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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
Gen Hoshino - Glitch [Official Video] - 映像作家: _karudo
3DCGMotion graphicsMusic video

Gen Hoshino - Glitch [Official Video]

2025
00:02:40
Gen Hoshino - Glitch [Official Video] Director: Migitakaru Meta In this work, I was responsible for the motion graphics / window design. Within a visual structure where glitches occur in a chain reaction across the desktop, I implemented a browser-crasher-like window proliferation effect using p5.js. Drawing on early internet culture and the UI context of PC screens, I designed the interface and motion of windows that self-replicate.
Hatsuboshi Academy “Wildest Flower” Official Music Video - 映像作家: 大橋史Takashi Ohashi
2D animation

Hatsuboshi Academy “Wildest Flower” Official Music Video

2022-2026
00:03:02
A music video created for an in-game song from Bandai Namco Entertainment’s social game The Idolmaster Gakuen. The character Hanami Saki was a top athlete in track and field before aspiring to become an idol, and she has a past in which, due to being a late bloomer, she confronted the limits of her abilities at a young age and suffered setbacks. The song’s theme portrays her “setbacks and challenges,” making for an absurd tale in which she moves back and forth between the reality of the setbacks she experienced in the past and the uncertain glory of the future. In the end, she attempts to break through her own limits. To make this pulp-fiction-like story convincing, we aimed for a meditative music video in which the past and future are suspended, combining the image of sequential photographs that draw the viewer’s consciousness back into the past with animation that propels her into the future to the sound of drum and bass. The spirit of craving victory that she cultivated in her years as an athlete, caught between ideals and reality, shakes off notions of records and victory created by others through the act of “running.” By adopting abstract smear frames and a rough, painterly style, we sought to convey, in a sensory way, her spiritual rebirth as an idol (a performer).
Viewtrade / Sweet Song - 映像作家: TatsuyaMatsumura
2D animationAIAnimationArt workIllustrationMusic video

Viewtrade / Sweet Song

2026
00:03:10
Based on the images inspired by the music, original hand-drawn illustrations were created for each scene and used to construct the music video. The movement within the video was built from those original drawings, incorporating AI technology while preserving the texture and nuances of the hand-drawn work as it was developed into moving images. In addition, these original drawings were compiled into a ZINE as part of the artist’s own body of work and exhibited at “Here is ZINE Tokyo #22,” held in Aoyama, Tokyo, in February 2026. Rather than stopping at completion as a video work, the project expands its world by translating the original drawings born during the production process into an analog medium, crossing the boundary between moving image and printed matter. Starting from the traces of hand drawing, this project developed into a distinctive artwork that moves back and forth between analog and digital through a process that unfolds from still images into time-based expression. Artwork background website https://www.tatsuyamatsumura.com/sweetsong Exhibition “Here is ZINE Tokyo #22” https://www.instagram.com/enlightenment.zine/

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28 Works
21 Works
Nissay MIRAIQA | Brand Movie - 映像作家: shohishiguro
2D animationADBrand movieCMConcept MovieMotion graphics

Nissay MIRAIQA | Brand Movie

2025
We produced a brand film for Nissay MIRAIQA, a company 100% funded by Nippon Life Insurance, which operates under the concept of “solving the small questions people encounter in daily life through services and apps rather than insurance.” Centered on the meaning behind the company name—“questions (Q) and answers (A) for the future (MIRAI)”—and the logo concept combining “?” and “!”, we created a story that begins with a question (?) and leads to an answer (!), expressed through a single-line animation. For the visual expression, we blended an analog feel that evokes human warmth and hope, reminiscent of an insurance company, with a digital sensibility that suggests the future and technology. We aimed to create a motion design that conveys a sense of reassurance and stability to a wide range of generations.
Nissay MIRAIQA | Brand Movie - 映像作家: shohishiguro
2D animationADBrand movieMotion graphicsMotion logo

Nissay MIRAIQA | Brand Movie

2025
Only Image
We produced a brand movie and sound logo for Nissay MIRAIQA, a company 100% funded by Nippon Life and built around the concept of “solving the small questions people face in everyday life through services and apps rather than insurance.” Based on the meaning behind the company name—“questions (Q) and answers (A) for the future (MIRAI)”—as well as the logo concept combining “?” and “!”, we directed the piece around a single line animation that expresses a story beginning with a question (?) and leading to an answer (!). By blending the analog warmth that evokes the human touch and hope associated with an insurance company with a digital sensibility that calls to mind the future and technology, we aimed to create motion design that conveys reassurance and stability while reaching a broad audience.
1930 SHOWREEL - 映像作家: shohishiguro
Showreel

1930 SHOWREEL

2023
00:01:39
This is the latest showreel compiling client work produced through 2023. #motiongraphics #motiondesign #design #edit #direction #artdirection #illustration #layout #2d #3dcg #ad #advertisement #flatdesign #flat #animation #artwork #brand #cg #cm #motionlogo #movinglogo #onair #movie #image #pr #promotion #pv #vp #showreel #reel #graphicpackage #web #motiongraphics #animation #motiondesign #motion #editing #direction #artdirection #illustration #flatdesign #flat #advertising #art #anime #brand #commercial #motionlogo #soundlogo #onair #video #movie #opening #title #promotion #showreel #reel #graphicpackage #web #1930 #ichikyusannzero #IshiguroSho #umnes #ishiguro #shoh #ishiguroshoh #umnes
15 Works
15 Works
13 Works
4 Works
icesawder, levi / day by day – from THE LUV BUGS - 映像作家: takemiwatanuki
3DCGMusic video

icesawder, levi / day by day – from THE LUV BUGS

2026
00:02:53
A music video combining live action and CG backgrounds. Its theme is the feeling of enjoying music and everyday life beyond reasons or gain, and positively renewing “each day” together with companions and new encounters. It emphasizes the subtle sense of uplift born from daily repetition, bodily sensation, and the pace of the city. The tactile quality of a landscape that changes little by little within an otherwise steady daily routine is highlighted through a chain of shots, shifts in texture, and the treatment of the “human silhouette.” The production was built on Blender, with numerous effect systems created in TouchDesigner using People Segmentation applied to live-action footage. Starting from silhouette information, it layers graphics, noise, masking, and deformation processes. The aim is to achieve both the momentary pleasure of synchronization with sound and the continuity of everyday life.
Yukichi Kasaku/men "Youth" MV - 映像作家: takemiwatanuki
3DCGMusic video

Yukichi Kasaku/men "Youth" MV

2023
00:03:52
This piece, as its title suggests, is centered on “youth.” The artist told us that the song explores youth from three different perspectives, and that the music itself unfolds in three corresponding sections. Based on that structure, we also created the video as a three-part work. We depicted young people moving in groups within society, in a way that seems to resist that movement—or perhaps not quite resist it. The video is built on real-time rendering using Unity. All of the objects are programmed so that they do not collide with one another.
29 Works
Amiwo Une - 映像作家: isshin
2D animationAnimationArt workMotion graphicsOriginal

Amiwo Une

2025
00:00:23
In this work as well, I carried over from my previous works the principle of rigorously applying sound sync, faithfully reflecting even the smallest traces of the music in the visuals, while using no intentionally symbolic shapes or imagery at all; instead, I composed it as simple motion graphics centered on primitive circles and squares. Compared with my previous independent productions, this work explores the limits of motion—moving even faster while remaining intact. In terms of its look, I aimed for a vivid, tactile appearance that, despite not being a 3DCG work, would still feel materially present, by compositing a 3D-like look inspired by Apple’s Liquid Glass—something absent from my previous works—onto flat 2D graphics. Although the work runs at 24 fps, which is visually disadvantageous for fast motion, I aimed for a crisp visual experience with no sense of afterimage, without relying at all on motion blur or similar techniques. I established certain rules for the luminance and hue differences between adjacent frames, as well as for the amount of change in the shapes themselves, though the latter is a subjective evaluation, and this led to an examination of how impressions differ depending on those threshold values. Personally, I also have the impression that in recent years there have been many examples of relying on camera movement to enhance the overall impact and “amount of information” in a video. In this work, I kept camera movement to a minimum based on the principle of not moving along two or more of the xyz axes simultaneously whenever possible, and instead focused on appealing graphic transitions through morphing of the shapes themselves. Especially with fast motion at 24 fps, I was keenly reminded of how long one second is, and how few frames there are to draw the necessary images for the progression of the piece, and I would like to continue exploring the possibilities at the limits of such constraints.
Pre: A - 映像作家: isshin
2D animationMotion graphicsOriginal

Pre: A

2024
00:00:10
I am currently producing a work tentatively titled “A,” and this piece was created as a prelude and foreshadowing for it. Within a short runtime of about 10 seconds, it is filled to the brim with elegant motions evoked by the music. Unlike my usual self-initiated works, this piece and the next one (“A”) aim primarily to express, as purely and directly as possible, the simple emotions that the music calls to mind, setting aside detailed intentions and lines of thought. As a result, while introducing vivid colors with bright yellow-green as the main tone—something I had tended to avoid until now—the rest is largely kept in monochrome, emphasizing that one color even more strongly. Although it is a modern motion graphic grounded in a flat, pop-oriented style, I made heavy use of post-processing such as color shifts and noise, pursuing rich textural expression and aiming for a gap that leaves even this fleeting runtime feeling somehow warm. Around the 3-second mark, I attempted an illusion-like expression in which an X (the bowling strike symbol) encountered after passing through a tunnel transitions into a three-dimensional rotation. Incidentally, in my self-initiated work “Glancent,” released last February, I also created a similar connection in the latter half, where 2D graphics seamlessly transitioned into a three-dimensional structure. Since these kinds of “illusion” effects are not often seen in the realm of 2D shape motion, I would like to actively devise more of them going forward. Now that commercials and visual works making heavy use of motion graphics interwoven with text, images, and video—while incorporating short-form shape motion—have increased dramatically compared with a while ago, is there still room for what pure【shape-only】 or【2D-only】 motion can do? At a time when creators are becoming saturated and are also being threatened by the presence of AI, what more can I do as someone who continues to pursue handmade shape motion in the most literal sense? I want to explore the potential of a short, one-shot shape motion that can be seen as a return to origins. In the end credits, the conventional 【Music】 credit becomes 【つかったおんがく】, and 【Video】 becomes 【今見とる映像を作った人】, flexibly departing even from the format I had maintained as a template up to now, and suggesting prospects for a new style of work in the future.
22 Works
10 Works
Kohei Kamoto – Wonder (Music Video) - 映像作家: mamoruwatanabe
3DCGAnimationMusic video

Kohei Kamoto – Wonder (Music Video)

2026
00:02:28
Music video for “Wonder,” a track from Dangle Candle, the solo album by Kohei Kamoto, who is also a member of DYGL. In this work, we sought to visually express the melancholic texture of the song while also rendering a sense of drifting aimlessly, as if with nowhere to go. Drawing mainly on the texture of 2000s-era games, we constructed a virtual game-like space and created the 3DCG work by combining 3D models, environments, and motion graphics made from scan data of Kamoto himself within that space. By incorporating the uncanny quality of game-like visuals, as well as expressions that intentionally evoke incompleteness and instability, we attempted to expand the song’s world.
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.
3 Works
8 Works
MON7A – “TOGE TOGE” MV - 映像作家: raywakui
3DCGMusic video

MON7A – “TOGE TOGE” MV

2026
00:04:01
A music video that uses VFX to blend live action and 3DCG. It tells the story of MON7A, a game-loving protagonist who enters a video game world and encounters spiky enemies. Highlights include dynamic camera work that races freely through the scene, using techniques such as 3D scans of the artist, and visual direction in which the real and virtual worlds melt together. It makes abundant use of animations created with Blender’s Geometry Nodes.
NHK Morning Drama Series "Anpan" Opening - 映像作家: raywakui
3DCGOpening movieTitle movieTVTV drama opening title

NHK Morning Drama Series "Anpan" Opening

2025
Only Image
NHK’s serialized TV drama “Anpan,” modeled on Takashi Yanase and his wife Nobu, the couple who created “Anpanman.” Because the two met and supported each other through turbulent times and made it through together, their work did not remain a thing of the past, but has transcended time and is still loved by children today. This film expresses the life that gave rise to such an enduring masterpiece through imagery that connects the past, the present, and the future. Filming was done entirely with VFX using chroma key, with volumetric capture also used in part. Mio Imada appears not as the protagonist Nobu, but in her modern-day form, representing the viewer and serving as a guide through the world the two created and colored with their own hues. The theme song is RADWIMPS’ “Tamemono.”
RIM - Eroimu - 映像作家: raywakui
3DCGMusic video

RIM - Eroimu

2023
00:03:40
Under Wakui’s direction, this music video for the theme song of the film “The Forbidden Play,” starring Kanna Hashimoto and Daiki Shigeoka (Johnny’s WEST), was produced by assembling a Blender team consisting of 3DCG artists Kakeru Taira, Yu Takahashi, and efu. The video is entirely CG, and Wakui also handled the final editing in After Effects. [Making-of articles here] Part 1 https://note.com/raywakui/n/n631b22357112 Part 2 https://note.com/raywakui/n/nbb76de4ab01b
10 Works

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