映像作家100人2026

An animated music video that further expands the world of the ending theme for BEASTARS FINAL SEASON Part 2. While following Legoshi’s life, it also incorporates imagery of SEVENTEEN, and the newly produced footage is longer than the version used in the ending theme. The color palette was chosen to match each scene and concept, using soft tones for female fans and deeper, stronger tones for fans of the original work. Building on our previous animation production in PS, we also incorporated Moho for about half of the process. The hand-drawn, frame-by-frame approach remains the same, but it now gives a stronger sense of paper-doll-like joint connections.

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.”

Theme: "Construction and Deconstruction." Inspired by motion resembling electric currents, I pursued the satisfying seamless transformation in which finely deconstructed shapes intertwine and gradually become a single shape.

We produced a 3DOOH piece for Times Square as part of the GLYCERIN FLEX campaign for the sneaker brand Brooks.

“Urashima Tarō’s ending is just too sad...” Many people probably felt that way when they were children. With the hope that there might have been a happy story waiting beyond that ending, singer-songwriter Daisuke Mori sings about Urashima Tarō’s second life with plenty of pop charm and humor. The visuals are created by Ohtamirams, a creative unit active across a wide range of genres, including the music videos for Wednesday Campanella’s “Momotaro” and tofubeats’ “Koi to Missile,” as well as commercials, short films, and picture books. [From the Animation Team, Ohtamirams] 《What on earth happened to Urashima Tarō after he became an old man?》 In order to answer the long-standing question of people across Japan, we at Ohtamirams were given the opportunity to animate the continuation of the story to Daisuke Mori’s music. Since everyone, if they keep living long enough, will eventually arrive at a second life, we at Ohtamirams put a lot of thought into it and came up with a logline: “What if Urashima started doing little jobs to help everyone, and in that world line he was able to enjoy a happy, long-lived second life surrounded by many new friends?” We also made it into a seasonal piece that makes the most of Urashima’s signature trait of “aging.” We’d be delighted if, every winter season, people would remember this song and animation…… This is an animation that “wishes upon a star” for “the best and happiest New Year’s season and second life for everyone in Japan…….”

This is a work that pursues the abstraction of characters.

2nd single "Circus of Monsters" Anger, loneliness, self-loathing. Hatred toward others, and a sense of unease so deep that you no longer even understand yourself. These unspeakable emotions are conveyed through sharp, unhinged lyrics, a destructive sound, and awkward, dizzying visuals. Beneath the provocative expression lies a painfully clumsy yet honest truth. It is a requiem for those who were forced to live as “monsters,” and a song that speaks for people carrying feelings they want to express but cannot.

With emotion and inclusivity as themes, I aimed to create a floating, ethereal visualization.

This is the second installment of “What Kind of Home?” With the Japanese concept of the “eight million gods” as a hidden theme, this series portrays a world in which even the smallest presences in nature may be alive with spirit and signs of life. As an animation for babies, it features a minimal, highly legible character design without over-detailed drawing, and places great importance on gentle, endearing movement.

We explored how to create visuals that could stand shoulder to shoulder with the intensity of the track “Jungle人.” As part of that approach, we used motion capture throughout the entire piece to express the raw, visceral movements of the human body. In addition, for certain cuts, we synchronized the movement of a live-action camera with a camera in Blender, incorporating the subtle fluctuations unique to live-action footage into the CG camerawork. Centering the work on “physical movement” that goes beyond computational control, we created a piece that visually maximizes the momentum of the music.

Video Installation
 Display, Web camera, PC, Video, Sound
Duration: variable
 Sound: AI-generated On March 27, 2025, the landscape between Tachikawa and Tama Center was recorded with a high-resolution high-speed camera through the window of the Tama Monorail in western Tokyo. Taking this single recording as its source material, this work rewrites the temporal and spatial structure of the image through digital coordinate transformation, thereby transforming the very temporal and spatial experience of 'passing' itself. Rendered through continuously varying timings and parameters, streams of transformed footage play on seamlessly, their paths shifting in response to the viewer's act of 'watching' or 'not watching' the screen. Responding to this non-linear generation, the sound is produced in real time through an AI model. Carrying its contradictions within, the landscape flows endlessly on — from right to left, without cease. In time, this flow quietly works upon the viewer's perception, and the relations between distance, speed, and time gradually come undone.