A video that combines live action with Neural Radiance Fields (NeRF), an AI technology that reconstructs 3D scenes from multiple image datasets. This is the first advertisement in Japan to use NeRF. As a car commercial, it is believed to be the first in the world. In fact, the footage alternates between live-action material and NeRF material, and we focused on making those transitions as seamless and satisfying as possible. We crafted the video so that, together with the car, it feels like racing through a dazzling succession of moments. Reference https://cgworld.jp/article/nerfarata-fukoe.html

2017年9月15日、土星探査機カッシーニは土星に突入して大気圏で燃え尽き、探査機としての「生命」を終えた。カッシーニは、その生命が燃え尽きる最期の瞬間まで地球に送り続けた。本作は、惑星探査の歴史の中で多くの人に愛され、多大な功績をあげたカッシーニの偉業を称え、その成果を映像作品として体験する展示である。

“33 minutes and 33 seconds needed before the world ends” A dying Earth. A strange game played by the survivors: “Mood Hall.” A mysterious middle-aged gentleman and a beautiful woman, appearing and disappearing. Little people. Giants. A party. A desert. The bottom of a pool. Dance. Day and night, repeated again and again. Experimental, artistic, adventurous, half sci-fi, half mystery: a densely layered labyrinthine world made of sketches. A masterpiece of film that strips away words and leads you into a world of seeing and hearing alone! ・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・ In 2016, “Mood Hall” was presented as the latest installation in Kawaiokamura’s retrospective exhibition. It was Kawaiokamura’s first new work in nine years, with sound direction for the entire solo show handled by Mariko Harada. In 2019, “Mood Hall” was completed as a film work, and in 2020 it was released theatrically at Demachiza, a cinema in Kyoto. The music, of course, was by Mariko Harada. It brought the richly layered 33-minute-and-33-second world of image and sound to the screens and speakers of the movie theater. In 2022, the music for “Mood Hall” was completely rewritten by Kazumichi Komatsu. It was made neither as an installation nor for a cinema, but as a composition intended for streaming. Reading the visuals like a score, he struck the sound against the images so powerfully that they changed, and linked each segment through a distinctive sense of floating weightlessness. Reconstructed through Komatsu’s bold interpretation, “Mood Hall” was named “Mood Hall side B.”