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Umeda’s Udon-chan for Umeda BS3D Vision “Introduction”

2023

00:02:03
Umeda’s Udon-chan for Umeda BS3D Vision “Introduction”
クリエイティブディレクター　山本 信一
CGスーパーバイザー　河村 有恒
ライティング&コンポジットアーティスト　茂野 知史
キャラクターモデリング　中江 昌彰
リギングアーティスト　山崎崇
CGアニメーター　大竹 祐次
サウンドデザイン　Intercity-Express
キャラクターデザイン　makomo
プロデューサー　加賀美 正和
PASコミュニケーションズ　makomo　omnibus japan
Description: A flagship movie for the newly installed outdoor vision in Osaka Umeda, the “Umeda BS3D Vision.” This is the first collaboration between creative director Shinichi Yamamoto and illustrator Makomo, with whom he has long had a close relationship. The creative will be developed with the outdoor vision as its starting point. 楽曲　Intercity-Express　+　Sy

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山 Shinichi Yamamoto unverified Director 河 Aritsune Kawamura unverified Supervisor 茂 Tomofumi Shigeno unverified Lighting / Compositing Artist 中 Masaaki Nakae unverified Modeling 山 Takashi Yamazaki unverified Rigging Artist 大 Yuji Otake unverified Animator m makomo unverified Designer 加 Masakazu Kagami unverified Producer

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Shinjuku East Exit Cat “4th Anniversary Thank You Edition” (2025) - 映像作家: omnibus-japan-inc
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Shinjuku East Exit Cat “Thank You for the 4th Anniversary Edition” A 15-second special video commemorating the fourth anniversary of “Shinjuku East Exit Cat,” which has become a landmark in Shinjuku. This work builds a “retrospective” world that looks back on the series’ journey since the first installment in 2021. Its biggest highlight is the “nested” structure, in which past works are played on monitors placed within the 3D space. It creates a multilayered visual experience spanning the real-world display, the cat’s room, and the monitors within the video. Around the cat, meanwhile, cat bells, folk crafts, and unidentified objects that had been repeatedly dropped in the “Barely Edition” spin lively in circles. By scattering motifs symbolizing episodes from across the series like a collage, the piece expresses gratitude to fans while humorously reassembling four years of context into a festive work full of celebratory energy.
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Snake Line A video installation by filmmaker Shinichi Yamamoto and musician Tetsuji Ohno (Intercity-Express). Set at the biotope located at the edge of the forest within the expansive grounds of Nagaoka Institute of Design, the work features a 20-meter screen constructed from 40 connected LED displays. Positioned at the forest's margin — visible from the campus buildings — it unfolds amid the falling leaves of late autumn. From 9 a.m. to 9 p.m., the work continuously shifts in response to the changing quality of daylight, rain, and the darkness of night reflected across the water's surface. Emitting vivid, high-saturation color, the installation neither confronts nor overwhelms its natural surroundings, but settles quietly into the landscape. The sound, composed by Ohno, builds an ambient sonic environment rooted in field recordings of a suikinkutsu — a traditional Japanese water instrument. Snake Line was produced as part of VideoListening, a media art program directed by Shinichi Yamamoto.
Fragments Immersive Museum Tokyo Vol.3 version (2024) - 映像作家: omnibus-japan-inc
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2024
00:03:30
Calligrapher Mariko Kinoshita’s inscription of a passage from Kamo no Chomei’s *Hōjōki* is divided into squares and redefined as “fragments.” Film artist Shinichi Yamamoto assigns a time axis to those cells using a unique algorithm, while musician Corey Fuller layers an ambient soundscape built from deconstructed and reconstructed readings of *Hōjōki*, creating a multilayered interplay among the three artists’ expressions. Blending Japanese views of life and death—such as “ku” (emptiness), “engi” (dependent origination), and silence—with a meta perspective on observing landscapes, the work becomes a weighty video poem that explores universality dwelling within impermanence. First unveiled in 2019 across the outdoor large-scale digital billboards of Shinjuku, it continued to evolve and in 2020 was expanded into an immersive spatial presentation at “ETERNAL ART SPACE” in Haneda Airport. In 2024, for its exhibition at Immersive Museum TOK (Shinjuku), it was reconfigured for a vast space of approximately 430㎡ and 6 meters in height. As fragments of calligraphy overlapped geometrically with waves and graphics, it was elevated into an immersive experience as a “reconstructed modern Zen garden,” drawing viewers into a serene spiritual world.

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Komyaku’s Dancing Garden, Komyaku’s Farewell - 映像作家: hirai
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Komyaku’s Dancing Garden, Komyaku’s Farewell

2025
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This work is a video piece that was exhibited and screened as part of an ambient projection-mapping presentation at the EXPO Hall “Shine Hat” and the Popup Stage East Outside at Expo 2025 Osaka, Kansai. Taking as its motif the “EXPO 2025 Design System” IDs, affectionately known as “Komyaku” at Expo 2025 Osaka, Kansai, and with Kohta Hikichi, a representative member of the team that created it, serving as an advisor, we drew on the expertise in artificial-life ecological systems that HiRai has long been researching to create a real-time video simulation system and visuals. In producing the video, we referenced the design system’s history of being prototyped based on metaballs, and developed a real-time simulator in which the Komyaku behave as if they were alive while retaining the identity of the design itself. By using GPGPU to calculate the interactions among large numbers of Komyaku in real time, we built a system that can be flexibly expanded to support a wide range of possibilities, including interaction and the generation of one-of-a-kind videos. At the Popup Stage East Outside, we also took advantage of the architectural characteristics of a structure in which the projected image is interrupted by support columns, and created visuals that made it look as though each steel beam were packed full of Komyaku. We pursued video production that made the most of the characteristics of the projection surface. The name “Komyaku” naturally spread as a nickname referring to the IDs that make up the design system. Taking into account this derivative, fan-created cultural expansion, this work intentionally uses the term “Komyaku.”