To commemorate the release of Kenshi Yonezu’s 6th album, LOST CORNER, we were responsible for the character design and AR production/design of “LOST CORNER AR LIVE in HARAKADO,” held at Tokyu Plaza Harajuku “Harakado.” LOST CORNER AR LIVE in HARAKADO is a roughly five-minute AR experience that lets visitors witness a fictional Kenshi Yonezu live performance, dancing freely through the streets of Harajuku to songs such as the opening theme of the anime Chainsaw Man, “KICK BACK,” and the theme song for the NHK TV drama series Tiger and Her Wings, “Sayounara Mata Itsuka!” By co-creating with SoVeC, part of the Sony Group, and leveraging the advanced capabilities of Sony’s VPS technology, which boasts outstanding precision and robustness, we were able to create an immersive presentation that blends reality and digital content.

KMNZ (Kemonoz), a virtual girls’ unit, MV Created with the image of virtual beings transcending reality.

Description: We planned and directed the exhibition and VR live performance for the special band “FZMZ,” formed by masked avatars. https://fzmz.jp/

Wedding Movie

RICOH 3L is a practice-based research lab that accelerates team creativity while pursuing the joy of work. Within it lies RICOH PRISM, a future space designed to bring out the creativity of teams. One of its contents, “Anima,” is a new kind of perceptual art experience: a 16-minute audiovisual work in which you encounter your own digital twin, converted into digital form. Inspired by RICOH multifunction printers, it uses cutting-edge 3D sensing, 360° sound, and imagery to let participants experience five stages, recording the participant’s ANIMA, or soul, transforming it into data, and through subjective and objective viewpoints, metacognizing and reexamining and reconstructing perception. By accurately capturing the user’s viewpoint and position through 3D sensing, it achieves a highly immersive and realistic 3D space without the need for a VR headset. It also records scan data from a variety of participants, allowing it to be viewed from above and enhancing metacognition. In a future where everything has been digitized, it asks whether ANIMA, or the soul and perception, still exist.

Shot entirely in the virtual social network “VRChat,” the footage was processed to give it a rougher, more distorted appearance. This video depicts the connections formed online.

Description: https://ghostclub.com

JACKSON kaki creates works about virtual reality, the metaverse, and art. In this exhibition, the artist presents a performance using VRChat in order to examine corpses in the age of virtual reality, and exhibits the recorded footage as the artwork. The metaverse has become such a common term that many people can readily imagine it. JACKSON kaki critically observes the business-oriented and tool-oriented metaverse, which is treated as a kind of utopia, and explores expression by connecting it to the body, space, society, and culture in physical space. This work focuses on the phenomenon of the “corpse.” In the metaverse, it is possible to express the body through avatars; unlike social media, which is built through the exchange of text, images, and video, it enables more immersive experiences and the formation of human relationships that differ from those in reality. The artist began this work by questioning how corpses are perceived and handled by humans in spaces where avatars are used. In many currently available metaverses, the “depiction” or “programming” of corpses has not been prepared. JACKSON kaki interprets this state as a culture in which awareness of and understanding of corpses has not been formed, or has in some sense regressed, and undertook this work as an artistic examination and practice of expression. As a means to this end, the artist creates a “story” that references ancient civilizations shaped by mythology and gods, and connects them to the contemporary metaverse. Based on that story, a “ritual” for handling corpses is constructed, and this ritual is performed and recorded. Through the body in performance within metaverse space and the “handling” of corpses, this work asks how we perceive and recognize corpses in the age of virtual reality.

Dive into Manabu Koga’s production site with a VR camera. This is an experience that takes you to an underwater filming location, somewhere you normally can’t easily enter.

In the music video for PAPERMOON by higma + Hoshimiya Toto, I designed and captured the virtual space. By reconstructing 3D models photogrammetrically captured from locations all across Japan, from Hokkaido to Kagoshima, I created a space where dreams and reality intermingle. The entire video, including the outdoor scenes, was filmed while wearing a VR headset.

I served as the director of photography and camera operator for “kinu 6th live ‘Turning, Opening.’” held in VRChat. A hybrid shoot combining preprogrammed camera work inside VR with handheld camera filming in VR.

Commentary: I’marine Project, a content line for younger audiences and otaku that spun off from Sanyo’s "Umi Monogatari." (Marin-chan and I’marine are not the same person.) A music video that portrays the world of I’marine and Ichikazeiro, characters set up to travel between virtual space and reality, in a multidimensional way while depicting their storyline and worldview through a variety of expressions. 3DCG, live action, hand-drawn animation, dot animation, motion graphics, craft-like animation, VR, and more—all the forms of expression I’ve ever directed, packed without omission or restraint into a single music video.

At Expo 2025 Osaka-Kansai Expo, in the dedicated theater “499 Seconds: My Gattai” within the Signature Pavilion “Shin-Life Adventure” produced by Shoji Kawamori, 30 participants don VR headsets equipped with cameras and, through VR and MR technologies, simultaneously experience a universe-scale food chain—traveling beyond time and space from memories of the past in an immersive exhibition available nowhere else in the world. Through the “universe-scale food chain” envisioned by Shoji Kawamori, creator of numerous sci-fi works, visitors can experience the pavilion’s theme: “Life is fusion and transformation!” We were responsible for the direction and animation of this hyperspace theater “499 Seconds: My Gattai,” and, using spatial audio technology developed by SoVeC Inc. and Terasaka Bio Inc., we combined it with spatial audio produced by Sony PCL Inc. (hereafter Sony PCL), delivering a completely new audiovisual experience unlike anything before.

VRAA02 Award-winning work of the Yoichi Ochiai Prize

Collaboration between rope artists Hajime Kinoko and Poppy When viewed on an HMD, VR180 lets you experience the three-dimensional presence of each individual rope up close.

A letter offered to a form of life called a virus, in hopes of coexistence. From a new perspective, it poetically expresses the relationship between humans and viruses. Created from the desire to merge analog methods with VR technology and to showcase the appeal of animation in a more自由な spatial environment.