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.

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.

This work is an animated piece created using rotoscoping techniques based on a song by Ai Otsuka. It aims to visually express the song’s rich emotion and vitality, seeking to fuse real movement with art. It was also born out of a collaboration tied to Ai Otsuka’s solo art exhibition, incorporating as motifs the animals depicted in the paintings to be displayed there. Through a dialogue that transcends the realms of music and fine art, it explores new possibilities for visual expression. A world drawn by melody, a story played by color. We hope you will feel the poetic space created by the synchronicity of music and imagery.

Rental Cars Without Waiting: Yuki’s digital ad, Fukuoka trip edition. It shows a couple enjoying a smooth trip to Fukuoka.

This work is a digest video piece featuring songs included on the mini album. Based on songs by Ai Otsuka, the animation was created using rotoscoping techniques, visually expressing the emotion and dynamism of the melodies while attempting to fuse real movement with art. This piece was also created in collaboration with Ai Otsuka’s solo art exhibition. Drawing on the animals depicted in the paintings displayed at the exhibition, it explores new possibilities for visual expression through a dialogue that transcends the different realms of music and fine art. A world painted by melody, a story performed in color. We invite you to experience the poetic space created by the synchronicity of music and visuals.

A video introducing the 100th anniversary logo of Mayekawa Manufacturing Co., Ltd. It is composed of animated organic motifs and sound design.

Chugin Financial Group, which includes The Chugoku Bank headquartered in Okayama City, Okayama Prefecture, under its umbrella. With the mission of increasing long-term Chugin fans, we portrayed the changes within the Chugin Group through VFX and adapted them into a TV commercial and graphics.
 The challenge we were given this time was to “create long-term Chugin fans, especially among the younger generation.” In developing the concept, we conducted interviews in advance with more than 20 young employees across the Chugoku Bank, as well as other Chugin Financial Group companies. After organizing how the current Chugin brand is understood by employees, we pointed out the possibility that the headquarters’ efforts to reform its culture had not been fully communicated. Through repeated discussions with headquarters staff about the future Chugin aims to pursue from a long-term perspective, we decided to communicate the evolving Chugin both inside and outside the company using image-based visuals. In line with the project’s main copy, “Let’s give it a try,” we too took on our largest-ever scene construction challenge. In the first half of the story, we recreated as a time-lapse using 3DCG the moment when the Chugin Financial Group sign is raised from the former Chugoku Bank headquarters to the current headquarters building. We visited the Okayama Prefectural Library in person and collected materials spanning the past 50 years, then created 3D models of the streetscape around Chugin’s headquarters, including the surrounding distinctive buildings. Tradition is not the result of being preserved, but the result of continuing to change. And the grand, seemingly unchangeable landscape of today was also shaped by the accumulation of small challenges taken on by people in the past. To convey change, it is more effective not to declare that “we are changing,” but to capture and communicate the actual change itself. In the latter half of the film, we focused on the DX strategy that is already delivering results. After abstractly expressing Chugin’s evolution into a platformer connecting regional businesses through CG particles, we depict young employees energetically taking on challenges with digital devices, their supervisors encouraging and watching over their efforts, and young people at startups tackling innovation. As a regional bank, Chugin Financial Group only has meaning when it brings positive impact to the region through forward-looking initiatives. While leaving a strong impression of Chugin’s major step forward through visual expression using advanced techniques, we also conveyed that this is a change rooted in the local community and one that never forgets where it came from by closely capturing the regional people who appear in the work.

Web CM for “uka IZU Shampoo / Conditioner.” uka’s new goal is to create a cycle in which both hair and the global environment benefit each other. In producing “uka IZU Shampoo / Conditioner,” they source Japanese star anise from Izu, and by paying for it, forest regeneration activities advance, eventually restoring the sea and surrounding environment connected to the mountains as well. The aim is to create a virtuous cycle that does not rely on donations or charitable activities. Creative director Kiku-no is featured as the model, and the story of her natural self and uka is beautifully depicted against the backdrop of Izu.

I am currently producing a work tentatively titled “A,” and this piece was created as a prelude and foreshadowing for it. Within a short runtime of about 10 seconds, it is filled to the brim with elegant motions evoked by the music. Unlike my usual self-initiated works, this piece and the next one (“A”) aim primarily to express, as purely and directly as possible, the simple emotions that the music calls to mind, setting aside detailed intentions and lines of thought. As a result, while introducing vivid colors with bright yellow-green as the main tone—something I had tended to avoid until now—the rest is largely kept in monochrome, emphasizing that one color even more strongly. Although it is a modern motion graphic grounded in a flat, pop-oriented style, I made heavy use of post-processing such as color shifts and noise, pursuing rich textural expression and aiming for a gap that leaves even this fleeting runtime feeling somehow warm. Around the 3-second mark, I attempted an illusion-like expression in which an X (the bowling strike symbol) encountered after passing through a tunnel transitions into a three-dimensional rotation. Incidentally, in my self-initiated work “Glancent,” released last February, I also created a similar connection in the latter half, where 2D graphics seamlessly transitioned into a three-dimensional structure. Since these kinds of “illusion” effects are not often seen in the realm of 2D shape motion, I would like to actively devise more of them going forward. Now that commercials and visual works making heavy use of motion graphics interwoven with text, images, and video—while incorporating short-form shape motion—have increased dramatically compared with a while ago, is there still room for what pure【shape-only】 or【2D-only】 motion can do? At a time when creators are becoming saturated and are also being threatened by the presence of AI, what more can I do as someone who continues to pursue handmade shape motion in the most literal sense? I want to explore the potential of a short, one-shot shape motion that can be seen as a return to origins. In the end credits, the conventional 【Music】 credit becomes 【つかったおんがく】, and 【Video】 becomes 【今見とる映像を作った人】, flexibly departing even from the format I had maintained as a template up to now, and suggesting prospects for a new style of work in the future.

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.

Description: Expressing a glamorous, luxurious mood and catchy visuals that delight a sense of adult playfulness. Featuring an adorable bear, which became the symbolic motif of this collection, rendered in 3DCG to create an exciting holiday-season atmosphere.