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Fujii Kaze - "Enough Already" Official Video - 映像作家: spikeyjohn
Music video

Fujii Kaze - "Enough Already" Official Video

2020
00:05:02
I worked on this piece through repeated discussions with Fujii Kaze. The concept of the work is vagrancy and true freedom. Until a few years ago, I had personal interactions with people experiencing homelessness, and I recalled what I had felt at that time when planning this project. The public image of “homeless = poor, unhappy” is, for some people, a misconception. The homeless people I met had chosen a free way of living unconstrained by society, and their hearts were very wealthy. And we, living in the present day, realized that we are bound by so many things and rules that we are not truly free. These are things I recalled and thought about only as part of constructing the work, and what I wanted to convey in this piece was: That beautiful things are not the only things that are beautiful, and that any existence can be made cool depending on the expression of the artist.
[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
YOASOBI "Comet" Official Music Video - 映像作家: kadowakikouhei
2D animationAnimationArt workMusic videoShort filmTV

YOASOBI "Comet" Official Music Video

2020, 2021
00:03:40
A music video set in the world of the manga BEASTARS. The first 89 seconds also serve as the ending sequence for the second season of the TV anime BEASTARS. The blue-world portion in the first half was colored frame by frame entirely with watercolor paints. By combining this blue segment with the red-world segment that begins in the second half, which is expressed digitally, the video presents two extremes within a single music video, contrasting the tenderness and happiness that have filled the past in the story behind this song with the cruel reality that is to come. For the production of this video, three-dimensional models of each character were created. Using these as references for the drawings made it possible to depict the BEASTARS characters, whose complex shapes are difficult to express through animation, with hand-drawn animation.
[Official] Pokémon Card Battle in 9 Minutes – “Scarlet & Violet” Series - 映像作家: YuyaTsuji_G2
2D animationCMMotion graphicsPromotionWeb CM

[Official] Pokémon Card Battle in 9 Minutes – “Scarlet & Violet” Series

2022
00:09:00
This piece features “Kei,” who calls himself a Poké Card doctor, carefully explaining the series of rules for the Pokémon Card Game to a boy named “Ren,” who has just obtained Pokémon cards, and is structured so that the new rules are explained to viewers as well. While following the structure and animation style of the previous explanation series, we were mindful of pacing and subtle character animation, deliberately avoiding excessive expression, effects, and animation so that viewers could stay engaged until the end while understanding the rules. Also, on a more detailed directorial note, this time voice actors Chisaki Kimura and Sako Ogawa added nuanced emotions at key moments, and I feel this resulted in an explanatory video that also lets viewers appreciate the delicate vocal performances they bring to the work.

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11 Works
2 Works
ORIZO Purpose Movie "MIXED UP" - 映像作家: ryuichisato
2D animation3DCGArt workAudio visual performanceBrand movieCMComedyImageMotion logoMovieMusic videoWebWeb CMWeb movie

ORIZO Purpose Movie "MIXED UP"

2023
00:01:24
This is a “purpose movie” expressing Orizo Inc.’s purpose. It is a lyric video set to an original song, “Purpose Song (Company Anthem Rap),” created by the rapper Pony-san to express that purpose. When we proposed a concept of “a video that chaotically mixes various tones and moods, like the thoughts running through each employee’s mind,” the client liked it and told us, “Please really do whatever you like!” At our company, we usually proceed with projects by carefully building design and motion structures based on a wide range of elements, so for this video, our biggest challenge was “taking the limiter off our heads.” We also used characters that were doodled by our staff five years ago in the middle of the video, and being able to try things that would not be possible in ordinary client work was very memorable.
8 Works
6 Works
3 Works
MONSTER LAND / NHK E-Tele: Play in English with Orton - 映像作家: UMNES
2D animationAnimationBroadcastImageMotion graphicsMotion logoMovieMusic videoTV

MONSTER LAND / NHK E-Tele: Play in English with Orton

2022
Only Image
I was responsible for the following tasks: ・Illustration / logo design: all ・Animation / motion design For this project, the request was to differentiate it from other works by expressing Halloween without using orange or purple. By using a lot of black, I expressed a Halloween world, and by using primary colors, I aimed for cute illustrations that felt like a children’s program. I also paid close attention to the detailed motifs, such as plants, totem poles, and garlands, so that it would be enjoyable to look at. Drawing on my experience in dance and theater during my student years, I’m good at creating character animation that makes children want to imitate it, so for the dance part I incorporated choreography that is easy to copy and memorable, and overall I aimed for a cute animation that leaves viewers feeling warm and happy. #motiongraphics #motiondesign #design #edit #illustration #2d #3dcg #flatdesign #flat #animation #artwork #motionlogo #movinglogo #onair #image #musicvideo #MV #モーショングラフィックス #アニメーション #モーションデザイン #モーション #編集 #イラスト #フラットデザイン #平面 #アート #アニメ #モーションロゴ #サウンドロゴ #オンエア #ミュージックビデオ #映像 #ムービー #1930 #イチキューサンゼロ #ウムネス#umnes
PENGUIN AND POLAR BEAR / NHK E-Tele Play in English Meets the World - 映像作家: UMNES
2D animationAnimationBroadcastImageMotion graphicsMotion logoMovieMusic videoTV

PENGUIN AND POLAR BEAR / NHK E-Tele Play in English Meets the World

2023
Only Image
Since the music had a cheerful reggae feel with a tropical theme, I chose colors that would create a bright atmosphere while incorporating Rasta colors. I drew the small, quick-moving penguin and the large, leisurely white bear differently to highlight the contrast in their personalities. #motiongraphics #motiondesign #design #edit #illustration #2d #flatdesign #flat #animation #artwork #motionlogo #movinglogo #onair #movie #image #モーショングラフィックス #アニメーション #モーションデザイン #モーション #編集 #イラスト #フラットデザイン #平面 #アニメ #モーションロゴ #サウンドロゴ #オンエア #映像 #ムービー #1930 #イチキューサンゼロ #ウムネス #umnes
ANIME MANGA EXPLOSION - 映像作家: UMNES
2D animationAnimationOpening movieTitle movie

ANIME MANGA EXPLOSION

2023
Only Image
I created the opening title for a program that introduces the world to the greatness of Japanese manga and anime. With the thought that manga artists and animators are admirable heroes, and in a good sense, a monster collective that Japan can be proud of, I made sure to depict each character with a distinct personality. The word “animation” comes from the Latin word “anima,” meaning life, and since deer antlers regrow even after falling off many times, I set the antlers on the heads of the anime-related monsters as a symbol of life (anima). #motiongraphics #motiondesign #design #edit #direction #artdirection #illustration #2d #ad #advertisement #flatdesign #flat #animation #cg #motionlogo #movinglogo #onair #movie #image #graphicpackage #web #モーショングラフィックス #アニメーション #モーションデザイン #モーション #編集 #ディレクション #アートディレクション #イラスト #フラットデザイン #平面 #アニメ #モーションロゴ #サウンドロゴ #オンエア #映像 #ムービー #オープニング #タイトル #グラフィックパッケージ #ウェブ #1930 #イチキューサンゼロ #ウムネス #umnes
9 Works
TOKYO CREATIVE SALON 2024 - 映像作家: kaorutanaka
Generative ArtInstallationInteractive

TOKYO CREATIVE SALON 2024

2024
At the Ginza Mitsukoshi Main Building, on the first-floor ground-level window, we created digital kaleidoscopes, interactive art that senses human movement, and video works. Corridor of Petals This work is themed around cherry blossom petals, symbolizing the arrival of spring. In this piece, cherry blossom petals spread throughout the space and flutter colorfully in response to the movements of visitors. The petals capture the moment when the rhythms of nature and human presence come into harmony, visualizing the breath and energy of spring. It was created with the hope of conveying the warmth and vitality of spring to people. Eternal Sakura Kaleidoscope This work fuses the beauty of cherry blossoms with the mysterious allure of a kaleidoscope. It captures the moment a cherry blossom blooms, expressing an image of it taking in light and expanding toward a hopeful future. It depicts the beauty of nature as it changes over time, conveying a message of hope and renewal.
3 Works
Visible Things, Appearing Things, Absent Things - 映像作家: kazukitakakura
Installation

Visible Things, Appearing Things, Absent Things

2023, 2024
00:01:42
This exhibition is a ritual in which the artist, the viewer, and AI collaborate to summon new yokai through haiku. The artist breaks apart renku (5/7/5) created through an automatic-writing-like process, and the viewer freely creates a haiku (5/7/5) from those multiple words. The haiku formed from the viewer’s chosen combination is rewritten by ChatGPT into a 50-word English poem. The English poem is then read by an image-generation AI that imitates Takakura’s style, summoning a new yokai. As soon as it is born, the yokai is released into the online world, destined to become an NFT bearing the name of the haiku. This exhibition reconsiders the themes that Surrealism pursued through the lens of contemporary AI. Generative AIs such as ChatGPT and Stable Diffusion learn from vast archives of all human knowledge from around the world available on the internet, and output text and images through a kind of imagination that is not human. Isn’t this a mode of access very close to the Surrealists’ attempts to reach the human unconscious at the height of Surrealism? Rather than accessing dreams or the inner world of the unconscious, contemporary humanity uses the internet to access the archive of all humankind, and with the help of AI, a nonhuman imagination, makes choices through what might be called an “unconscious consciousness.” In this exhibition, the imaginative powers of the artist, the viewer, and AI, placed side by side, perform a ritual to summon countless new “yokai” as “nonexistent (digital) beings” in the form of NFTs online. May 2023: ver. 1.0 exhibited at NEORT++ September 2023: ver. 2.0 exhibited at art stage osaka March 2024: ver. 3.0 exhibited at Ashikaga Museum of Art
2 Works
valknee – BREEEEZE (MV) - 映像作家: takahashikazusa
3DCGMusic video

valknee – BREEEEZE (MV)

2023
00:02:39
We developed the video around the themes of “freedom,” “deadlines” (breaking away from stereotypes that exist as assumptions), and “summer.” The song itself carries the concept that we don’t need to be influenced by things bound by deadlines as norms, such as summer or youth, so we built the structure in line with that idea. We didn’t want to create a structure that condemns something as an antithesis, so the message is that each person’s free will (or right to choose), which resides within them, does not necessarily have to be bound by social norms. That said, through discussions with the artist, we were basically in agreement that we wanted to make something catchy and humorous, so rather than presenting the concept like a placard, we treated it as something seated within the work itself, while shaping the structure so that it would work well with the song’s sense of exhilaration and tempo. As for the production method, every shot was filmed against a green screen and composited in CG. As mentioned above, we wanted the composition and cuts to feel unique in keeping with the concept, so we combined a noisy retro texture with cinematic shots. We also used bold camera work, including 360-degree cameras.
3 Works
15 Works
7 Works
3 Works
Utrecht - Blank Depiction (Music Video) - 映像作家: akiwashi
2D animationMovieMusic video

Utrecht - Blank Depiction (Music Video)

2023
00:02:56
I directed animation for the first time after having only ever made independent animations before. In independent production, data management is much looser, there’s no need to separate in-between drawings from key drawings, and there’s no need to give instructions to anyone, but commercial animation doesn’t work that way, so it was tough. There were at least three major accidents, and I ended up drawing a huge amount of layout, key animation, in-between animation, and backgrounds. In the end, I got heavily involved in every stage except the photography, and for the month leading up to the deadline—34 days—I worked every day for 13 hours while talking on the phone with the art director, making it feel like the three of us, including the photography director, were producing an independent animation. Because my memories of my first time as director were like this, it has become a trauma.
[Self-Produced Anime MV] Living in a World Without Magic - 映像作家: akiwashi
2D animationAnimationMusic videoOriginalShort film

[Self-Produced Anime MV] Living in a World Without Magic

2021 ~, 2022
00:07:17
Graduation project work. Production began around January 2021; the trailer was posted on YouTube on May 14, 2022, and the full version (about 7 minutes) on July 1. During my third year of university, I was almost constantly drawing MV illustrations for HoneyWorks. When I told Gom, the leader, “In my fourth year, I won’t be able to take on work because I’ll be focusing on my graduation project,” he said, “Then let’s make something together,” and asked me to handle the music side. That led to the launch of the creator team “Euluca Lab.” with the graduation project as its first work. I never expected to have a song produced for me — especially by HoneyWorks — so at first I had no idea of making an MV. Since my third year of high school, I had always planned to make a roughly five-minute animated story for my university graduation project, and I had kept that idea until I consulted Gom. Because of that, when it came time to make an MV, I couldn’t bring myself to create something with weak storytelling, so I decided to make the story just as important as the visuals. Even though it is an MV, I wanted the story to be depicted as clearly as possible. To do that, I had to convey almost the entire video without dialogue. What had originally been planned to be around four minutes ended up becoming seven before I knew it. Including cuts used only in the trailer, I produced about 140 cuts in total, handling everything myself: story development, storyboards, animation, backgrounds, 3DCG, compositing, and more. I also participated in lyric writing, added sound effects, and wrote the dialogue. I had mostly only drawn illustrations, so I didn’t have much experience with video production, and there was no one I could ask about how to make things. When thinking up the story, I first imagined the scene’s visuals and how it would be produced in my head, and prioritized whether I could actually make it myself. When I had a specific idea, like wanting to have glowing butterflies flying in 3D, I would research how to make it and judge whether it was feasible. I had never touched 3D before, but I managed to learn the basics and simple operations. As for drawing, I had only played around with Ugo Memo 3DS in junior high school, but I gradually became able to draw somewhat better, and my overall drawing ability improved quite a lot. During the year and a half of production, I sacrificed everything: play, socializing, and a normal human life. Wanting to avoid any regrets over my once-in-a-lifetime graduation project, I pushed myself to my limits. As a result, I came to think, “I worked hard because it was a once-in-a-lifetime thing, but I never want to make anime alone again.” In the future, I don’t plan to make an animation longer than 20 seconds by myself anymore. If I were to do something like directing or storyboard direction, I think I would also need to study how commercial anime is made. With the cooperation of people one would never expect for what was just a university graduation project, the quality of the music and character voices rose to a level that was hard to believe, and I felt a lot of pressure. That probably made things even more painful, but without that pressure, I think I would have settled for less in some parts. Of course, looking at it now, there are things I think could have been done better, but I gave it everything I had at the time. Because I hadn’t really worked hard for entrance exams or club activities, this became the first thing in my life I could say I truly “worked hard” on, and it became an important work to me. However, this is only the first work of Euluca Lab., so I think that someday I’ll need to create something even greater that I can say I worked harder on than this. Software used Animation, backgrounds, compositing: CLIPSTUDIO EX Background processing: Photoshop Compositing: After Effects 3DCG: Blender Editing: Premiere Pro *This is the full version of the work, but I think you may enjoy it even more if you watch the trailer before viewing it (or even after). Trailer https://youtu.be/SFhDPB74fK0

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