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Snake Line (2025) - 映像作家: omnibus-japan-inc
Art workIllustration

Snake Line (2025)

2025
00:06:00
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.
Jizo Sonzai name-less "Danzai Democracy" GAME MV - 映像作家: spirot
360° VR3DCGAnimationMotion graphicsMotion logoMusic video

Jizo Sonzai name-less "Danzai Democracy" GAME MV

2023
00:03:18
I directed the music video for Jizou Sonzai name-less’s “Danzai Democracy.” We created an actual playable game, captured its gameplay footage, and used it to compose the entire MV. To suggest that words of justice can, before long, end up hurting people, the opening begins as a game about freeing people, but by using cheats it is reversed, and people end up being restrained instead. This is our first attempt to express the artist’s distinctive background through the medium of a game.

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3 Works
Chemical Glitch – OUR LAW - 映像作家: J_ChemicalGlitch
3DCGMotion graphicsMusic video

Chemical Glitch – OUR LAW

2024
Description: I am the vocalist and also handle composition in the band Chemical Glitch, and basically I do everything myself in a DIY way, from the visuals to the music. This song was released on 2024/3/1. The concept is: is it really right to lose your true self and what you once believed in by bending yourself to fit the many words found in various philosophers’ works and self-help books, just for the sake of believing in “our own rules” and moving forward? This is a work that lays my own will bare. I kept the production process as minimal and simple as possible. The only software I used was FCPX and Blender. The rendering was done in Eevee. It really comes down to a battle of ideas.
4 Works
3 Works
A Story of a Drop of Water - 映像作家: rxn03167@nifty.com
AnimationArt work

A Story of a Drop of Water

2022
An animation that personifies water. In this fantasy, “water,” born in the sea, becomes “clouds” and rises into the sky, then returns to the earth as “snow.” The personified characters were created as follows: water was drawn in Illustrator, while the clouds and snow were hand-drawn, scanned, digitized, and colored in Procreate and Photoshop. The backgrounds and sea creatures were painted with paints (transparent watercolor and acrylic), then composited with the characters in After Effects.
4 Works
LioLan 「nanikasa」Official Music Video - 映像作家: Ichiro_Komiya
Music video

LioLan 「nanikasa」Official Music Video

2023
00:03:52
Description: Concept of the work NUTRO A fusion of the present and the future, meaning a “new past.” Retro-future. We visualized epoch-defining backgrounds such as personal computers, the internet, smartphones, social media, the metaverse, and AI, and created an impactful, stylish image. Method We refined the filming, editing, and compositing. Using AI image processing, we repeated trial and error many times and spent a great deal of time creating the ideal visuals. Within a runtime of about four minutes, we aimed to create a music video that would never bore the viewer. We put our heart and soul into this work. We would love for many more people to see it.
2 Works
4 Works
maco marets 「D.O.L.O.R.」 - 映像作家: masakiueda
Music video

maco marets 「D.O.L.O.R.」

2019
00:04:12
Filmed in Paris, this piece was inspired by Sagane’s “Good Day, Sadness,” a work by a Parisian writer. The pain and helplessness of confronting sorrow and regret are universal struggles of being human. From this song, I felt a positive message: that fleeing from such struggles and confronting them head-on, however clumsily, are both deeply human, and that this raw honesty is what makes us beautiful. Together with the dancers, I translated that feeling into the performance. The protagonist struggles alone with loneliness, sublimating those feelings only to fall back into doubt, repeating the loop of suffering again and again until exhaustion finally brings them to the ground. Unable to speak of it to anyone, they suffer in a world of their own, yet by pulling back and seeing the city lights, they sense the existence of many others. Surely the people within those lights are wrestling with the same feelings; this is not your burden alone, but a struggle shared by everyone. With that concept in mind, we found the perfect location. ＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ 　If you were lucky enough to have lived in Paris as a young man, 　it stays with you, for wherever you may go for the rest of your life, 　Paris is a moveable feast. 　――Ernest Hemingway ＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿ These are Hemingway’s words, and it is said that Paris contained everything in the world. The “hope” in the light of Paris reflected across the river, and the protagonist sitting alone may seem contradictory at first glance, but I hope you will feel something in the beauty of that figure, illuminated by the city lights.
3 Works
11 Works
TGS2023 × Crazy Raccoon Cup STREET FIGHTER 6 Main Title - 映像作家: nim
2D animation3DCGMotion graphics

TGS2023 × Crazy Raccoon Cup STREET FIGHTER 6 Main Title

2023
00:00:41
Produced the opening video for TGS2023 × CR CUP Street Fighter 6. This event was held offline as a special main stage event at Tokyo Game Show 2023. Centering on the fist monument that symbolizes Crazy Raccoon Cup Street Fighter 6, this cinematic video was created around the theme that “one’s own pride, along with the feelings of teammates and supporting fans, is too heavy to bear alone, but only by turning that pressure into strength can one reach the top.” It tells the story that, because the first tournament drew such tremendous excitement, the memories of that moving event gave rise to the floating land in the sky. For the typography, the goal was to fuse the rawness of street culture with the formality of a grand stage. As an element of street culture, we created team tags and other tags using a graffiti technique known as tagging. In the animation, the overall look is elegant and chic, based on the design concept and the atmosphere of the typefaces used, while the tagging is given a sense of speed to serve as an accent. For the music, Trap EDM forms the foundation in order to incorporate the modern atmosphere of the game itself and its street-culture sensibilities. In the opening, fragmentary synth sounds inspired by the game’s BGM create tension, while deep reverb effects evoke a spacious environment suited to the visuals. In the scene where the floating land rains down upon the city, melodic dubstep elements are added while retaining the Trap EDM feel to express supernatural power, depicting the determination and passion of those taking on the tournament through pounding rhythms and melodies that surge violently up and down.
Brazen Blaze – Alpha Announcement Trailer - 映像作家: nim
2D animation3DCGMotion graphics

Brazen Blaze – Alpha Announcement Trailer

2023
00:00:58
Created a trailer announcing the alpha test for the VR competitive action game “Brazen Blaze.” Brazen Blaze is a new VR game developed by MyDearest under the concept of “fulfilling desires that are forbidden in real life, but that you’ve always wanted to try.” This piece is structured in two parts. In the first half, the game’s world is expressed through full-cinematic 3DCG. While respecting the game’s overall image, the visuals make use of cinematic expression to create shots that heighten the viewer’s excitement. For the ambient sound, multiple layers of audio with different perceived distances were used so that changes in the subject’s distance between cuts can also be felt through hearing. Sounds for gauntlet activation and destruction effects were designed by concentrating slightly excessive peaks in volume at the height of the on-screen motion, then distorting them with distortion and delaying the signal phase with an all-pass filter, resulting in a crisp sound often heard in weapons and other effects in recent games. The short story of “a rebel protagonist destroying a stone statue that symbolizes authority” was inspired by the protagonist’s desire to become president and change the world, as well as the gameplay that allows players to smash everything on the map with their fists. To emphasize the exhilaration of the concept of “smashing things apart,” the buildup from tense cuts toward the punch scenes was especially important. In the second half, motion graphics introducing the game’s overview and the creators were combined with mockup footage. Centering on the violence where everything is decided by strength, the video was produced to convey a rough, edgy impression while also incorporating the digital feel of VR games and the sporty energy of esports. In impactful cuts, changes in tempo and dirty, distressed effects were used to depict the violent world of Brazen Blaze. The music was also crafted to feel rough and aggressive, with a Trap-based EDM sound that emphasizes heavy bass. For the segment introducing the staff involved in development, the track shifts into energetic, distorted sounds. By incorporating melodic phrases there, it reflects the ambition to make a great game, as well as the invincible superstar-like aura created by the gathering of such talented creators.
Destiny MV - 映像作家: nim
2D animation3DCGMotion graphicsMusic video

Destiny MV

2023
00:03:59
Produced the music video for V.W.P’s “Sadame” (Fate). V.W.P is a virtual artist group brought together by five cyber witches from KAMITSUBAKI STUDIO: KAF, RIM, Harusaruhi, Isekaijoucho, and Koko. Built on a narrative, cinematic 3DCG foundation, the piece incorporates typography at key moments, such as striking dialogue-driven sections and inserts. For the 3D compositing and character setup, we pursued a look that would harmonize the photorealistic background CG world with V.W.P’s characters. Based on the song’s content, we conceived it as a battle against oneself. The story unfolds through exchanges between witches in the present and the past, existing on different worldlines. In the first half, they physically confront another version of themselves; in the second half, the focus shifts to scenes where they face their own inner selves. Masks and hoods are used to distinguish the worldlines, with some scenes representing the past and others the present. Drawing from the concept of characters who exist across two worldlines, the present and the past, as well as a world where stable and collapsing states coexist, we also emphasized contrast in the composition and scenes. The logo and graphics were finished in a solid style to match the feelings of the witches resisting fate. In the logo animation, we added distorted afterimages with broken edges to express a world in collapse, while the dynamic in-and-out animation embodies V.W.P’s determination to defy fate.
2 Works
1 Works
9 Works
objective-A - 映像作家: mamoruwatanabe
3DCGInstallation

objective-A

2023
00:00:41
Description: An 8K, five-screen video work presented in 2023 at Outernet in London. Because the five massive LED screens envelop both the space and the body, the work was designed to create an image-viewing experience specific to that environment. By combining techniques of continuity and discontinuity, and through a series of images in which the movement of color changes every second, this experimental video work explores the possibility of inducing a state of perceptual dissonance—where the body’s internal sense of time becomes irregular—and, by filling the gaps in sensation that arise within that state with a field of light moving in an extremely gentle manner, whether it might be possible to transform the viewer’s perception of time after the viewing experience.
14,000Hz (29.97/60fps) - 映像作家: mamoruwatanabe
3DCGArt work

14,000Hz (29.97/60fps)

2022
00:00:29
In this work, we explore the function by which we become aware of and experience stimuli, especially the perceptible boundaries of hearing and vision, through media technology. Embodiment based on perceptual capacity continues to be reshaped by the influence of our everyday choices, which in postmodern society are deeply dependent on media technology. Building on this, this work was created with the aim of transforming the concept of 14,000 Hz into an audiovisual piece synchronized to that frequency, for playback in a variety of media environments.
Ritual and Healing - 映像作家: mamoruwatanabe
AnimationArt workShort film

Ritual and Healing

2022
00:04:52
In most ancient cultures, incantations have been used to heal the sick, and help the dead pass on to another realm. These sounds are slowly disappearing as modernisation takes over their land, and the tribes either are forced to relocate, or disappear altogether. We would like to explore, document and record a piece that would combine and/or recreate these original incantations and mantras, coupled with the rhythm of breathing from birth (Labour), to sickness and dying, layered with local instruments of that part of the world, mixed with the sounds of that particular environment. The sounds of life in an altered state of being- either in pain, possessed (shamanistic practices), delusional with fever, and sounds around death (prayers and mourning). A juxtaposition of this would be their dying ecosystem (falling trees, dying coral, vanishing bees, decay) where the tribes in question can no longer heal and the incantations no longer reverberate the way they used to. Death of resonance.
5 Works

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