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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.

Movies

Direction
Production
Camera
Lighting
Art / Styling
Post Production
CG / Visual
Animation
Sound / Music
XR / Interactive
Artist
Technical / Engineering
34 Works
1 Works
Tohji - Jungle Man - 映像作家: hiruchi
3DCGMusic video

Tohji - Jungle Man

2025
00:02:35
We explored how to create visuals that could stand shoulder to shoulder with the intensity of the track “Jungle人.” As part of that approach, we used motion capture throughout the entire piece to express the raw, visceral movements of the human body. In addition, for certain cuts, we synchronized the movement of a live-action camera with a camera in Blender, incorporating the subtle fluctuations unique to live-action footage into the CG camerawork. Centering the work on “physical movement” that goes beyond computational control, we created a piece that visually maximizes the momentum of the music.
12 Works
B-PARTY 2026 Official Teaser - 映像作家: tamuraikuho
2D animationAdvertisementGraphic designMain VisualMotion graphics

B-PARTY 2026 Official Teaser

2026
00:00:15
Under the creative direction of the Yokohama DeNA BayStars, we produced the visuals and teaser movie for “B-PARTY 2026.” With Yokohama Stadium transformed into a party venue, the event offers food and drinks alongside powerful sound from the DJ stage. The sound design for the attack video was handled by SKYTOPIA. The danceable sound, perfectly suited to the event, was created using cheers and bat sounds as source material.
Welcome Youth 2026: A New Spring Sensation - 映像作家: tamuraikuho
3DCGAnimationWeb CM

Welcome Youth 2026: A New Spring Sensation

2026
00:00:21
Produced an advertising film for the Welcome Youth campaign, planned by the Tokyo Metropolitan Foundation for History and Culture. During the campaign period, users aged 18 and under can enter eligible exhibitions and performances for free. Set against scenes that symbolize spring break, a man and a woman experience art. The work was created around a hopeful visual theme, serving as a gateway to new experiences. The sound design was by SOZEN OTSUBO, who has collaborated on projects with Hoshimiya Toto and others. A soft spring atmosphere is expressed through dazzling light, vivid colors, and rich tones.
FUNCORE vol.02 - 映像作家: tamuraikuho
2D animation3DCGArt workAudio visual performanceMain VisualMotion graphics

FUNCORE vol.02

2025
00:00:11
Main visual for “FUNCORE,” a party planned to coincide with Kero Kero Bonito’s Sarah Bonito’s visit to Japan. Layering the pop sensibility that also resonates with J-pop and the humor of nerdcore onto the hard-edged presence of an acidic cyber bug, as if reconstructed from metal and synthetic resin, the work boldly crossovers between contrasting textures. The artist also took part as a VJ on the day of the event, controlling the space with a consistent graphic tone from the key visual to the venue design. During Sarah Bonito’s set, they performed as a VJ in a B2B with Monotone, pursuing a denser visual expression.
TAMURA Ikuho ShowReel 2025 - 映像作家: tamuraikuho
3DCGAnimationArt workAudio visual performanceMotion graphicsShowreel

TAMURA Ikuho ShowReel 2025

2025
00:00:30
ShowReel by Ikuho Tamura, a graphic designer, visual designer, and filmmaker. Primarily active in client and commissioned work, including advertising, promotional art direction, music artwork, and music videos. Drawing on the know-how gained through a career in graphic design, he pursues rich visual expression in both still images and moving images. The sound design was done by SOZEN OTSUBO. ー Ikuho Tamura / TAMURA Ikuho Graphic Designer / Visual Designer / Filmmaker Born in Ehime Prefecture. Based in Tokyo. Graduated from the Department of Fine Arts, Faculty of Art and Culture, Onomichi City University. Primarily active in client and commissioned work, including advertising, promotional art direction, music artwork, and music videos. Aiming to create new emotional value, he pursues cross-disciplinary visual expression, with an eye toward developing visual work across a variety of media. Recently, as part of his life’s work, he has also been focusing on figure production using 3D printers and VJ performances.
2 Works
5 Works
craymons - 映像作家: hiroshitakagishi
Art workAudio visual performanceInteractiveOriginal

craymons

2026
00:01:10
Experience the moment when sound does not merely get “played,” but rises up as a living creature. Sound takes on form, overlaps to create relationships, and behaves like a flock. Changes in intensity and pitch are directly transformed into expressions and movements, unfolding organically within space. By interacting with sound as if touching it, the work offers an intuitive experience of enjoying its transformations. craymons are monsters with clay-like qualities that can take any shape and visualize sound.
Odd - 映像作家: hiroshitakagishi
3DCGAnimationArt workExperimental filmInstallationMotion graphicsOriginalShort film

Odd

2024
00:02:46
Odd is a video work that focuses on the contradiction between the “mechanical impression of being regularly arranged despite being plants” and the “form that gives the impression of organic movement,” both of which are characteristic of bizarre plants. Real plants are static beings. “If they were to start moving, how would their forms move and change?” By using 3DCG, these elements are blended together, and regular forms are reproduced with photorealistic textures. By expressing organic movement through simulation and animation, a strange and captivating world has been created. Bizarre plants are originally plants that grow in dry land, yet they carry an eerie, damp atmosphere. In other words, by incorporating the Japanese sensibility of “humidity” into the video, the work expresses the “strangeness” inherent in bizarre plants.
24 Works
IKEBUKURO PARCO – NEW FRIENDS - 映像作家: Tsuribu Tokyo
3DCGAnimation

IKEBUKURO PARCO – NEW FRIENDS

2026
00:00:30
Responsible for the creative direction of Ikebukuro PARCO’s largest renewal campaign since its opening. With the theme “NEW FRIENDS,” we drew on the motif of the “pond,” which is also said to be the origin of the name Ikebukuro, and created graphic designs using a technique that combined animals produced in 3DCG with live-action footage of nature, then re-shot the resulting collage through water in live action. In the film, that impression was recreated once again in CG. By mixing a variety of media, we expressed the city of Ikebukuro and Ikebukuro PARCO as a place where beings that transcend various boundaries cross over.
20 Works
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
PayPay Coupon at McDonald’s - 映像作家: shohishiguro
2D animationADAdvertisementAnimationCMImageMotion graphicsMotion logoPromotionTVTV-CM

PayPay Coupon at McDonald’s

2024
00:00:16
I was responsible for the graphic design and motion design for the PayPay coupon TV commercial at McDonald’s. #motiongraphics #motiondesign #design #edit #artdirection #illustration #layout #2d #ad #advertisement #flatdesign #flat #animation #cm #TV-CM #movinglogo #onair #movie #pr #promotion #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 #アートディレクション #イラスト #フラットデザイン #平面 #広告 #アニメ #コマーシャル #オンエア #映像 #ムービー #プロモーション #1930 #イチキューサンゼロ #石黒翔 #ishiguro #shoh #ishiguroshoh
5 Works
Suspensions - 映像作家: takayoshiohara
InstallationKinetic

Suspensions

2026
Stone, camera, and display are suspended in a straight line. While the camera and the display each perform pendulum motions with different phases, they capture and present the stone in real time. The motionless stone, within this linkage, is constantly transformed as an image. What emerges here is not the movement of the object itself, but a relational fluctuation made visible by the phase difference between the apparatuses. While identification with the camera draws the subject as an “eye” into the interior of the image, the movement of the screen pulls it back into physical space as a body subject to gravity. The shift produced by the asynchronous movements of the camera and the screen, in this back-and-forth, gently suspends the very framework of seeing itself.
Orb / Rot - 映像作家: takayoshiohara
InstallationKinetic

Orb / Rot

2026
A display suspended by wire ropes continues its back-and-forth rotational motion according to the principle of a torsion pendulum. The screen shows footage shot while circling a motionless stone. The rotating display and the camera that captured the footage have different periods, and their relationship repeatedly shifts between synchronization and asynchronization. Within this, two appearances emerge in the image: the motion of circling around the stone, and the motion in which the stone itself appears to be rotating. Through both, the work moves between an optical/distant mode of visual experience, which has assumed identification with another point of view, and a tactile/near mode of visual experience that comes into presence through the viewer’s bodily involvement.
Hyle(s) - 映像作家: takayoshiohara
InstallationKinetic

Hyle(s)

2023
Description: This video installation consists of a display that moves up and down and footage of falling rocks projected onto it. The work addresses three spatial dimensions: the “space of images” created by the video, the “real space” in which it is viewed, and the “virtual space” that connects them. In cinema, events and spaces outside the frame are called “off-screen,” and their presence is suggested through sound or the reactions of characters. However, in the contemporary age, where video experiences through computer multi-window displays have become commonplace, it is also possible to recognize the video content itself as an object off-screen. In this work, the bodily act of following the moving display with one’s eyes, together with the reciprocal experience of the video in response, evokes the singular event of “falling rocks.” Yet the visual synchronization/asynchronization produced by the mismatch between the movement of the display and the rhythm of the video continually shifts the perceived location of the object in our minds. Where, exactly, is the stone falling?
Satoko Shibata "Miscellaneous Thoughts" - 映像作家: takayoshiohara
Music video

Satoko Shibata "Miscellaneous Thoughts"

2022
00:05:02
We developed the idea while exploring a method of adapting the “visual experience that traverses fiction and reality,” which the artist collective Yofu has long valued in its work, to the filmmaking process itself—from shooting to post-production. In practice, the piece was created through a one-take long shot and time-axis manipulation in post-production. During the one-take shoot, the condition for realizing the concept of this music video was that, throughout the chorus as confetti fell through the air, only Satoko Shibata would remain perfectly still. By applying detailed time-axis adjustments to specific sections in post-production, the confetti alone—falling around the motionless Shibata—could be made to move in various ways, such as reversing direction, being drawn toward the center of the screen, or becoming extremely compressed and transformed into a noise-like texture, even though Shibata herself showed no change. The contrast between stillness and motion creates a distortion of reality that forms the basis of the direction. In the middle section as well, by moving the camera while keeping Shibata’s framing fixed, even the background is warped and distorted, and the shimmering paper fragments drifting down in time with the song’s progression create a striking scene that gives the impression of an unreal world, somewhere at the edge of the galaxy. Yofu also created “Behind the scenes of Satoko Shibata ‘Understood’ Music Video” (https://youtu.be/xOK0IlVjdH8), which captures the behind-the-scenes process of the one-take shoot.
12 Works
13 Works
Tokyo Resonance - 映像作家: isaonishigori
3DCGExperienceMotion graphicsProjection mapping

Tokyo Resonance

2025
00:03:09
This work is an immersive projection mapping piece that sets out from the wall of the Tokyo Metropolitan Government Building, the heart of Tokyo, and takes the viewer on a journey through the “evolving city of Tokyo” from the perspective of a single person. Depicted through three-dimensional, geometric, and organic imagery, it portrays an individual as a living cell within Tokyo, merging into the core of Metabolist architecture and continually growing, dividing, and being rebuilt together with the city and its music.
Expo 2025 Osaka-Kansai Expo Signature Pavilion, produced by Shoji Kawamori, "Adventure of Life's Cycles" Hyper-Temporal Theater "499 Seconds: My Fusion" - 映像作家: isaonishigori
360° VR3DCGAnimationARArt workAudio visual performanceExperienceInteractiveMotion graphicsMRReal-time GraphicsVRXR

Expo 2025 Osaka-Kansai Expo Signature Pavilion, produced by Shoji Kawamori, "Adventure of Life's Cycles" Hyper-Temporal Theater "499 Seconds: My Fusion"

2025
00:01:52
At Expo 2025 Osaka-Kansai Expo, in the dedicated theater “499 Seconds: My Gattai” within the Signature Pavilion “Shin-Life Adventure” produced by Shoji Kawamori, 30 participants don VR headsets equipped with cameras and, through VR and MR technologies, simultaneously experience a universe-scale food chain—traveling beyond time and space from memories of the past in an immersive exhibition available nowhere else in the world. Through the “universe-scale food chain” envisioned by Shoji Kawamori, creator of numerous sci-fi works, visitors can experience the pavilion’s theme: “Life is fusion and transformation!” We were responsible for the direction and animation of this hyperspace theater “499 Seconds: My Gattai,” and, using spatial audio technology developed by SoVeC Inc. and Terasaka Bio Inc., we combined it with spatial audio produced by Sony PCL Inc. (hereafter Sony PCL), delivering a completely new audiovisual experience unlike anything before.
3 Works
Echoes - 映像作家: overlay
Audio visual performanceInstallationMotion graphicsOriginal

Echoes

2026
00:03:20
A rapidly shifting urban landscape — waves of people, railway networks, buildings, and city lights generate an immense torrent of information. This work intensifies that “excess” through visual techniques such as slit-scan and delay, making the speed and density of changing information visible. Screened at “Toki-no-ma,” an immersive gallery created through the adaptive reuse of the former Hino Junior High School in Hino Town, Tottori Prefecture. Presented in the first opening program, “A Classroom Where the City and Satoyama Intersect.”
Nagare - 映像作家: overlay
Audio visual performanceInstallationMotion graphicsOriginal

Nagare

2026
00:03:27
Inspired by Nedu, Hino Town, where the sound of water fills the town. An installation work in which overlapping streams of water envelop the space. At Tokinoma, an immersive gallery in Hino Town, Tottori Prefecture, housed in a repurposed former school, we held the special exhibition “A Classroom Where the City and Satoyama Intersect.” As one of the screening works in the exhibition above, this piece focuses on “satoyama,” and abstractly expresses both its beauty and the issues present in the region.
"Light’s Ancient Strata" Old Rice Warehouse Installation #Hino Town, Tottori Prefecture - 映像作家: overlay
Art workAudio visual performanceInstallation

"Light’s Ancient Strata" Old Rice Warehouse Installation #Hino Town, Tottori Prefecture

2025
00:05:43
This work, presented on August 13, 2025 at the “Neo Lantern Festival” held in Hino Town, Hino District, Tottori Prefecture, simultaneously unfolded a visual presentation and an illumination design that enveloped the entire space. Set in an old warehouse once used for storing rice, it repurposed a dormant space and transformed it into a place that connects local memory with the future. The illumination is not merely decorative; it is an essential element that shapes the rhythm of the space in response to the imagery. Light placed along the walls and beams overlaps with the abstract layers of the video, spreading outward as if embracing the audience’s bodily sense. In a space where the festival’s defining “light” and the installation’s illumination coexist, the traditional light of the festival and the light of contemporary digital art intersected. The theme of the work is “reconstructing the landscape.” It captures fragments of nature and daily life from the Hino District (Hino Town, Kofu Town, and Nichinan Town), then reassembles them into abstract designs. The video evokes memories of the landscape, while the illumination serves to extend those memories throughout the entire space. Viewers can experience the moment when the familiar appearance of the land is transformed by light and imagery, discovering another kind of beauty hidden within the region’s scenery. Underlying the work is a desire to reuse local resources and foster cultural regeneration. By reviving an unused rice warehouse as an art venue, it became an attempt to create new value that honors memories of the past while opening toward the future. The closed-off space of the warehouse was opened up, creating a place where local people could share an experience of being surrounded by light. This installation functions as a mediator that connects land, people, and memory through the unity of video, illumination, and the local community.
5 Works
Syoronpo. b2b monoton – draw(tokyo); #3 (VJ) - 映像作家: monoton
3DCGAudio visual performanceCodingEventGenerative ArtPerformanceReal-time GraphicsVJ

Syoronpo. b2b monoton – draw(tokyo); #3 (VJ)

2025
Only Image
This is a live VJ performance by Syoronpo. and monoton, presented at “draw(tokyo); #3” (clubasia, 2025), an audiovisual event focused on generative VJing. Using TouchDesigner on two PCs, they share and synchronize cameras, rendering 3D objects generated by each artist so that they coexist within a single world. The two artists’ visuals are continuously composited into a single image through various blending methods, dissolving the boundaries between the images. In this work, the visuals are generated and evolve in real time without interruption throughout the DJ set. Beginning with a quiet monochrome introduction, the performance moves through scene-like motifs such as aquariums and gardens, then builds toward a climax where the number of colors and the density of objects increase and the motion becomes more intense, before returning once again to a quiet screen. All visuals are generated and controlled in real time on site, and by adjusting the parameters that shape the imagery in response to the DJ set’s progression and the conditions of the venue, the artists create a one-time, vividly live performance.
monoton – Mirrored (Live at Flow vol.8) - 映像作家: monoton
3DCGAudio visual performanceCodingEventGenerative ArtPerformanceReal-time Graphics

monoton – Mirrored (Live at Flow vol.8)

2025
00:29:18
This is a recording of a solo live performance given at the audiovisual event “Flow vol.8” (2025), held at Ritsumeikan University’s Osaka Ibaraki Campus. All of the sound and visuals were performed live in real time by a single person. A 300-inch LED screen was installed in the venue, and the glass windows beside it reflected the screen like a mirror at night. To make use of this environment in the performance, the visuals were designed to move back and forth between the physical screen and its reflected image. Specifically, the visuals were rendered on a canvas equivalent to two screens wide, then folded back and overlaid before being displayed on the screen, allowing the image to move from the screen to the glass and back again. The audience experiences the boundary between the actual screen and the virtual image dissolving, with the visuals freely circulating between the two. The title “Mirrored” comes from this reflective structure. In addition, since the brightness of the 300-inch LED screen itself functions as the venue lighting, the overall light and darkness of the space, as well as the pacing of the performance, were designed through the use of flashes and control of the screen’s overall brightness. The music and visuals are synchronized via OSC, and all images are rendered and controlled in real time. The sound is spatially arranged through 4-channel surround output, and together with the reflected visuals, the performance is designed to envelop the audience through both sight and sound. It is a one-of-a-kind performance inspired by the specific conditions of the venue, and possible only in that place.
monoton – Nibi (Interactive MV) - 映像作家: monoton
3DCGCodingGenerative ArtInteractiveMusic videoReal-time GraphicsWeb

monoton – Nibi (Interactive MV)

2026
00:02:35
This is the music video for the original song “Nibi,” released in 2026. I created the song, the visual system, and the web app. “Nibi” refers to a dull grayish color. In this work, I made ink-like coloration the basis of the visuals. Particles in the four CMYK colors drift through 3D space, repeatedly gathering into and dispersing from the shapes of lyrics and motifs to construct the imagery. For the overlapping colors, I used subtractive color mixing calculations; the denser the particles become, the darker they sink as the inks blend together. Although the work is presented on a display, a texture like dynamic printed matter emerges, as if halftone dots on paper were dancing. The particles converge from flat shapes, noise, pendulums, and other geometric patterns into letters, then scatter once again. Rather than a continuous sequence of completed letters, the transitions of gathering and dispersing themselves are the main visual attraction. All of the visuals in this work are rendered as a continuous video within a web app, and the MV video was exported as a single uninterrupted shot with no cut editing. The lyric text is placed in 3D space and is framed by the camera angles set by the creator. I released this web app itself as a viewer, allowing viewers to freely move the camera in the browser and explore areas beyond the viewpoints selected for the MV. This is an attempt to open up both the production process of the visual work and the experience of the creator’s selection of viewpoint itself. The source code is also available on GitHub. For the particle physics calculations, I used Three.js WebGPU’s TSL compute shaders to enable real-time GPU processing of a large number of particles. In environments that do not support WebGPU, it falls back to WebGL 2 and also works on smartphones. MV website https://monotonmusic.com/nibi/

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