A promotional video for the Pokémon Card Game, unveiled at the Pokémon World Championships 2025 (WCS2025). It spatially depicts battles between Mega Charizard X, Mega Lucario, Mega Gardevoir, and Legendary Pokémon. The 3DCG and character animation were handled by Eallin Japan, and the motion graphics were created by Shuji Hirai. The hand-drawn animation scenes were created by Takeshi Kishimoto. ©2025 Pokémon. ©1995-2025 Nintendo/Creatures Inc./GAME FREAK inc. Pocket Monsters, Pokémon, and Pokémon are registered trademarks of Nintendo, Creatures, and Game Freak.

Although it is full CG, the camera work uses a lot of handheld shots to emphasize realism and dynamism. It was a job in Hong Kong, but there was mutual respect, and it was a very rewarding project.

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.

This work was created for the RE:ENCODE event. It is based on black (#000000) and white (#ffffff), with shades and tones expressed through changes in the z-axis and transparency. Care was also taken with the camera movement and motion blur so that they would match the driving energy of the music.

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.

I abstractly expressed the delicate world of Genshin Impact’s character Columbina and the circumstances she finds herself in.

バンド演奏とドラマパートのギャップのメリハリを意識して制作しました シュールなコメディ感をドラマパートを強く出したく、しつこいくらいに色々と盛り込んでみたのであえて演奏カットはシンプルに仕立ててます 演技を頑張ってくれたバイバイ・ニーチェの皆さんと山田さんに感謝です

From Watagashi Kanro’s 3rd album, “Shijō Bungaku.” “Akiruru” Following the album’s concept of placing “the story” itself on stage, all of the motifs appearing in this work are structured so that their meanings shift as the story unfolds.

We provided animation for the documentary series "ROUTINE FILMS," presented by Sumitomo Life and Heralbony, featuring artists. https://vitality.sumitomolife.co.jp/direct/vitality_smart/routine_films/

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/