shiba and a secret Mame Shiba!

Produced a music video for “Generic Riot!!,” a song from the smartphone game app Hachigatsu no Cinderella Nine.

Produced the music video for “Oblivion,” a new track by Ummet Ozcan, an EDM producer/DJ based in the Netherlands. To capture the song’s eerie atmosphere, the video was created around the theme of “the human body as pattern.”

TV anime "Hell's Paradise" ending theme

Japan’s first national facility dedicated to sharing the history and culture of the Ainu people, Upopoy, opened in Shiraoi, Hokkaido, on Sunday, July 12, 2020. It consists of a folk museum, an interactive field museum, and an Ainu coexistence park, and has drawn attention as a base for reviving and developing the fading Ainu culture. What JKD was in charge of this time was the highlight of Upopoy’s nighttime program starting on Saturday, July 18, 2020: a large-scale show combining projection mapping and lighting. It depicts the Ainu creation myth through a delicate yet dynamic hand-drawn full animation running for just under 14 minutes, synchronized with soul-stirring music and sound design. The visual work is projected mainly onto the walls of the dome-shaped Experience Exchange Hall, as well as the surrounding hills, river, and statues. Lighting placed throughout the vast grounds is tightly synchronized with the music and mapped visuals, creating a mystical spatial experience that draws viewers into the story. Among the audiovisual works JKD has produced so far, this is one of the top three. The music is by OKI, a musician internationally acclaimed for his work with the OKI Dub Ainu Band, and Kuniyuki Takahashi, also based in Sapporo and known worldwide for his activities. To pursue truly authentic expression, the four animators, Ryoji Yamada, Hana Ono, Yutaro Kubo, and Tatsuhiro Ariyoshi, took part in this serious collaboration. The opening and ending motion was handled by Shotaro Tomiyama and Ko Kudo of the JKD visual team, and the overall visual direction was by Shane Lester. The story unfolds through the Ainu creation myth in a vast site facing a beautiful lake. We believe we were able to create an experience that draws viewers in. If you ever have the chance to visit Hokkaido, please be sure to see it.

「ululis」 WebCM

TRY ANGLE, characterized by its triangle shape. We visualized the beauty of form by contrasting the geometric elegance when laid flat with the three-dimensional effect when worn. We captured its multifaceted beauty and the intriguing curves of the pleats.

“Kaleidoscope” focused on the reconstruction of Pécs Cathedral, creating a video themed around the symbolism of color and the expression of “light.” It was projected at Pécs Cathedral in Hungary in 2021.

Looped visuals for sound designer cubesato’s YouTube project.

“33 minutes and 33 seconds needed before the world ends” A dying Earth. A strange game played by the survivors: “Mood Hall.” A mysterious middle-aged gentleman and a beautiful woman, appearing and disappearing. Little people. Giants. A party. A desert. The bottom of a pool. Dance. Day and night, repeated again and again. Experimental, artistic, adventurous, half sci-fi, half mystery: a densely layered labyrinthine world made of sketches. A masterpiece of film that strips away words and leads you into a world of seeing and hearing alone! ・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・ In 2016, “Mood Hall” was presented as the latest installation in Kawaiokamura’s retrospective exhibition. It was Kawaiokamura’s first new work in nine years, with sound direction for the entire solo show handled by Mariko Harada. In 2019, “Mood Hall” was completed as a film work, and in 2020 it was released theatrically at Demachiza, a cinema in Kyoto. The music, of course, was by Mariko Harada. It brought the richly layered 33-minute-and-33-second world of image and sound to the screens and speakers of the movie theater. In 2022, the music for “Mood Hall” was completely rewritten by Kazumichi Komatsu. It was made neither as an installation nor for a cinema, but as a composition intended for streaming. Reading the visuals like a score, he struck the sound against the images so powerfully that they changed, and linked each segment through a distinctive sense of floating weightlessness. Reconstructed through Komatsu’s bold interpretation, “Mood Hall” was named “Mood Hall side B.”