Opening sequence for the drama “Synanthrope.” The bird imagery layered over each character is rendered by hand, with the production process captured as a screen recording. It was created so that the rawness of drawing blends with the unsettling atmosphere of this coming-of-age ensemble mystery.

This work is a video piece that was exhibited and screened as part of an ambient projection-mapping presentation at the EXPO Hall “Shine Hat” and the Popup Stage East Outside at Expo 2025 Osaka, Kansai. Taking as its motif the “EXPO 2025 Design System” IDs, affectionately known as “Komyaku” at Expo 2025 Osaka, Kansai, and with Kohta Hikichi, a representative member of the team that created it, serving as an advisor, we drew on the expertise in artificial-life ecological systems that HiRai has long been researching to create a real-time video simulation system and visuals. In producing the video, we referenced the design system’s history of being prototyped based on metaballs, and developed a real-time simulator in which the Komyaku behave as if they were alive while retaining the identity of the design itself. By using GPGPU to calculate the interactions among large numbers of Komyaku in real time, we built a system that can be flexibly expanded to support a wide range of possibilities, including interaction and the generation of one-of-a-kind videos. At the Popup Stage East Outside, we also took advantage of the architectural characteristics of a structure in which the projected image is interrupted by support columns, and created visuals that made it look as though each steel beam were packed full of Komyaku. We pursued video production that made the most of the characteristics of the projection surface. The name “Komyaku” naturally spread as a nickname referring to the IDs that make up the design system. Taking into account this derivative, fan-created cultural expansion, this work intentionally uses the term “Komyaku.”

We were responsible for producing the jewelry portion of the 2025 movie for the Harry Winston Lily Cluster ring in 3DCG. We portrayed the brilliance of Harry Winston’s diamonds and the form of the jewelry through surreal textures, lighting, and motion.

The character’s movements (Live2D) and synchronized lighting were used to express sync with the sound.

REEL footage compiling videos produced up to 2025.

Collaboration track “bootleg wonderland” by virtual singer Madobe Rika and TORIENA Planning and composition were handled by Toshitaka Shinoda. The video direction was divided among the three of them—Toshitaka Shinoda, Yonayona graphics, and Natsuki Tatematsu—each taking on different cuts. Shinoda conveyed the story concept to me, built around the imagery of Heisei-era internet horror and the deep web, connected with 9mm film footage shot in the mountains, and from there the cut concepts, imagery for each person’s assigned parts, and editing were all produced independently. For the cuts I was in charge of, I aimed to create sequences in which countless elements rush by like a flashback, drawing on the pleasant distortions and the layering of innumerable sounds that I felt in the music, as well as the project’s imagery. I also aimed to create cuts whose contrast with the live-action footage would remain as a sense of discomfort when placed side by side in the overall progression. Rather than delicate, detailed effective movement, I focused on inserting a variety of rough, miscellaneous effects, and I created the illustrations myself to add subcultural imagery to the material’s variety.

WOW participated in the BLUE OCEAN DOME at Expo 2025 Osaka, Kansai. At this pavilion, where visitors can learn about the sustainable use of marine resources and the protection of marine ecosystems, WOW was responsible for the direction and production of the video content. BLUE OCEAN DOME consists of three spaces under the theme of “the revival of the ocean.” It includes an installation expressing the spectrum of water, a video installation depicting the miracles and crises of Earth as the planet of water, and a space that presents a path toward restoring the ocean through documentary footage. WOW developed a hemispherical LED visual device about 10 meters in diameter together with Azlab. Through this one-of-a-kind, ultra-high-definition giant hemispherical LED screen, it brought Earth as seen from space to life. —The beautiful Earth, a miraculous water planet, is on the verge of being gravely damaged by human activity. This work depicts the ocean, where the brilliance of the chain of life and pollution progress simultaneously, across a range of scales from a vast view like looking at Earth from space to the cellular level. By fusing realistic depictions so true to life they could be mistaken for the real thing with dreamlike imagination, the piece sought to create an audiovisual experience as a “device for transforming consciousness” that appeals to the senses of visitors. The footage, supervised after fieldwork in biologically diverse marine areas and by the Japan Agency for Marine-Earth Science and Technology, vividly portrays everything from vibrant life to the realities of marine pollution through the meticulously crafted 3DCG for which WOW is known. In addition, Hatis Noit’s voice, resonating as if with the voices of all beings living in the sea, gave the imagery multidimensional depth. The hemispherical screen, covered by a parabolic cover, was precisely designed down to the number and arrangement of its supports, realizing two distortion-free curved surfaces. For the parabolic cover serving as the backdrop for the LED screen, a special paint that appears darker than black by absorbing light was used. A smooth base finish achieved through plasterwork and painstaking hand-applied painting created a jet-black screening space. The hemispherical screen itself was fabricated by hand, one small panel at a time. This ultra-high-definition display, with approximately 160,000 LED chips arranged at a 2.5 mm pitch, supported the overwhelming visual experience.

Through water, the water server brand “Aqua Clara,” which supports daily life, the environment, and health, and “HERALBONY,” a creative company that aims to reshape perceptions of disability and create new culture from welfare and inclusion, come together. In this concept film born from the collaboration between the two companies, the production process of the original designer, Kaede Wajima, was incorporated into the visuals, and the film was created using origami and paper cutting as its central motifs.

A hyper-express-style, delightfully absurd cheer song that gives a full-throttle push to the backs of people who are “seriously obsessed” with something and giving it their all. With its exhilarating melody and fiery lyrics, it powerfully encourages people around the world who are passionately absorbed in something to go “super! seriously!”

TV anime “Zenshu.” ED theme A video work combining illustration, UI design, and live action. -- The illustrator was kawa. Using a color-specified line draft, often seen in key animation production, as one of the looks, we prepared three different looks along with line art and coloring. We delicately visualized the process through which a work is created, and the life of its creator, by weaving live action into the imagery. All live-action footage was shot by going out myself, and from the cold winter dawn to sunset, I captured spaces that conveyed a sense of warmth. With assistance from Jaga (SHIFTZ), who is well versed in live-action filming, we shot aimlessly while searching for “everyday yet powerful landscapes” that suit this song. -- We created this work with a single-minded desire to deliver the struggles and joys of creation to everyone who creates, or is about to begin creating.

I was responsible for the direction and production of GO OFF // 2025 VALORANT Game Changers Championship Hype Film - ft. M.I.A by KATSEYE.