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XG 1st WORLD TOUR “The first HOWL” FINAL Landing “SHOOTING STAR” - 映像作家: cosmiclab
3DCGLive actionMotion graphicsR&DReal-time Graphics

XG 1st WORLD TOUR “The first HOWL” FINAL Landing “SHOOTING STAR”

2025
The Tokyo Dome performance held as the finale of XG’s first world tour, 【XG 1st WORLD TOUR “The first HOWL”】. COSMIC LAB created the content by building a unique system that seamlessly and freely integrates live camera footage with motion graphics and real-time VFX. It was an electrifying stage worthy of the finale of a world tour that spanned nearly a year, and a night that made the future of live camera direction feel within reach.
[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

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Art / Styling
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CG / Visual
Animation
Sound / Music
XR / Interactive
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ORANGE RANGE – メンソーレ feat.ソイソース (Music Video) - 映像作家: takerushibuya
2D animationGraphic designIllustrationMusic video

ORANGE RANGE – メンソーレ feat.ソイソース (Music Video)

2026
00:02:56
ORANGE RANGE 25th記念シングル 15年前に制作された同アーティストの楽曲「ヤー・ヤー・ヤー」のMVからインスパイアを受け、当時高校生でありORANGE RANGEの大ファンであったTakeru Shibuyaが監督・アニメーションを務めた。キャラクターをパワーアップして再登場。往年のファンにはたまらない仕上がりになっている。 Takeru Shibuyaならではのポップでありながら毒のあるロウブロウなテイストがORANGE RANGEの楽曲とぴったりとマッチし独特の世界観を作り上げる。 キャラクターデザインにシャシャミン、コラージュアニメーションにonnnacodomo、3DアニメーションにRyu Nishiyama、背景デザインにHanae Sugiを迎えた。
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Nissay MIRAIQA | Brand Movie - 映像作家: shohishiguro
2D animationADBrand movieCMConcept MovieMotion graphics

Nissay MIRAIQA | Brand Movie

2025
Only Image
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.
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
15 Works
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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.

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