One long take through ITOCHU’s history since 1858, built from paper, ink and CG for Bloomberg’s sponsored story.
Founded in 1858, ITOCHU Corporation is guided by the principle of Sampo-yoshi: good for the seller, good for the buyer, and good for society.
We developed a visual narrative tracing the legacy of the Ohmi merchants, following their journey across Japan and into the present day. With Bloomberg and ITOCHU, the goal was to turn these values into one visual language that bridges history, culture and modern identity.
Create a film that blends live action, stop motion and paper-textured 3D environments to represent ITOCHU’s long-standing philosophy, and:
The look combines sumi-e inspired ink, paper textures and 3D environments into one language rooted in Japanese tradition.
A continuous long take guides the audience through different eras, reinforcing the idea of continuity and long-term commitment. Koi ponds and sakura petals anchor the visuals culturally while keeping the flow.
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Storyboards set the flow across time periods, moving from historical Japan to the present day in a single continuous movement.
Each segment keeps visual continuity while introducing a new environment, so the sequence stays clear and rhythmic.
Research kept the work authentic and relevant. Key areas:
This informed both the visual style and the environment design.
Development followed a hybrid workflow: physical experiments, sketching, 3D layout and digital compositing.
It started with practical tests, a camera, table lighting and paper models, to study composition, scale and the miniature look. These set the camera angles, light direction and overall tone.
Sketches and storyboards then mapped environments, character placement and flow, followed by 3D blockouts and render tests to refine composition and transitions.
AI-assisted prototyping explored several directions quickly before the final, hand-crafted sumi-e execution. Rendered elements were then combined with hand-painted ink textures, so the traditional look could live inside a controlled digital workflow.
Working with Bloomberg and ITOCHU meant careful choices about representation.
Instead of a lifelike 3D version of ITOCHU’s founder, which could have been culturally inappropriate, he appears only through the viewfinder of an antique camera, out of focus. The story keeps its intent and respects the culture.
The design supports the story rather than standing alone as imagery.
The long take reinforces ITOCHU’s presence across time, and the environment transitions carry the audience between eras. Koi and sakura are narrative anchors, not decoration.
