We tried a variety of approaches, including 3D Gaussian Splatting, photogrammetry, stop-motion photogrammetry using nine GoPros, and making use of the 3DS stop-motion feature. With the concept of being playful yet cool, we aimed to create an experimental and entertaining video.

An audiovisual installation composed of five wide displays and a 3D sensor. The displays show a 3D model of the artist generated using volumetric capture technology, continuously casting its gaze in various directions. In this work, the vertices of the viewing frustum that constitutes the perspective of the image are always set along the extension of that gaze, so the viewer continually experiences dynamic anamorphosis (distorted imagery). However, only when the viewer’s viewpoint is tracked and the 3D model turns its gaze toward that position—that is, only when the viewer and the 3D model “meet each other’s eyes”—does a single integrated space emerge across display planes oriented in different directions. Invented in the 15th century, perspective drawing has continued to exert a strong influence on dualistic ways of understanding the world, centered on the subject/object divide. In this work, by making the reciprocity of the gaze a condition for the existence of virtual space, those boundaries and hierarchical relationships are dissolved, while the visual experience that arises there presents a current reality in which multiple dimensions coexist.

動く手書きの漫画、イラストレーションを指針とした表現手法で アナログ感のある、荒々しいモーショングラフィックを実験的に制作。

This video introduces “Invisible Sports Encyclopedia,” an activity that translates the essence and feel of each sport using different tools and objects so that even people who do not play the sport can understand it. It visually expresses what elements were focused on and what they were replaced with through stop-motion animation inspired by Norman McLaren’s pixilation (stop-motion using people).