映像作家100人2026

The music video for 36km/h’s song “Ghost.” Here and there, the time of “those who are no longer visible” continues to fold and layer upon itself. It depicts the shadow of a traveler who goes on to claim all those things that can no longer be grasped.

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.

This piece was created with the concept of naturally conveying the atmosphere of the manga Witch Watch even to people encountering it for the first time. Nico’s innocent magic-driven chaos and her sincere feelings for Morihito are portrayed through pop graphics and fast-paced motion. The song was interpreted as a love song from Nico to Morihito, and the structure was designed to convey the warmth of that emotion. Rather than simply using footage from the anime, we reworked it with inspiration from the design of the manga volumes, redesigning the entire screen so that it would evoke the unique feel of Witch Watch. My role centered on overall direction, as well as the final composite and some of the motion graphics. The aim was to create an MV that offers original fans the pleasure of “getting it,” while giving first-time viewers a reason to think, “I want to watch this.” Each audience has its own point of entry.

An animation created as the music video for “Close to Me” by in the blue shirt. Drawing on the song’s origins as a work made entirely through sampling and cut-up techniques, the piece interprets rotoscoping as an animation method with the same structural logic. Rotoscoping is a technique that traces live-action footage, allowing the movement of the subject to be directly and vividly reflected on screen. In addition, this work combines stencil-based spray techniques. By incorporating the non-deterministic fluctuations of particles, it seeks to transform the vividness of rotoscoping into the subject’s own indexicality, and to reconfigure it.

Dive into a treasure chest of knowledge and absorb inspiration. This motion graphic captures the positive learning experience on Coloso. By making full use of After Effects 2026’s new “Parametric Mesh” feature, it creates a highly flexible abstract and dreamlike space. In the end, the built-up energy bursts all at once, translating the moment your own originality blooms into a pop-inspired visual world.

"The one in that house isn’t my sister." In the distant future, Kagamimi Village is a mountain village on the outskirts, left behind by the densely developed science and technology of urban areas. “If you’re not a good child, your double will come for you.” Akane Higurashi, a middle school student living in this village steeped in old legends, has been looking forward to reuniting with her older sister, Sui Higurashi, who has just been discharged from the hospital after a year. But soon after her sister’s return home, Akane receives a phone call. "The one in that house isn’t my sister." The “Oneechan Gokko” series is a long-form animated work and a series of VOCALOID songs, with each episode running about 25 minutes, for a planned total of 3 episodes. Starting in January 2026, the songs and each episode will be released one after another, with the goal of completing the project over the course of about one year.

“Mobile Literature” (English: Mobile Literature) is a series that seeks to merge movement by bicycle and projection technology with literary expression, using a bicycle modified as a visual device to project texts written for each city onto the ground of those places while cycling through them. To date, the project has been carried out in Japan around the Tama River, in Ōgaki City, Gifu Prefecture, Atami, and around Tokyo Station, and overseas in Cairo (Egypt), Lusaka (Zambia), and London (United Kingdom). This work, “Mobile Literature: Kawasaki in the Shotashimura,” is a piece in which text written on the theme of southern Kawasaki City is edited into a visual work, and the text is projected onto the ground while cycling through the area at night on a bicycle. In “Mobile Literature,” writing is the act of inscribing into text the bodily sensation of motion, and the rhythm of breathing and travel, gained through the speed of a bicycle: slower than a car, yet faster than walking, at a human scale. The letters projected onto the ground are linked to physical sensations such as the force applied to the pedals, vibrations from the road surface, and changes in incline; they fluctuate, alter their shading according to speed and the texture of the road, and emerge with a singular, one-time expression, even when the same sentence appears. By treating bicycles and urban space itself as media, this series pursues the possibilities of literary expression rooted in place, as well as a reading experience impossible on paper or digital media. At the same time, because Ōgaki City, Gifu Prefecture—the site of the first work in the series—is the final destination of Matsuo Bashō’s The Narrow Road to the Deep North, the project aims to develop around the world, in the spirit of Bashō’s journey and contemplation.

Responsible for the creative direction of Ikebukuro PARCO’s largest renewal campaign since its opening. With the theme “NEW FRIENDS,” we drew on the motif of the “pond,” which is also said to be the origin of the name Ikebukuro, and created graphic designs using a technique that combined animals produced in 3DCG with live-action footage of nature, then re-shot the resulting collage through water in live action. In the film, that impression was recreated once again in CG. By mixing a variety of media, we expressed the city of Ikebukuro and Ikebukuro PARCO as a place where beings that transcend various boundaries cross over.

At the Maltine Records 20th anniversary event held at Spotify O-EAST, I created the visual direction for yuigot’s performance. I made visuals for six songs. All of the graphics were created through programming, composited with live-action footage and other elements in After Effects, and some parts were performed live in real time.

This is the music video for the original song “Nibi,” released in 2026. I created the song, the visual system, and the web app. “Nibi” refers to a dull grayish color. In this work, I made ink-like coloration the basis of the visuals. Particles in the four CMYK colors drift through 3D space, repeatedly gathering into and dispersing from the shapes of lyrics and motifs to construct the imagery. For the overlapping colors, I used subtractive color mixing calculations; the denser the particles become, the darker they sink as the inks blend together. Although the work is presented on a display, a texture like dynamic printed matter emerges, as if halftone dots on paper were dancing. The particles converge from flat shapes, noise, pendulums, and other geometric patterns into letters, then scatter once again. Rather than a continuous sequence of completed letters, the transitions of gathering and dispersing themselves are the main visual attraction. All of the visuals in this work are rendered as a continuous video within a web app, and the MV video was exported as a single uninterrupted shot with no cut editing. The lyric text is placed in 3D space and is framed by the camera angles set by the creator. I released this web app itself as a viewer, allowing viewers to freely move the camera in the browser and explore areas beyond the viewpoints selected for the MV. This is an attempt to open up both the production process of the visual work and the experience of the creator’s selection of viewpoint itself. The source code is also available on GitHub. For the particle physics calculations, I used Three.js WebGPU’s TSL compute shaders to enable real-time GPU processing of a large number of particles. In environments that do not support WebGPU, it falls back to WebGL 2 and also works on smartphones. MV website https://monotonmusic.com/nibi/

A/V live unit by ∈Y∋ and C.O.L.O. Performing in cities around the world. ■ Performances (2025-) Art Week Tokyo — Tokyo, Japan November 15, 2025 / FACETASM MUTEK.JP — Tokyo, Japan November 21, 2025 / Nocturne 1 Powerhouse: International — A New Arts Festival — Brooklyn, New York, USA December 5, 2025 / Powerhouse: International A New Arts Festival CTM FESTIVAL — Berlin, Germany January 24, 2026 / Berlin, at Haus der Visionäre REWIRE FESTIVAL — The Hague, Netherlands April 10, 2026 Variations festival — Nante, France April 11, 2026 ∈Y∋ formed Boredoms in 1986 and went on to release groundbreaking, genre-defying works such as Super æ and Vision Creation Newsun, becoming a figure with fans around the world. He is also known for the expansive “Boadrum” series, in which he assembled drummers for ambitious performances. He has also taken part in projects such as Sonic Youth, John Zorn’s Naked City, and Puzzle Punks. This project is an A/V show with visual artist C.O.L.O, who is also the founder of the multimedia A/V collective COSMIC LAB. C.O.L.O has created unprecedented AV experiences through collaborations such as THE TRIP - Enter the Black Hole with techno pioneer Jeff Mills and FINALBY() with ∈Y∋, and has developed integrated systems in which visual structures generate and shape sound. Treating sound and image as an inseparable medium, they create site-specific, transformative experiences. An accelerated hybrid that goes beyond the frameworks of AV/DJ/LIVE, a minimalism that emerges beyond maximization. By accelerating the inseparability of image and light through expanded shingeri futurism and crustal atomic audio-visual reactive, it pushes the limits of visual and sonic integration. A swarming bundle of chaos and fun surrounds Yamantaka Eye, aka ∈Y∋, the visionary founder of legendary avant-noise groups Boredoms, Hanatarash, and Puzzle Punks. Working since the 1980s, ∈Y∋'s output has influenced and shaped experimental music in his native Japan and across the globe. From noise and psychedelia to performance art and visual art, ∈Y∋'s career is a collage of creative mischief and devilish collaborations. He has performed with the iconic Sonic Youth, on John Zorn’s Naked City (1990), and with the influential South Korean artist Nam June Paik, among many others. Expect a face-melting and mind-warping audiovisual battery as the mutant cyberkinetic noise of ∈Y∋ is combined with the rampant visuals of C.O.L.O from Osaka’s Cosmic Lab to birth an immersive audiovisual performance. Through projects such as FINALBY( ) with ∈Y∋, C.O.L.O has developed integrated systems in which visual structures generate and shape sound, treating audio and image as a single, inseparable medium to create site-specific, transformative experiences.