Last updated: July 15, 2026（Details are subject to change.）
This Session Has Concluded
NISHIKI vol.1 REEL SESSION produced and presented four works created through collaborations between musicians and visual artists.
Thank you to everyone who took part in the session, and to everyone who viewed the works. The completed pieces are available on HASSHIKI’s YouTube Shorts and Instagram.
| [Visual] Ryotaro Miyajima × [Music] Yūkai | Ozouni |
| ［Comment from Ryotaro Miyajima］ I am deeply grateful to HASSHIKI for giving me this valuable opportunity to collaborate with Ozouni. I went through a process of trial and error, exploring how to layer my black-and-white animation over Ozouni’s weighty sound. It was my first experience of sampling my own body of work in this way, and I thoroughly enjoyed the process. To me, Ozouni’s groove does not have the bouncing quality of a skateboard. Rather, it carries a low center of gravity, like the rumble of an iceberg splitting apart. I hope my work has been able to respond to that power. ［Ryotaro Miyajima］https://miyajimaryotaro.com/ Born in Tokyo in 1989. He graduated from the Department of Intermedia Art at Tokyo University of the Arts in 2015 and completed the Animation program at the university’s Graduate School of Film and New Media in 2017. In 2025, he received a PhD in Film and New Media from the same graduate school. His ink-painting animation works, including RADIO WAVE, AEON, and CASTLE, have been nominated at more than 150 film festivals and have received 20 awards. |
| [Visual] Jellyfish Mobu × [Music] Wannabe | Z Hyper |
| ［Comment from Jellyfish Mobu］ While creating the work, I tried writing a diary entry for the day as I listened to Z Hyper’s music. In a space where I felt relaxed, memories and recollections seemed to circulate freely, spinning around and floating softly through the air. It was a very strange experience. ［Jellyfish Mobu］https://jellyfishmobu.work/ Born in 2001. An illustrator and animator based in Tokyo, following time spent in China and the United States. They directed the music video for Shōjo Shōnen feat. KAFU and served as background art director for the official collaboration music video between ZUTOMAYO and Persona 3 Reload. Their practice also explores experimental forms of moving-image expression that combine live action and animation. |
| [Visual] TOOWA2 × [Music] peacock blue | tatata5 |
| ［Comment from TOOWA2］ The expansive and unhurried atmosphere I felt in tatata5’s track peacock blue led me to imagine a work in which the images gradually slow down and become increasingly abstract. I hope that people who feel they need to stop for a moment, but find it difficult to do so, can pause and watch the work at their own pace. ［TOOWA2］http://www.toowa2.com/ Filmmaker and VJ. After working as a street dancer, TOOWA2 began teaching himself filmmaking and VJing. His pop, colorful, and rhythmically driven visual style was recognized early in his career by SUGIZO of LUNA SEA. He later joined SUGIZO’s jam band SHAG as a VJ. His previous work includes providing visuals for an Evangelion remix DVD and participating in Spoken Word!, a documentary film supervised by Hiroyuki Nakano. His 2014 short film ENSEMBLE was selected for numerous international film festivals, including the Raindance Film Festival. In 2022, his first feature film, EROSION, was released at Eurospace in Shibuya. He continues to work across cinema and live visuals as a “VJ who can also make films.” |
| [Visual] Mone Fujita × [Music] Again and again (feat. Risa Okada) | Hybrid Leisureland |
| ［Comment from Mone Fujita］ As I listened to the track repeatedly, I felt a tenderness and sadness within it, as though someone were continuing to seek love while remaining trapped by something. I expressed that swirling confusion of thought by combining drawings with animation I had previously created for Again and again during a live performance with Hybrid Leisureland. I also felt that the act of creating animation itself—building it up one second at a time—overlapped with the sense of repetition carried by the music. Toward the end, I layered in the image of the field of vision gradually opening beyond the confusion, allowing someone to begin looking forward again. ［Mone Fujita］https://tabigeininmone.com/ With painting at the core of her practice, Mone Fujita works across multiple media, including improvised drawing and hand-drawn moving images, to explore forms of expression rooted in both the unconscious and the conscious, as well as the structures of human creativity. She brings together images of girls from childhood and narratives from Irish music, constructing works through the interaction between personal memory and imagined elements. Her interdisciplinary practice spans exhibitions, live performance, audiovisual work, and other forms. |
The project overview and participation terms originally published during the open call are retained below for archival purposes.
SUMMARY
- A session in which visual artists create short-form films for the ten tracks featured on NISHIKI vol.1
- HASSHIKI connects musicians with visual artists and provides a modest production fee, creating an initial point of intersection through a short collaborative work
- The collaboration may develop into a full-length music video, but that decision is left to the artists
- We are currently looking for visual artists, animators, and motion designers
NISHIKI vol.1 is a ten-track compilation album featuring nine artists. Its music spans noise, ambient, electronica, and other genres, but every track contains a richly imagined sonic landscape.
NISHIKI REEL SESSION is an attempt to bring moving images into those landscapes.
HASSHIKI commissions visual artists to create short films of at least 90 seconds and provides them with a track as their source material. In dialogue with the musician, each visual artist develops and completes a short work. The finished reels are published on YouTube Shorts and Instagram.
At its core, this session is a form of creative matchmaking. By making one short work together, the artists begin to understand each other’s sensibilities. When both sides feel that they would like to continue working together, the collaboration may develop into a full-length music video. When they do not, that is also a valid outcome.
HASSHIKI creates the initial opportunity. Something further may emerge from the intersection between the artists.
SESSION PROCESS
| 1.Matching | HASSHIKI proposes a combination of a track and a visual artist. The session begins once both the musician and visual artist agree to the collaboration. |
| 2.Production of the Short Film | The visual artist creates a short film of at least 90 seconds using the track as source material. The production schedule and creative methods are left open. HASSHIKI can also facilitate communication with the musician where necessary. |
| 3.Delivery and Publication | The completed reel is delivered to HASSHIKI and published through HASSHIKI’s channels, including YouTube Shorts and Instagram Reels. |
| 4.Further Development — Optional | When the musician and visual artist agree, after completing the short work, that they would like to create a full-length music video, HASSHIKI will provide a framework for its development. |
SHORT FILM TERMS
| Length | At least 90 seconds |
| Fee | JPY 30,000 per film Commissioned by erto Ltd. and paid upon invoice |
| Rights to the Music | The master recording rights and all other rights relating to the music remain with the musician. Use of the track within this session is separate from the standard distribution and promotional uses set out in the compilation participation agreement. It is carried out only after individual confirmation and permission have been obtained from the artist responsible for the relevant track. |
| Rights to the Visual Work | Copyright in the visual work remains with the visual artist. HASSHIKI receives permission to use the completed short film for publication on social media and websites, screenings at events, and promotional purposes. This is a licence to use the work and does not constitute a transfer of copyright. Any re-editing, republication, or secondary use of the completed film containing the track must remain within the scope agreed upon by the musician, visual artist, and HASSHIKI. |
| Treatment of Visual Materials | Rights to individual visual assets and shots used in the production remain with the visual artist. The visual artist may freely reuse these materials in other projects, portfolios, and similar contexts. However, the completed film containing the relevant track, or any substantially similar edited version, may only be used within the scope of publication agreed upon for this session. |
| Publication Channels | YouTube Shorts, Instagram Reels, the HASSHIKI website and social media channels, and screenings at related events Shortened or promotional versions may also be created to suit the specifications of individual platforms. |
| Credits | As a general rule, the track title, musician’s name, visual artist’s name, and HASSHIKI will be clearly credited. |
DEVELOPMENT INTO A FULL-LENGTH MUSIC VIDEO
Following the production and publication of the short film, a full-length music video may be developed when both the musician and visual artist wish to proceed and all three parties—including HASSHIKI—reach an agreement.
The following terms will apply.
| Rights to the Music | The master recording rights and all other rights relating to the music remain with the musician. Use of the track in the full-length music video will be based on a separate agreement between the musician, visual artist, and HASSHIKI, independently of the compilation participation agreement. |
| Rights to the Visual Work | Copyright in the visual work remains with the visual artist. Within the agreed scope, HASSHIKI receives permission to distribute and publish the music video and to use it for promotion and event screenings. This is a licence to use the work and does not constitute a transfer of copyright. |
| Production Costs | As a general rule, the visual artist is responsible for the production costs of the full-length music video. HASSHIKI does not cover these costs. When separate funding, sponsorship, or a production budget becomes available, the three parties will discuss the arrangements in advance. |
| Distribution | As a general rule, HASSHIKI centrally manages the publication and distribution of the music video through YouTube and other official channels. When an external distribution service such as TuneCore is used, HASSHIKI will cover the distribution fee. The channels and format of publication will be confirmed by all three parties in advance. |
| Scope of Use by HASSHIKI | With permission from both the musician and visual artist, HASSHIKI may use the music video, excerpts from it, still images, and promotional materials through its social media accounts, website, events, press releases, and other promotional activities. Any alteration that compromises the intent of the work, or any use in a project for a third party, will require a separate discussion. |
| Revenue Sharing | When the net revenue received by HASSHIKI from the music video alone exceeds JPY 50,000, the amount exceeding JPY 50,000 will be distributed as follows: Visual artist: 50% Musician: 30% HASSHIKI: 20% “Net revenue” means the amount actually received by HASSHIKI after deducting distribution-platform fees, store fees, transfer fees, distribution-management fees, and any other necessary expenses agreed upon in advance. Payments will be settled once per year. |
COLLABORATORS WE ARE LOOKING FOR(Applications Closed)
- Visual Artists, Animators, and Motion Designers
・All genres and methods are welcome, including live action, animation, CG, collage, and VJ-based approaches
・Applicants must be able to complete a short film of at least 90 seconds
・Applicants should be interested in creating work collaboratively with music - Artists Working Outside Moving Image
・This session begins with moving-image work, but the HASSHIKI framework itself is not limited by genre.
・Artists working with food, physical performance, installation, or other forms who have ideas for intersecting with the music of NISHIKI are welcome to contact us regarding future sessions.
WHY WE ARE ORGANIZING THIS SESSION
HASSHIKI is a label that provides spaces and frameworks.
We create environments in which artists can meet and produce work through their own intentions. The short film is the first step.
Within the modest framework of JPY 30,000 and 90 seconds, what might two artists working together for the first time create?
Publishing and documenting those encounters is one of our missions.
LOG
July 15, 2026: Four works were released, bringing this session to a close.
May 18, 2026: Additional information concerning rights added
April 3, 2026: Concept published
Organizer: HASSHIKI Project (erto Ltd.)
