Snake Line A video installation by filmmaker Shinichi Yamamoto and musician Tetsuji Ohno (Intercity-Express). Set at the biotope located at the edge of the forest within the expansive grounds of Nagaoka Institute of Design, the work features a 20-meter screen constructed from 40 connected LED displays. Positioned at the forest's margin — visible from the campus buildings — it unfolds amid the falling leaves of late autumn. From 9 a.m. to 9 p.m., the work continuously shifts in response to the changing quality of daylight, rain, and the darkness of night reflected across the water's surface. Emitting vivid, high-saturation color, the installation neither confronts nor overwhelms its natural surroundings, but settles quietly into the landscape. The sound, composed by Ohno, builds an ambient sonic environment rooted in field recordings of a suikinkutsu — a traditional Japanese water instrument. Snake Line was produced as part of VideoListening, a media art program directed by Shinichi Yamamoto.

A short animated work broadcast within TV Tokyo’s infant and toddler program “Sina Pushu.” Its distinctive structure shows the character “Nigimaru” being drawn in real time as it transforms into various actions. uwabami was responsible for the character design and animation direction. By showing the process of being drawn itself, the work draws out children’s curiosity and anticipation, creating an experience in which they can enjoy wondering “what will happen next.” With simple lines and shapes, and a rhythm of repetition and change, it is a work that combines visual clarity with a sense of participation.

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This is a rebranding movie for eo, a provider of FTTH and energy services, offered by Optage Inc. We were responsible for the direction, design, and motion.

Riding on a Time Machine (Official Music Video) Produced by PUNPEE 1st Album "MODERN TIMES" An animated work created entirely using rotoscoping

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.

Concept In a world where the species you are born into determines the course of your life, Legoshi and Haru were beings destined to walk separate paths. Even so, they are drawn to each other, reaching out to one another amid the instability of interspecies romance. Though uncertain, Legoshi keeps moving forward, confronting his inner conflict and instincts. And beyond that, with everyone cheering him on, he continues to run straight ahead. Technique This work was created through a wider range of experiments than ever before, combining commercial production methods with independent, handmade approaches such as rough drawings, hand-painted backgrounds, and real paper confetti. While retaining the collage-style animation in which each sheet and every individual part is moved piece by piece, it also continues to explore ways to adapt to a greater variety of works.

Kyoto’s popular event at Kodaiji Temple, Hyakki Yagyo Exhibition 2023. This is a view of the exhibits, including “KYOTSUBE Hyakki Yagyo Emaki.”