We produced a music video depicting the growth of a high school trumpet player. The protagonist experiences a setback at a marching band competition and gradually loses connections with those around him. In this work, we express the protagonist’s inner transformation through striking scenes such as an evening classroom, the road home, and a performance at the competition, ultimately depicting him taking a new step forward as “one among the crowd.” An important turning point in the story is the scene where he witnesses an old friend’s performance. Seeing that his friend is surrounded by many companions gives the protagonist an opportunity to reconsider his own way of being. Through visual expression that combines CG and animation, we aimed to complement the song’s themes of “self-affirmation” and “growth” without compromising them. The sheet music, clock, and the changing expressions of the sky and notebook that appear throughout the film serve as important motifs symbolically representing the protagonist’s state of mind. As suggested by the title “I’m People,” the protagonist is no longer a special being, but accepts himself as one of the many and tries to move forward—this work portrays that relatable, down-to-earth figure.

Multiple scenes were created in 3D space by geometry instancing from a single texture. Unified by a water-inspired motif, this work brings together a 20-minute real-time audiovisual performance.

For the official music video of Dios’s new song “Tasogare,” released in January 2025, I was in charge of some of the cuts. My part consists of two cuts, from 0:29 to 0:32 and from 0:33 to 0:45, totaling about 15 seconds. From the start, the director wanted me on board and cited my self-produced work from three years ago, “Motete!,” as a reference. The method itself — combining motion graphics with footage of my own hands — may already be becoming something of my signature. In “Motete!,” the goal was to create a strange, one-of-a-kind sensation, where hands and shapes guide one another and are guided in return, as if each possessed free will. For this piece, building on that experience and refining it further, I shifted away from a flat, clean style and instead went for an alluring look where dark yet vivid, eerie gradients intertwine, much like “nostalmic” (2023/2). This work feels almost like a mixture of the methods and style approaches from my previous two self-produced pieces, with the hands and shapes boldly and three-dimensionally intertwining as if they had always been there together, elegantly carrying the chorus. As a result, it seems I was able to express a world quite different from the one in my earlier independent works. In the chorus, the lyrics first say, “the gap in the night when I know I can’t escape from you.” Too brief to satisfy, too much to forget. The song uses “tasogare” as a metaphor for something that bewitches and captivates in that way. The chaos resulting from being driven mad by twilight and becoming dependent on love in that “gap in the night” is what is sung in the first chorus. The fact that it is “impossible to escape” is expressed by having the alluring shapes rolled between the two hands. Rather than simply trapping them, it suggests being played with in the palm of invisible hands, despite seeming free. Also, in “the gap in the night,” the scene transitions to a cut where an actual gap is filled by the night itself (the black background), revealing a bright, gradient-infused “sexiness.” However, in the following lyric, “carelessly reached out my hand,” the visuals do not literally show a hand reaching out. Rather than depicting the lyrics too directly, I devised the direction with a subtle balance: at first glance the connection seems thin, but upon noticing the finer details, the meaning comes through clearly. In this music video, where extensive use of 3DCG and a relatively flat style not especially wrapped in effects fill most of the runtime, my section stands out as an extremely unusual presence. But in terms of the overall dynamics, I think it also worked clearly as a contrast.

A work depicting the contrast between silkworm moths and humans. It pursues harmony between CG and live-action footage. The silkworm moth was given approximately 1.22 million hairs, and the design aimed to convey not only delicacy but also the roughness characteristic of a living creature. In animating it, the team struggled with the limited range of expression caused by the insect’s lack of facial features and the stiffness of its joints.

Music video for not mika’s "Diaper99999." The film visualizes mold spores personified as characters running wild.

I created this piece using cutout animation, staying true to analog expression. By shining a light source from behind the drawing paper and using a glass surface to create layered visuals, I incorporated analog techniques inspired by special effects filmmaking.

This piece was created by rotoscoping a video of the Corgi kept at my parents’ home, converting that animation into a moving 3D CG mesh, and filming it with a camera.

PV for , an exclusive space for GINZA SIX VIP members The spatial design of LOUNGE SIX was created by New Material Research Laboratory, founded by contemporary artist Hiroshi Sugimoto together with architect Noriyuki Sakakida. The approach is lined with walls finished in black plaster by skilled plaster craftsmen, creating a striking sense of presence. Opening the entrance door clad in diamond-patterned tin plates reveals a reception space like an alley paved with antique spirit stones. The main room at the back, which we will guide you to, is a spacious yet calming space. It is filled with a serene atmosphere, illuminated by ambient natural light filtered through vertical-latticed shoji screens. By carefully incorporating traditional Japanese techniques that gradually change the view as one moves through the space, while evoking a sense of nature even indoors, a refined and high-quality environment has been created.

Sheep, called by humans, cross over a fence. Among them, only one flees. It tries to break suddenly away from an ordinary, habitual ritual, yet unless humans shear its wool, a sheep’s wool will continue to grow forever. While this evokes the arrogance and cruelty of human breeding practices, the sheep’s way of life also, in a sense, resonates with something within human beings. Might we, too, be tormenting ourselves?

Depicting the dawn of their hard-won debut, the composition shows how gathering firefly squid becomes a single great light, bringing the night to an end.