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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
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).
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.
【NHK E-tele】The Wakey Show “Christmas Starlight” Wakey & Elmo [Learning Song] - 映像作家: shizukaamano
Music videoTV

【NHK E-tele】The Wakey Show “Christmas Starlight” Wakey & Elmo [Learning Song]

2025
Only Image
Music video for “Christmas Starlight,” a December learning song from NHK E-tele’s “The Wakey Show.” It’s a song with the theme, “How about sending each other letters as Christmas presents?” Featuring all of the show’s puppet characters, as well as Elmo and Cookie Monster from Sesame Street. Blending live action, diorama, and hand-drawn animation, the video creates a world full of ideas to keep young viewers engaged. I was responsible for the direction and editing, including all compositing. Editing software used: Adobe Premiere Pro, After Effects, DaVinci Resolve

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13 Works
22 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.
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
5 Works
TV Tokyo “Shina Pushu” Monthly Song / “Sukina Kimochi Mochi” - 映像作家: samillia
2D animationAnimationClay animationMusic videoStopmotionTV

TV Tokyo “Shina Pushu” Monthly Song / “Sukina Kimochi Mochi”

2025
00:02:16
This was the “Tsukiuta” video for November 2025, broadcast on TV Tokyo’s infant and toddler program “Shinapushu.” Aiming to create visuals that babies and young children could enjoy intuitively, the piece was produced by combining a variety of techniques, including hand-drawn animation, clay stop-motion animation, and live-action compositing. The main character, the mochi “Mocchan,” was sculpted in clay and animated in real life in order to give it a three-dimensional feel. Inspired by the texture and rhythm of SAKANAMON’s music, the video visualizes the feeling of “liking something” through rounded forms and pleasant motion. Set in a fantastical world, it was finished in the style of a road movie, following “Mocchan” on a journey in a kitchen car. Techniques: hand-drawn animation, stop-motion, clay animation, live-action compositing, After Effects
The Story of the Dreaming Medicinal Cuisine Lab's Beginning - 映像作家: samillia
2D animationAdvertisementAnimationArt workBrand movieClay animationCMConcept MovieExperimental filmFashion filmImageShort filmStopmotionWeb CMWeb movie

The Story of the Dreaming Medicinal Cuisine Lab's Beginning

2025
00:01:42
A world of Chinese medicine where the story loops forever Life spirals infinitely, linked to the natural world A playful expression of the philosophy that we humans are part of that whole With an emphasis on eating in a warm, joyful spirit This film tells the origin story of a restaurant run by an internationally certified medicinal-food specialist, who creates herbal cuisine rooted in the evidence of Chinese medicine and designed to delight both mind and body Using a mix of techniques including craft work, live action, and more, it was finished with playful analog visuals, as well as music Methods: hand-drawn animation, stop motion, After Effects, loop animation
We saw the moon in Melbourne and Tokyo - 映像作家: samillia
2D animationAnimationArt workClay animationExperimental filmImagePaper craftShort filmStopmotion

We saw the moon in Melbourne and Tokyo

2025
00:00:25
Description: Inspired by the episode of the two samillia who, after 20 years, arrived in the city of Melbourne, Australia, I created this animation. Even when we are in Japan and Australia, which feel far apart, looking at the same moon at the same time reminds us that we are living beings on the planet Earth in the universe. Technique: hand-drawn animation, stop motion, After Effects, loop animation
4 Works
Alespec Permanent Staff Dispatch Service Introduction Video - 映像作家: miyukikamamatsu
2D animationMotion graphicsPVWeb movie

Alespec Permanent Staff Dispatch Service Introduction Video

2024
00:01:19
I took part in the production of the animation section (from 0:15). I received the graphic data from the designer, and I was in charge of the motion. As for the movement of the text, the director told me not to make the motion uniform and one-patterned, but to create different images for each section, so I worked to make the movement and visual touches varied so that it would stay engaging to watch.
"TikTok TOHO Film Festival 2024" Trailer Video - 映像作家: miyukikamamatsu
2D animationAnimationWeb CM

"TikTok TOHO Film Festival 2024" Trailer Video

2024
--
This is a trailer for the vertical film festival “TikTok TOHO Film Festival 2024,” held by TikTok and Toho in 2024. I participated as an animator. Based on the director’s concept draft, I proposed specific illustration designs and methods of expression, and created the piece using digitally hand-drawn animation. The production period was about one month. Since the purpose of the video was to encourage submissions, I made it with the feeling of sharing the joy of creating things, and I was conscious of enjoying the process myself as I worked.
13 Works
What Is an Art Museum Like? Yokohama Museum of Art Animation - 映像作家: erisasaki
2D animationAnimationMusic video

What Is an Art Museum Like? Yokohama Museum of Art Animation

2025
00:03:29
An animation introducing how to spend time at the museum and the guidelines for visitors. The song was specially written by Ichiyanagi. The joy of drawing, the joy of looking, the joy of not knowing. It was created with the hope that people would encounter the works with a free spirit. Several works from the Yokohama Museum of Art’s collection also appear in the video, which is based on the museum’s theme colors, pink and gray. The technique combines drawings on paper with digital coloring. An illustrated “Children’s Mission Sheet” was also produced alongside it.
Rainy (Official Video) - 映像作家: erisasaki
2D animationAnimationMusic video

Rainy (Official Video)

2024
00:04:01
I don’t dislike rainy days. The lively plants, the sparkling ground, and the moist air all feel pleasant to me. As I’ve grown older, I’ve come to think that I don’t dislike rainy days after all, and in fact I’ve started to enjoy them. This piece was created inspired by the stories and photographs about rainy days that I heard from Ms. Shoko. As for the technique, I drew it on paper with oil-based pens. To evoke the image of rain lines sparkling and to create a cheerful feeling, I used a variety of lines. Set to rhythmic music, this work depicts the everyday life of a girl and her cat enjoying a rainy day with high spirits.
17 Works
SINN PURETÉ – Shinjuku Cross Vision 3DOOH - 映像作家: sunjunjie
3DCGAdvertisement

SINN PURETÉ – Shinjuku Cross Vision 3DOOH

2024
00:00:15
”Exploration 1: Studies for Naked-Eye 3D Vision” is the first installment of an in-house research project by SUNJUNJIE focused on the media characteristics of naked-eye 3D vision. In this work, we explored what kinds of video-based advertising expressions are possible by making use of the medium’s characteristics, such as creating a sense of depth through optical illusions, movements that catch the attention of passersby, visual composition, and sound design. As smartphones have become more widespread, advertising expression has increasingly taken on the aspect of a medium closely integrated into everyday life. In advertising expression, we believe it is always important to pursue a balance between people’s everyday world and the fictional stories being presented. To make this project feel more realistic, we felt it necessary to express its world not through a fictitious client but through an actual brand product, so we approached the fragrance brand “SINN PURETE” with a collaboration proposal. We discussed the video planning with the collaborator and decided to create two 15-second movies, each based on a different theme, in order to explore the greatest possible range of expression on a low budget. The first film expresses the world of SINN PURETE through its three product lines. The second film merges SINN PURETE’s mascot character with the world of SUNJUNJIE, aiming for a pop and humorous expression that feels distinctly Tokyo. The creative elements we challenged ourselves to include were how to create a striking 3D pop-out effect, and the selection of objects and movements that would be interesting when they emerge from the screen. Since not everyone watches a video from the beginning, we aimed to capture attention from any point of entry, while creating a sense of controlled busyness rather than mere chaos. In particular, we paid close attention to the design of the framing structure, the imagined depth, the actual size of the billboard, and the relationship between viewing distance and scale.

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