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[NHK E-tele] Miitsuketa! “Raku-da Katabura” Rakudashi-san - 映像作家: shizukaamano
Music videoTV

[NHK E-tele] Miitsuketa! “Raku-da Katabura” Rakudashi-san

2026
Only Image
NHK E-TV’s “Miitsuketa!” music video for “Rakuda Katabura.” This is a song about “Rakudashi-san,” a traveling camel character played by Toma Ikuta. Written and composed by Rekishi (Takafumi Ikeda), it’s a pop number full of healing vibes that helps ease your mind when you’re tired. We were responsible for the direction, CG production, and editing (including all compositing). Editing environment: Adobe Premiere Pro, After Effects, DaVinci Resolve
[NHK Etele] Mii tsuketa! “Mōretsu ni Hassan!” Ofurosky - 映像作家: shizukaamano
Music videoTV

[NHK Etele] Mii tsuketa! “Mōretsu ni Hassan!” Ofurosky

2026
Only Image
NHK E-tele’s “Mittsuketa!” “Mouretsu ni Hassan!” music video. This song’s theme is to sing, dance, and “Hassan” away the stress you carry every day. From the nostalgic feel of the melody, we aimed for a high-energy video with a cheap, funny vibe reminiscent of the early days of CG in the Showa and Heisei eras. I was responsible for the direction, CG production, and editing, including compositing. Editing software used: Adobe Premiere Pro, After Effects
[Anime] Just Right! Word Office - 映像作家: onakatakeshi
2D animationAnimationComedy

[Anime] Just Right! Word Office

2026
Only Image
An anime packed with “relatable civil servant moments,” made for civil servants by civil servants. A short anime that takes a peek into the daily lives of the staff working at the ward office in the fictional Chitoku Town Village’s “Hodora Ward” Hodoyoku! Word Office is a short anime aimed at civil servants working in local governments and public institutions. This series reunites director Takeshi Onaka, who teamed up about 10 years ago on Neko to Mata, with voice actors Tasuku Hatanaka and Takuma Nagatsuka. Set in Hodora Ward Office, the comedy centers on rookie staff member Shinji (CV: Tasuku Hatanaka) and his senior colleague, the protective-cat Neko-yama-san (CV: Takuma Nagatsuka), with the banter built around “civil servant relatability” portrayed as a comedic dialogue-driven story (from Animate Times) (↓Featured article) https://www.animatetimes.com/news/details.php?id=1776676732 Available now on Jichitai Works.com https://com.jichitai.works/video/
To the Scientists of the Future #20 “Trapping Light” - 映像作家: EUPHRATES
Web movie

To the Scientists of the Future #20 “Trapping Light”

2025
00:06:03
The “To the Scientists of the Future” series is a science video released on the official YouTube channel of the National Institute for Materials Science (NIMS), a Japanese public research institution. It is produced to promote NIMS while widely sharing the appeal and fascination of materials research. Episode #20, “Trapping Light,” is a video about the origins of optical technologies that confine and control light within matter, typified by optical fibers.

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4 Works
Rakuten GirlsAward 2025 SPRING/SUMMER OPENING MOVIE - 映像作家: 小野哲司Tetsuji Ono
2D animationAnimationMotion graphicsOpening moviePixel Art

Rakuten GirlsAward 2025 SPRING/SUMMER OPENING MOVIE

2025
00:01:13
Opening video for "GirlsAward 2025 SPRING/SUMMER," one of Japan’s largest fashion and music festivals. Theme: "Play Your Style −8bit Dreams−" Inspired by the world of 8-bit games, the excitement of a fashion show is expressed through pixel art animation. The stage leading to the runway is treated as a "game stage," using dot-based characters, UI, effects, and transitions to create an immersive experience that makes the audience feel as if they have stepped into a game. By combining the nostalgic texture of 8-bit visuals with a contemporary sense of pop culture and street style, the message of "choose your own style and play it" is brought to life visually.
JUMP MV /『Dr.STONE』×『Good Morning World!』| BURNOUT SYNDROMES - 映像作家: 小野哲司Tetsuji Ono
2D animationMusic videoPVWeb movie

JUMP MV /『Dr.STONE』×『Good Morning World!』| BURNOUT SYNDROMES

2024
00:01:39
A collaboration MV project between Weekly Shonen Jump and Sony Music. This work reconstructs the story of the anime Dr. STONE around a single axis of time: the time shared by the protagonist Senku and his father, Byakuya. Thousands of years of time, severed by petrification. And yet what was passed down was knowledge, will, and hope. The visuals were designed around the theme of “the future” handed down from father to child.
4 Works
Komyaku’s Dancing Garden, Komyaku’s Farewell - 映像作家: hirai
3DCGCo-CreationGenerative ArtInstallationProjection mappingReal-time Graphics

Komyaku’s Dancing Garden, Komyaku’s Farewell

2025
00:01:41
This work is a video piece that was exhibited and screened as part of an ambient projection-mapping presentation at the EXPO Hall “Shine Hat” and the Popup Stage East Outside at Expo 2025 Osaka, Kansai. Taking as its motif the “EXPO 2025 Design System” IDs, affectionately known as “Komyaku” at Expo 2025 Osaka, Kansai, and with Kohta Hikichi, a representative member of the team that created it, serving as an advisor, we drew on the expertise in artificial-life ecological systems that HiRai has long been researching to create a real-time video simulation system and visuals. In producing the video, we referenced the design system’s history of being prototyped based on metaballs, and developed a real-time simulator in which the Komyaku behave as if they were alive while retaining the identity of the design itself. By using GPGPU to calculate the interactions among large numbers of Komyaku in real time, we built a system that can be flexibly expanded to support a wide range of possibilities, including interaction and the generation of one-of-a-kind videos. At the Popup Stage East Outside, we also took advantage of the architectural characteristics of a structure in which the projected image is interrupted by support columns, and created visuals that made it look as though each steel beam were packed full of Komyaku. We pursued video production that made the most of the characteristics of the projection surface. The name “Komyaku” naturally spread as a nickname referring to the IDs that make up the design system. Taking into account this derivative, fan-created cultural expansion, this work intentionally uses the term “Komyaku.”
Asase Town - 映像作家: hirai
CodingExperienceGenerative ArtInstallationInteractive

Asase Town

2024
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Created as an internal simulator for “Interface Prototype for Different Natures,” exhibited in “Surprisingly Heartful,” the third installment of the 8th KUMA EXPERIMENT, a group exhibition by KUMA Foundation grantees. Based on an artificial ecosystem simulator that uses GPGPU technology to calculate the real-time interactions of large numbers of artificial life forms, it was designed to create a space in which artificial life living in computational space and humans (viewers) living in physical space could interact on equal terms. To that end, I built a system using hardware and sensors that enabled both sides to interact spontaneously with one another. From the perspective of the video work itself, I also incorporated expressions such as the surface of a liquid, exploring ways to make the boundary feel less apparent when exhibited on a touch display.
Born, Involved, Born Again, - 映像作家: hirai
CodingExperienceGenerative ArtInstallationInteractive

Born, Involved, Born Again,

2024
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Exhibited at NTT ICC Kids Program “Kimi ( ). Code ( ). Sekai ( ).” This program was an event for children during summer vacation, and this work was also created with elementary school children and younger viewers in mind. Using bubbles, a “boundary” commonly found in nature, as its motif, the work creates a simulation that expresses an ecosystem composed of multilayered enclosed regions. This simulator runs in real time using GPGPU technology, enabling interaction with viewers. Sensors installed at the floor level detect the movements of children, allowing interaction between the artificial ecosystem and the children. In addition, a new projection sheet was installed for this work, and by instructing viewers to step onto it barefoot, the experience was designed so that they could engage with the artificial ecosystem on a life-size scale while feeling the raw texture through the soles of their feet.
Gene Parallel Computation - 映像作家: hirai
CodingExperienceGenerative ArtInstallationInteractive

Gene Parallel Computation

2022
00:01:24
Exhibited at PARCO P.O.N.D. 2022. A swarm of artificial lifeforms, each with distinct genes and intelligence, formed groups for their own survival and the preservation of their genes, preying on other species and reproducing through mating; this behavior was simulated in real time using GPGPU technology. The activities of each lifeform produce changes only in their immediate vicinity, but those effects spread through a network of interactions, forming a diverse ecosystem. This work was exhibited on a human-height touch display on the fifth floor of Shibuya PARCO, enabling life-size interaction. The touch display was installed midway along a route traveled by people with a wide range of attributes as they moved through the shops, creating unpredictable encounters between the ecosystem and viewers, while also becoming a place for unexpected communication among viewers mediated by the work. As part of “Katawara,” a project to make artificial life exist alongside everyday life, the simulator was run continuously for more than a week in 2024, and the process was streamed on YouTube Live.
9 Works
Sleeping Anime "Mysterious Factory" - 映像作家: senpookyakuhoshiko
3DCGAnimationCo-CreationMotion graphics

Sleeping Anime "Mysterious Factory"

2026
00:07:39
CG animation for the “Nemuru Ma Anime” segment included in U-NEXT Kids’ picture-book reading program “Nemuru Ma Ehon.” By weaving together the factory motifs that Masaya Ishikawa had explored in his previous works with the absurd ideas of Senpuukyaku Hoshiko, the piece was brought to life as a mysterious and charming visual work. The 3DCG production was handled by Hoshiko. Through repeated trial and error, the process by which “something” whose state keeps changing—such as being stretched or painted—is manufactured was visualized. In the latter half, frame-by-frame “faces” are given to the manufactured objects to endow them with emotion, retelling the factory line as a single story.
15 Works
19 Works
BUMP OF CHICKEN「I」(Lyric Video) - 映像作家: shujihirai
2D animationAnimationMotion graphicsMusic video

BUMP OF CHICKEN「I」(Lyric Video)

2025
00:04:12
Directed and handled the compositing for the lyric video of BUMP OF CHICKEN’s “I,” the ending theme for the TV anime My Hero Academia. The video was crafted so that the various “Quirks” featured in the series would color the screen in sync with the lyrics. Packed with direction inspired by the story, it was created to deliver a level of visual impact that goes beyond the usual scope of a lyric video.
10 Works
17 Works
Phantom Siita "Rose-Colored Moon" (OFFICIAL MUSIC VIDEO) - 映像作家: kazukigotanda
Music videoPaper craftStopmotion

Phantom Siita "Rose-Colored Moon" (OFFICIAL MUSIC VIDEO)

2026
00:03:45
In this work, built around a new song by Phantom Siita, I sought to foreground the group’s aesthetic beauty and darkness while using Le Fanu’s vampire tale Carmilla as a motif, creating a world that unfolds like a Gothic short film. I had long thought that I wanted to make a vampire film at least once in my lifetime, and when I saw “Carmilla” written in a note from producer Ado, I was extremely excited. Among films based on Carmilla, Carl Theodor Dreyer’s Vampyr is one of my all-time favorites, and throughout this production I also kept thinking about the ashen, anemic pallor of Isabelle Adjani and Klaus Kinski in Werner Herzog’s Nosferatu, another vampire film. The setting is an old mansion that appears on a night of the full moon. Through the process of the girl Heine wandering into the mansion and getting swept up in the Phantom Siita’s—vampires’—festival, the film hints at an unnameable emotional wavering that cannot be clearly defined as romance, dependence, or illness. Visually, while drawing on European Gothic sensibilities and the decadent atmosphere of filmmakers such as Daniel Schmid, I aimed for a textured expression that combines live action and analog collage to depict “illness ≠ love.” That emotion is strictly not equal; here, I do not present it in an easy-to-understand way as “love is an illness.” By portraying, on the same plane, emotions that cannot be labeled—“I love you, I’m drawn to you, I want to hold on to you but I don’t want to, I want to run away, I want to live, I want to die, and I don’t want to die either”—alongside a body that grows weaker and more exhausted, I tried to express that this ungraspable feeling is real. As for the collage, rather than shooting against a green screen, we filmed in a studio filled with vintage props and similar items. Because the relationship between space and the people within it was necessary, and because collage needed to draw out that magnetic field in order to create a distortion of reality, I have lately tried to avoid using green screen as much as possible. By dismantling those elements, I wanted to portray a blurred consciousness and memory shaped by the dislocation of time and space. As for the collage method itself, we would print out live-action frames that had been shot and create animation while rearranging them, and even before shooting there were times when fragments of blurred consciousness, the mansion, or parts of scenes were assembled into analog collages.
BUCK-TICK / Raijin Fujin - Resonance MUSIC VIDEO - 映像作家: kazukigotanda
2D animationAnimationArt workMusic video

BUCK-TICK / Raijin Fujin - Resonance MUSIC VIDEO

2024
00:04:44
Based on the imagery evoked by the title and lyrics, as well as the band’s situation in 2024, we set the theme as “resonance and collision of wavelengths.” As reference points, we drew on Guillaume Apollinaire’s The Magician Who Decays and “Holography Hymn” from Tatsuhiko Shibusawa’s The Sun King and the Moon King to build the world of the piece. To bring the collage created on a flat surface into the real location, we produced the art direction as physical set pieces. With the band’s long-established formation having changed, while preserving the empty space at the center, we sought to honor the band’s intention, and we depicted the camera dolly moving side to side as literal gods of thunder and wind. We also used the set door to suggest that this place is connected to somewhere else. The cut tearing open into a transition likewise carried the intention of representing another place elsewhere.
5 Works
WonderRoom2.0 - 映像作家: reikurashima
2D animation3DCGAnimationMotion graphicsMusic videoPixel Art

WonderRoom2.0

2024
00:04:28
This is a music video created for the doujin creative event VOCADUO. It is an experimental work that marked the first time I incorporated character modeling, rigging, and animation into my production process. “Wonder Room” refers to luxury goods and curiosities in Europe around the 16th century. It is said by the composer, sanmal, that the song WonderRoom “2.0” was created with the idea in mind that there is a similar underlying impulse to modern internet content consumption. The video was made with a pixelated visual style that also evokes a sense of nostalgia, depicting a world where one explores a digital realm. Since both the characters and backgrounds were created in CG, pixel-style look development took time. Rather than following a scenario-based flow like an animated film, it was produced with a concept that extends from motion graphics.
14 Works
2 Works
14 Works
6 Works

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