Using Unity and a green screen, I created a world inspired by horror games on the PS and PS2.

Exploring a variety of expressive approaches through different techniques, such as digital drawing that looks like pen-and-ink or pencil-and-watercolor illustrations, animation compositing with photorealistic 3D, and creating and compositing animation with analog ink. Outside of reels, I also work on planetarium pieces and other projects using hand-drawn 3D created with VR painting.

Music Video for “JAB!”, an original project track by music producer Xansei. Built from footage shot in LA, with red and blue planes added to the composition. Glitch effects were sometimes used. The aim was to emphasize the decadent world and occult atmosphere of the track through the visuals as well. Meanwhile, Xansei himself directly approached us after resonating with Renki Yamazaki’s “CONTINUITY” series from the One Shot a Day project. It can be said that this MV came to be because the worlds of the song and the visuals were originally adjacent to each other. Needless to say, the music remains the true centerpiece of the MV. However, this MV made us feel the possibility that the visuals and the music could stand on equal footing. In other words, it gave us an opportunity to reconsider how the visuals in an MV might avoid being “closed off” within the MV itself.

A music video that casts the creator’s recurring characters according to their personalities and develops a story around them. Set to a pop tune with slightly negative lyrics, it unfolds like a colorful children’s animation, depicting the repetitive cycle of an adult’s gloomy daily life and small moments of happiness.

The world premiere of the stage art work THE TRIP -Enter The Black Hole-, led by Jeff Mills, was performed in Tokyo on April 1, 2024. This is the world premiere of THE TRIP -Enter The Black Hole-, a stage art work co-produced by Jeff Mills, the world-renowned DJ and pioneer of Detroit techno, and COSMIC LAB, one of Japan’s most innovative visual teams. With black holes as its theme, Jeff Mills handled the overall direction, script, and music, while COSMIC LAB expanded his vision of the cosmos and way of thinking through visual direction. In addition, Juju Togawa, who like Jeff Mills has been active since the early 1980s, joined as a singer, and choreographer Hiroaki Umeda, internationally acclaimed for his cross-disciplinary work spanning contemporary dance and digital art, was also part of the production. The stage costumes for each performer were designed by Hiroshi Ochiai of FACETASM, one of Japan’s leading fashion brands. This live expanded cinema work, a journey to the farthest reaches of the universe and an exploration of the deepest depths of the mind, was performed at ZEROTOKYO, equipped with a visual system developed by COSMIC LAB and state-of-the-art sound facilities.

The MV for HOLOSTARS English -ARMIS-'s debut single "BLOODHOUNDS" was directed by qootain. The arrival of the bounty hunters (ARMIS), who hunt "corrupted beasts" that appear in the desert, is boldly depicted through a variety of techniques, including sand animation, cutout animation, and photogrammetry.

Music video for “Nettaiya,” a song written, composed, and performed by Kei Sugawara.

I was born and raised in Tokyo. In “Spring, Summer, Autumn, Winter,” I express the changing seasons by combining AI and generative art, focusing on flowers that are familiar in everyday life, under the theme of flowers in the city and flowers in memory. The reason I chose flowers as a motif is that I felt there is a commonality between flowers and digital signage, which is the exhibition format of “Poems in Code — The Present of Generative Art / Moving Images Generated by Programming.” When you go to the center of Tokyo, there are eye-catching signs everywhere, and even waiting for a traffic light can feel like it passes very quickly. In daily life, when walking outside, it becomes a habit to focus on “getting to one’s destination,” and we end up forgetting to walk while noticing the changing seasons. Flowers that color the seasons are very colorful and beautiful, much like the signage in the city. However, I think we rarely take the time to observe those flowers closely or stop to look up their names. Likewise, we also do not often stop and carefully look at what is written on or displayed by signage. In this sense, I felt that flowers in the city and digital signage have something in common. All of the 3D flowers in the work are created by first generating 2D images with generative AI, then measuring their depth using AI functions and converting them into three-dimensional forms. The images are generated to resemble real flowers as closely as possible. Generative AI is good at capturing the characteristics of what it creates, but it is not perfect. By comparing them with real flowers, observing the differences, and recognizing flowers anew, I chose realistic images in the hope that they could link with the viewer’s memory and sensations. In addition, the AI-generated videos in the work use images of seasonal flowers created with generative AI. By re-outputting them as video, the shapes and colors of the flowers harmonize and begin to look like new flowers, becoming nameless flowers. I felt this process was close to how flowers are recognized in memory, so I incorporated this expression. Flowers in the city may exist in our memories as something vague and blurry, like AI-generated video. I created “Spring, Summer, Autumn, Winter” with the hope that even in busy times, there can be moments to stop and enjoy the present.

An animation that objectively and calmly analyzes one’s feelings for an “oshi,” expressing heavy emotions through a story that feels like a joke. The creator divides their emotions into three types and brings in three characters. All three are the creator themself, and yet none of them are the creator themself. The backgrounds in the flashback scenes are made from materials created by tearing up photos taken by the creator while supporting their oshi.

Created with retro games and bugs caused by the player as its motif. As the song progresses, the visuals shift from a 2D world (the game world) to one based on 3D (the real world).

This work was created with “dancing” as its theme.