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HILLS SAKURA JOURNEY - 映像作家: takayukiyoshida
2D animationAdvertisementCMMotion graphics

HILLS SAKURA JOURNEY

2025
00:00:15
I worked on the motion graphics for "HILLS SAKURA JOURNEY," a cherry blossom festival event held across five Hills locations, including Roppongi Hills, Azabudai Hills, and Toranomon Hills, hosted by Mori Building Co., Ltd. — one of Japan’s leading urban development companies. The video was composed with the light, graceful movement of cherry blossom petals and vivid, eye-catching transitions. As an advertising video for the event campaign, it was shown on signage inside the Hills facilities, on the event website, and on social media.
Aitō / Tonbi feat. Kaai Yuki - 映像作家: tasoyamaro
2D animationAnimationMusic video

Aitō / Tonbi feat. Kaai Yuki

2025
00:02:18
Music video for “Aitou,” with original concept, lyrics, and visuals by Tasoya Maro. The music was composed by the Vocaloid producer Tonbi. The vocals are by Kagamine Yuki, a Vocaloid (synthesized voice). Unlike the usual commissioned work where only the visuals were produced, this music video was funded and planned by Tasoya Maro, who also commissioned the composition. Please enjoy this song of pity and love sung by the dead to the living, set to an addictive melody.

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Direction
Production
Camera
Lighting
Art / Styling
Post Production
CG / Visual
Animation
Sound / Music
XR / Interactive
Artist
Technical / Engineering
5 Works
37 Works
12 Works
Frosted Glass - 映像作家: yukikawakami
3DCGAnimationMotion graphics

Frosted Glass

2025
00:01:21
Frosted Glass A 3DOOH artwork designed for the digital signage in the foyer of Akasaka BLITZ STUDIO, aiming to redefine the boundary between digital and physical spaces. The visual expression incorporates the texture of “frosted glass.” By intentionally using a texture that limits transparency, it makes viewers aware of the space extending “beyond the glass,” imparting a sense of physical depth to an otherwise flat display. In addition, to adapt to the changing ambient light environment throughout the day, two distinct lighting settings were implemented: Daytime: Exterior lighting that simulates natural sunlight from outside. Nighttime: Internal lighting that recreates the glow of light leaking from indoors. By synchronizing the visuals with the surrounding light sources, the unnatural “floating” effect typical of digital signage is minimized. The design aims to blend seamlessly into the landscape of Akasaka, a prominent entertainment district.
DayDay. - 映像作家: yukikawakami
3DCGAnimationBroadcastMotion graphicsTitle movieTV

DayDay.

2026
Only Image
We renewed the opening, jingles, and other elements for Nippon TV’s morning information program DayDay. Keeping the logo, the program’s overall world, and its existing tone intact, we created the visuals around the theme of “fresh.” By newly incorporating translucent materials, we evoke a refreshing morning atmosphere. This was made for people who head out of the house in the busy morning, as if being pushed along by something.
46 Works
Shinjuku East Exit Cat “4th Anniversary Thank You Edition” (2025) - 映像作家: omnibus-japan-inc
3DCGAdvertisementAnimation

Shinjuku East Exit Cat “4th Anniversary Thank You Edition” (2025)

2025〜
00:00:30
Shinjuku East Exit Cat “Thank You for the 4th Anniversary Edition” A 15-second special video commemorating the fourth anniversary of “Shinjuku East Exit Cat,” which has become a landmark in Shinjuku. This work builds a “retrospective” world that looks back on the series’ journey since the first installment in 2021. Its biggest highlight is the “nested” structure, in which past works are played on monitors placed within the 3D space. It creates a multilayered visual experience spanning the real-world display, the cat’s room, and the monitors within the video. Around the cat, meanwhile, cat bells, folk crafts, and unidentified objects that had been repeatedly dropped in the “Barely Edition” spin lively in circles. By scattering motifs symbolizing episodes from across the series like a collage, the piece expresses gratitude to fans while humorously reassembling four years of context into a festive work full of celebratory energy.
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.
Fragments Immersive Museum Tokyo Vol.3 version (2024) - 映像作家: omnibus-japan-inc
Art workEvent

Fragments Immersive Museum Tokyo Vol.3 version (2024)

2024
00:03:30
Calligrapher Mariko Kinoshita’s inscription of a passage from Kamo no Chomei’s *Hōjōki* is divided into squares and redefined as “fragments.” Film artist Shinichi Yamamoto assigns a time axis to those cells using a unique algorithm, while musician Corey Fuller layers an ambient soundscape built from deconstructed and reconstructed readings of *Hōjōki*, creating a multilayered interplay among the three artists’ expressions. Blending Japanese views of life and death—such as “ku” (emptiness), “engi” (dependent origination), and silence—with a meta perspective on observing landscapes, the work becomes a weighty video poem that explores universality dwelling within impermanence. First unveiled in 2019 across the outdoor large-scale digital billboards of Shinjuku, it continued to evolve and in 2020 was expanded into an immersive spatial presentation at “ETERNAL ART SPACE” in Haneda Airport. In 2024, for its exhibition at Immersive Museum TOK (Shinjuku), it was reconfigured for a vast space of approximately 430㎡ and 6 meters in height. As fragments of calligraphy overlapped geometrically with waves and graphics, it was elevated into an immersive experience as a “reconstructed modern Zen garden,” drawing viewers into a serene spiritual world.
24 Works
5 Works
15 Works
6 Works
SEVENTEEN (세븐틴) ‘Tiny Light’ Official MV - 映像作家: hohobun
2D animationArt workIllustrationMusic video

SEVENTEEN (세븐틴) ‘Tiny Light’ Official MV

2026
00:03:30
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.
BEASTARS FINAL SEASON Part 2 Non-Credit ED | SEVENTEEN "Tiny Light" - 映像作家: hohobun
2D animationAnimationEnding movieIllustrationImageShort filmTVアニメ ending

BEASTARS FINAL SEASON Part 2 Non-Credit ED | SEVENTEEN "Tiny Light"

2026
00:01:30
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.
PLAY! MUSEUM Animal Exhibition: Advertising and Exhibition Animation - 映像作家: hohobun
2D animationAnimationCM

PLAY! MUSEUM Animal Exhibition: Advertising and Exhibition Animation

2025
00:00:37
This animation was created for the advertisement and exhibition of “Animal Exhibition” (Special cooperation: National Museum of Nature and Science), held at PLAY! MUSEUM. Featuring taxidermy specimens from the WHO ARE WE exhibition kit for this exhibition (Yoshimoto Collection), it is composed to bring the specimens to life as they make their way to the urban exhibition venue during the night. While continuing to produce animation in PS as before, I increased the proportion of background work done with AE keyframes, taking on the challenge of moving the main characters clearly while also coordinating the background with them. This time, thanks to meeting a collaborator who could handle a certain amount of the animation work, I was able to make time for shooting, and have begun experimenting with incorporating light and shadow in an illustration-like way. In the illustration, I am challenging myself to use color to express the changing time of day.
In full bloom - 映像作家: hohobun
2D animation

In full bloom

2021 ~
00:05:28
A story that follows the fate of a bird accidentally eaten by a pet cat. As it retraces the consequences of acting on instinct alone, it moves back and forth between an unknown world and reality. Created using a sequence of images, based mainly on Photoshop’s three basic operations: move, rotate, and warp transform. In this work, which was my first to be made with the help of others, I lowered the barrier to making animation by using only Photoshop’s basic functions, and worked together with people who had never created animation before.
7 Works
9 Works
2 Works
Create magic. - 映像作家: YutaGOTO
2D animationGraphic designMotion graphics

Create magic.

2025
00:00:05
This work was submitted to the motion category of “Adobe MAX Challenge 2025,” a project held during Adobe MAX 2025. I created this 5-second original piece based on the theme “Turn inspiration into wonder. Create magic.” I expressed inspiration as “!” and surprise as “！！！！！！？”. By combining them all, they transform into “Create magic.”, linking to the Adobe MAX logo and expressing the energy and excitement leading up to the event.
i mi na i - 映像作家: YutaGOTO
2D animationGraphic designMotion graphics

i mi na i

2025
00:00:16
This work was submitted to the “VGT Motion Award Morisawa Category” as part of “VIDEO GRAPHERS TOKYO 2025,” and won the Grand Prize. Centered on the theme of “motion graphics that bring out new appeal in fonts,” a 15-second original piece was created. 〈concept〉 For the most part, letters have been used to convey meaning. I interpreted liberation from that role as the “new appeal of letters (fonts).” Most of the text strings in this work have no meaning; the composition focuses on the shapes and expressions of the letters themselves. The title was simply set as “i mi na i.”
40 Works
Expo 2025 Osaka, Kansai Signature Pavilion “null²” - 映像作家: wow-inc
3DCGAIAudio visual performanceEventExperienceInstallationInteractive

Expo 2025 Osaka, Kansai Signature Pavilion “null²”

2025
00:01:45
WOW participated in the signature pavilion “null²” at Expo 2025 Osaka, Kansai as part of the creator team, contributing to the planning, visuals, sound, and overall direction system. The pavilion’s theme is “Polishing Life.” WOW joined as a direction member from the earliest planning stages and, together with Expo producer Yoichi Ochiai, spent several years creating a wide range of creative elements, from the pavilion’s interior visuals, sound, robot control, and experiential flow to the exterior visuals. A Pulsating Sculpture, a Conversational Space For this pavilion, Ochiai established “two mirrors” as a key concept. The first refers to the sculpture itself, which generates unfamiliar landscapes. Its mirror-finished exterior absorbs the surrounding scenery, pulsating as it repeatedly transforms like a living organism, even as a building. The second refers to the experience inside the pavilion. In a space where mirrors and imagery are integrated, visitors confront “kigō*” and engage in dialogue with a digital human. WOW was primarily responsible for this interior experience. The space confronting “kigō” is a cube measuring 8 meters in width, depth, and height, with mirrored surfaces on all sides. Projection systems on the ceiling, floor, and walls, together with a vertical video object called the “Monolith” standing at the center, work in response to one another to depict “kigō,” creating endless reflections. In addition, the cube-shaped mirrored “goshintai,” which symbolizes the space, moves freely overhead, shifting perspectives and stirring the visitor’s mind and thoughts. Using mirrors as a medium, the experience moves back and forth between meaning and matter, self and other, reality and virtuality, encouraging visitors to reconsider and reinterpret what life is and offering a prompt to “polish life.” *Elements that constitute a person’s individuality, such as their name, hobbies, preferences, voice, and appearance Two Types of Experiences, Two Different Perspectives The experience is offered in two modes: “Dialogue Mode” and “Installation Mode.” Dialogue Mode centers on the world of “computational nature,” as proposed by Ochiai, and the story connected to it, allowing visitors to let go of their “kigō” through verbal communication. In Installation Mode, visitors view simple patterned visuals, along with the Monolith and goshintai moving throughout the space, from the outer corridor, creating a non-verbal experience that lets them intuitively sense the structures at the essence of life. In both experiences, the story, visuals, sound, goshintai, and Monolith are all intricately linked, so WOW worked closely with Ochiai to craft a precise direction. Direction Where Technology and Expression Merge On the technical side, to create a more three-dimensional and densely layered experience, WOW integrated a wide range of direction elements, including AI-generated real-time video, display of 3D Gaussian splatting, sound generation, image effects, as well as the display and speech of MirroredBodies created by visitors in a dedicated app, and robot control for the goshintai and Monolith. In collaboration with various companies, WOW developed the main system that aggregates and controls these elements. In addition, the carefully designed sound direction, which makes use of characteristics across different frequency ranges, contributed to a unique auditory experience. Logo Design and Design Guidelines That Create Organic Expression WOW also handled the logo design for null². For the dynamic logo, multiple fonts were used to create a design that transforms into various forms. The static logo was refined from the dynamic logo as the official version. In both cases, the aim was to maintain a certain degree of legibility while pursuing a fluid, life-like design tone through verification and rule setting. In this project, the participating teams, including WOW, brought together all of their technical capabilities and creativity to create the work “null²,” something that could only have been realized at the Expo.
Ebaranara-ba: Mastering the Flow - 映像作家: wow-inc
3DCGCM

Ebaranara-ba: Mastering the Flow

2019
Only Image
Handled the direction, production, and character design for Ebara Corporation’s TV commercial “Ebaranara-ba: Controlling the Flow.” Under the concept of a company that supports the world’s infrastructure—one that supports the world from the shadows—we used the motif of “ninja” as a presence supporting the world from Japan, and designed the mechanics of “Ebaranara-ba.” In the opening laboratory scene and on Ebaranara-ba’s body, we applied decals inspired by ninjas and Ebara Corporation in meticulous detail.
Osaka-Kansai Expo 2025 “BLUE OCEAN DOME” - 映像作家: wow-inc
3DCGAudio visual performanceEventExperienceInstallation

Osaka-Kansai Expo 2025 “BLUE OCEAN DOME”

2025
00:00:53
WOW participated in the BLUE OCEAN DOME at Expo 2025 Osaka, Kansai. At this pavilion, where visitors can learn about the sustainable use of marine resources and the protection of marine ecosystems, WOW was responsible for the direction and production of the video content. BLUE OCEAN DOME consists of three spaces under the theme of “the revival of the ocean.” It includes an installation expressing the spectrum of water, a video installation depicting the miracles and crises of Earth as the planet of water, and a space that presents a path toward restoring the ocean through documentary footage. WOW developed a hemispherical LED visual device about 10 meters in diameter together with Azlab. Through this one-of-a-kind, ultra-high-definition giant hemispherical LED screen, it brought Earth as seen from space to life. —The beautiful Earth, a miraculous water planet, is on the verge of being gravely damaged by human activity. This work depicts the ocean, where the brilliance of the chain of life and pollution progress simultaneously, across a range of scales from a vast view like looking at Earth from space to the cellular level. By fusing realistic depictions so true to life they could be mistaken for the real thing with dreamlike imagination, the piece sought to create an audiovisual experience as a “device for transforming consciousness” that appeals to the senses of visitors. The footage, supervised after fieldwork in biologically diverse marine areas and by the Japan Agency for Marine-Earth Science and Technology, vividly portrays everything from vibrant life to the realities of marine pollution through the meticulously crafted 3DCG for which WOW is known. In addition, Hatis Noit’s voice, resonating as if with the voices of all beings living in the sea, gave the imagery multidimensional depth. The hemispherical screen, covered by a parabolic cover, was precisely designed down to the number and arrangement of its supports, realizing two distortion-free curved surfaces. For the parabolic cover serving as the backdrop for the LED screen, a special paint that appears darker than black by absorbing light was used. A smooth base finish achieved through plasterwork and painstaking hand-applied painting created a jet-black screening space. The hemispherical screen itself was fabricated by hand, one small panel at a time. This ultra-high-definition display, with approximately 160,000 LED chips arranged at a 2.5 mm pitch, supported the overwhelming visual experience.
TAKANAWA GATEWAY CITY Future Experience Theater "This City Will Be Your Wings" - 映像作家: wow-inc
3DCGAnimationEventMusic videoPromotion

TAKANAWA GATEWAY CITY Future Experience Theater "This City Will Be Your Wings"

2025
00:06:55
In March 2025, TAKANAWA GATEWAY CITY, a new urban district directly connected to JR Takanawa Gateway Station and one of the largest in central Tokyo, opened to the public. On the same site, THE LINKPILLAR 1 and Takanawa Gateway Station also fully opened. The remaining buildings will be completed and the grand opening will take place in spring 2026. From March 27 to June 28, the “Future Experience Theater” was open to the public at THE LINKPILLAR 1. WOW was responsible for planning, directing, and producing the film screened in this theater. Under the mission of “experiencing TAKANAWA GATEWAY CITY through film,” we chose an approach centered not on explanatory direction, but on storytelling that encourages emotional engagement. Featuring a modern-day boy as the protagonist, the story is set as a time-travel journey through Takanawa’s memories and the future envisioned for this city. Through the boy’s eyes, it portrays urban life and human connections born from history and culture, with the aim of creating a story that would inspire people who may one day live here to feel hope and anticipation for TAKANAWA GATEWAY CITY. The music was commissioned from the alternative rock band hitsujibungaku. The immersive experience of the full 3DCG film projected in a 180-degree cylindrical theater, combined with the world of the film woven by hitsujibungaku’s music, created an even more emotional viewing experience. (Courtesy of JR East)

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