1. Overview
Ichiro Itano (板野 一郎Itano IchirōJapanese, born March 11, 1959, in Yokohama, Kanagawa, Japan) is a renowned Japanese animator, director, and producer. He is widely recognized for his innovative contributions to the science fiction anime genre, particularly in mecha-themed series, and for developing the distinctive action animation style known as "Itano Circus." His work fundamentally transformed traditional animation combat scenes, emphasizing dynamic perspective, fluid movement, and immersive camera work, leaving a lasting cultural impact on the animation industry both in Japan and internationally.
Itano began his career in the late 1970s as an animator, quickly specializing in mechanical animation. He rose to prominence through his work on iconic series like Mobile Suit Gundam, Space Runaway Ideon, and The Super Dimension Fortress Macross, where he honed his unique visual language for depicting high-speed aerial combat. Transitioning into directing, he helmed significant Original Video Animations (OVAs) such as Megazone 23, Angel Cop, and Battle Royal High School, and later directed major television series like Gantz and Blassreiter.
Beyond traditional animation, Itano expanded his activities into computer graphics (CG) supervision for games and live-action special effects productions, notably contributing to the Ultraman Series. He has dedicated himself to fostering the next generation of animators, serving as an advisor at studios like Graphinica and Konkichi, and his influence is palpable in the work of many prominent animators and directors, including Hideaki Anno. His career is marked by an uncompromising creative attitude and a relentless pursuit of visual innovation, often pushing the boundaries of what was technically possible in animation, and in doing so, creating a new standard for animated action sequences.
2. Life
Ichiro Itano's life and career are marked by a chronological progression from a childhood fascination with mechanics to becoming a pivotal figure in the animation industry, known for pushing the boundaries of dynamic visual storytelling and actively engaging in the mentorship of emerging talent.
2.1. Early Life and Career Formation
Ichiro Itano grew up in the Minami-ku area of Yokohama, Kanagawa Prefecture. His neighbor was Akira Mochizuki, a poet and lay Buddhist priest. From an early age, Itano developed a strong affinity for mechanical designs, heavily influenced by popular manga of his childhood such as Tetsujin 28-go and Submarine 707. This early interest naturally guided his professional path.
His career in animation began in his third year of high school when he stumbled upon a recruitment advertisement during a period of suspension from school. Driven by a desire to secure employment and reassure his parents, he started as a `douga` (in-between animator) for the television anime series Danguard Ace at Studio Musashi in 1977. He quickly became known for his expertise in mechanical cuts, eventually specializing in them. After working freelance alongside his colleague Yuji Moriyama and passing through Studio Cockpit, Itano was invited by his senior from Studio Musashi, Mamoru Hamatsu, to join the production of the television anime series Mobile Suit Gundam. In 1979, he was promoted to `genga` (key animator) on the series.
Following his work on Gundam, Itano joined Studio Beebow, where he participated in the production of Space Runaway Ideon. During this period, he studied drawing techniques under veteran animators such as Yoshikazu Yasuhiko and Tomonori Kogawa, who was the founder of Studio Beebow. It was through these experiences that Itano began to refine his unique action direction. His contributions to Ideon, particularly the iconic "all-directional missile launch" scene and the chaotic combat sequences featuring numerous Adigo heavy mobile mechs, garnered significant attention within the anime industry, laying the groundwork for what would later become known as "Itano Circus."
2.2. Transition to Director and CG Work
In 1982, Shoji Kawamori of Studio Nue invited Ichiro Itano, along with his colleague Toshihiro Hirano, to join Artland for the production of The Super Dimension Fortress Macross. Itano was captivated by the innovative design of the main mecha, the VF-1 Valkyrie, and leveraged his expertise as a mechanical animation director to infuse the series with his distinctive style. The fast-paced, acrobatic combat scenes he directed in Macross were widely recognized by anime fans and became the definitive examples of "Itano Circus," solidifying his reputation.
The 1985 OVA Megazone 23 marked a pivotal moment in Itano's career as it provided him with his first opportunity to work as a director, a role in which he even contributed a single line as a voice actor. He made his official directorial debut with the 1986 sequel, Megazone 23 Part II: Please Give Me Your Secret, where he also served as mechanical animation director. From this point, Itano gradually shifted his primary focus from animation `sakuga` (drawing) to `enshutsu` (direction). In December 1986, he left Artland to establish his own independent studio, D.A.S.T (Defence Animation Special Team), with Nobuteru Yuuki, Toshiaki Motoya, Yoko Kadokami, and Sadami Morikawa. Under this new venture, Itano directed several action-oriented OVA series, including Angel Cop.
After a temporary return to key animation for Macross Plus in 1994, Itano began to explore the potential of computer graphics (CG). He expanded his activities to include CG motion supervision for video games and live-action tokusatsu productions. His notable contributions in this field include his work on the 2004 film ULTRAMAN and subsequent entries in the Ultraman Series, starting with Ultraman Nexus. In 2008, Itano released Blassreiter, a project where he was involved from planning through to directing the series composition. Following the dissolution of D.A.S.T, he joined Graphinica, a CG team that had spun off from Gonzo, taking on a role as an advisor to guide and mentor younger animators. As of 2025, he is affiliated with the CG studio Konkichi in Niigata Prefecture and is actively developing an original project titled "Rekka."
2.3. Reunion with Yoshikazu Yasuhiko
Ichiro Itano's relationship with Yoshikazu Yasuhiko, whom he considers his first master in the animation world, experienced a significant hiatus spanning nearly three decades. Their professional connection was severed after Itano left the production of Crusher Joe to join The Super Dimension Fortress Macross.
However, a reunion finally occurred when they collaborated on a project related to Yasuhiko's Mobile Suit Gundam artbooks. This reunion, which took place nearly 30 years after their last collaboration, was documented in a two-part interview published in the April and May 2011 issues of Gundam Ace magazine. Following this reconnection, Itano provided cooperative assistance for the production of Mobile Suit Gundam: The Origin, with his contributions prominently featured in the avant animation sequences of the first episode, "Blue-Eyed Casval," released in 2015. This collaboration brought two influential figures in the mecha anime genre back together, bridging a long-standing gap in their professional lives.
3. Itano Circus
"Itano Circus" is a highly distinctive and influential style of action animation developed by Ichiro Itano, particularly renowned among anime enthusiasts. This technique revolutionized how combat sequences were depicted in animation, moving beyond static, posed battles to create dynamic, fluid, and immersive experiences.
3.1. Overview
"Itano Circus" refers to the highly three-dimensional, ultra-high-speed combat action directed by Ichiro Itano, or any action sequence that faithfully adopts his characteristic style. The term emerged from the animation industry's observation of Itano's brisk and nimble mechanical movements in Space Runaway Ideon, likening the fluid aerial maneuvers of mechs to the acrobatic performances seen in a circus.
The phrase "Itano Circus" first appeared in the November 1982 issue of My Anime magazine, where mechanical designer Kazutaka Miyatake used the term in an interview, stating, "We call it 'Itano Circus'..." A dedicated feature article on Itano Circus was subsequently published in the following month's issue. The "circus" nomenclature itself draws inspiration from historical precedents, specifically the "Genda Circus," a nickname given to the acrobatic three-plane formation flight performed by Minoru Genda, a pilot of the Imperial Japanese Navy Air Service, during an aviation dedication ceremony.
Traditional robot anime combat scenes before Itano's innovations often adopted a "duel" format, resembling Westerns or Jidaigeki (period dramas), heavily emphasizing the robots' imposing weight and static "decision poses" (stylized fighting stances). A prime example of this can be seen in the sword fights featured in early Mobile Suit Gundam battle sequences. In stark contrast, Itano pioneered new action scenes characterized by acrobatic maneuvers, where both friendly and enemy units engaged in high-speed, multidirectional aerial or space combat, creating a whirlwind of dizzying speed and acrobatic movement.
The technique gained widespread fame when Itano applied it extensively to the "dogfights" depicted in The Super Dimension Fortress Macross television series, which aired from 1982. The Itano Circus style is identifiable by its meticulous, fluid shading of mecha, the acrobatic close-range movements of dueling fighters, and the twisting contrails left by both fighters and their missiles. It most commonly refers to a specific attack sequence where a mecha or spaceship unleashes a vast swarm of guided missiles. These missiles are animated with exceptional detail, featuring spiraling smoke trails and erratic, unpredictable trajectories, while their target is shown repeatedly dodging them at blistering speeds.
The genesis of Itano Circus can be traced back to Itano's childhood memory of a scene from Android Kikaider, where rocket-powered projectiles were fired from the motorcycle of the villain Hakaider. As a student, he would mimic this by attaching multiple rocket fireworks to the front fork of his own motorcycle and launching them simultaneously while engaging in chases along the seashore. He once commented that during these experiences, he found "the chase was more interesting than the attack." This real-world experience of running alongside fireworks directly influenced his animation, leading to the development of three-dimensional screen compositions. Furthermore, he heightened the sense of speed through ingenious camera work, such as varying focal lengths and manipulating frame rates.
3.2. Key Animation Techniques
The distinct characteristics of Itano Circus involve several meticulously developed animation techniques, detailed in works such as "Sci-Fi Anime is Interesting-from Gundam to Evangelion-" (written by EYE・COM Files, published by Aspect Corporation, 1996).
3.2.1. Mass Missile Launch
The "mass missile launch" is synonymous with Itano Circus, directly stemming from Itano's childhood experiments with rocket fireworks. While missiles were typically treated as secondary weapons in conventional mecha anime, Itano brought them to the forefront by emphasizing "a large number of bullets" and the "movement of missiles" themselves. The missile swarms traverse intricate, intertwining paths, leaving behind three-dimensional, artistic wakes of white smoke. This distinctive visual earned them the nickname "Natto missile," referencing the sticky, stringy appearance of fermented soybeans.
Even within a single barrage, Itano imbued each missile with a distinct "personality." There are "honor student types" that fly in a straight line towards the target, "bright types" that anticipate the target's movements and execute intelligent detours, and "inferior grade types" that fly in conspicuous zigzag patterns. The dynamic evasive maneuvers of the target aircraft dodging these projectiles are also a crucial highlight. In some instances, missiles are even depicted merely passing through the screen without explicitly heading towards the target, serving to heighten the sense of chaos and depth. According to Itano, "The orbit is the most important for a missile," and he asserted that "Itano Circus is achieved if the flow is clear, even with only one or two missiles."
3.2.2. Lens Effects
Itano employed a sophisticated "lens effect" technique that dynamically shifts the camera's focal length based on the subject's position relative to the virtual camera. This means that a subject at a long distance is depicted as if viewed through a telephoto lens, transitioning to a standard lens in the middle distance, and finally a fisheye lens as it approaches the foreground. This technique significantly enhances the impression of depth and speed on screen. For example, a missile launched from the background appears initially with a compressed telephoto image, then transforms into a wider, more curved image as it draws closer to the viewer. Itano himself referred to this technique as "Angle Animation," emphasizing the manipulation of the camera's field of view.
3.2.3. Moving Body Perspective
The "moving body perspective" is a style of camera work that moves with unparalleled freedom, akin to aerial photography performed by skydivers. It involves following the subject from a subjective point of view, incorporating frame-in and frame-out techniques to deliver an intensified sense of realism and immersion. More broadly, it can be defined as the concept of tracking an object with minimal yet highly effective camera manipulation. This trend has become particularly pronounced since the adoption of 3DCG, with the camera's momentary delay in following the subject being a most remarkable characteristic. This contributes significantly to making Itano's three-dimensional battle scenes more impactful for viewers. In 3D shooter games within the Macross Series, Itano has supervised a "variable view" system designed to make the player's aircraft appear as if it is being filmed by a dynamic camera, further enhancing the immersive experience.
3.2.4. Explosion and Collapse Effects
Itano's work is also distinguished by its meticulous depiction of "explosion and collapse effects." Unlike generic explosions, he considered the precise structure of the object being destroyed, separating the destructive process into distinct phases. This includes internal detonations caused by direct hits, such as the scene where enemy ships are destroyed by the Daedalus attack in Space Runaway Ideon, and subsequent structural collapses triggered by shockwaves. His explosions are also characterized by numerous flickering lights that transition from circular shapes to crescent forms, adding a unique visual flair to the destruction.
3.2.5. Explicit Depictions
From his early days as a key animator, Itano frequently incorporated intense and direct "explicit depictions" of violence, often featuring graphic splatter such as characters' heads being severed or crushed. A notable example is the scene in Mobile Suit Gundam where Char Aznable shoots Kycilia Zabi; while the original key animation clearly depicted this act, the television series version obscured the more explicit details. While these extreme scenes were sometimes softened or entirely removed in television broadcasts, particularly for overseas export versions, they were often more pronounced in film and OVA adaptations of his works. These depictions, while controversial, served to underscore the brutal reality of combat in his narratives.
3.3. Impact and Legacy
At the close of the 1970s, a new generation of animators, dubbed "Kanada followers," emerged, captivated by the dynamic effect scenes and opening animations created by Yoshinori Kanada. Ichiro Itano, himself deeply inspired by Kanada, acknowledged this influence, stating, "Itano Circus was born because I wanted to absorb Mr. Kanada's good points and find a way to express myself. I believe Itano-san was instrumental in shaping Itano Circus." The dynamic perspective and explosive action characteristic of "Kanada Action" profoundly influenced Itano's acrobatic circus technique. This technique was meticulously analyzed by younger animators using the frame-advance function on VCRs, which were becoming widely popular at the time, thereby inspiring a new wave of animation talent.
This pervasive influence has continued into the 2000s. Makoto Shinkai, known for his independent production of Voices of a Distant Star, has openly stated, "I watched Macross Plus and Mobile Suit Gundam 0083: Stardust Memory frame by frame and used them as reference for mechanical action." Similarly, animator Chikashi Kubota, a devoted fan of Itano Circus, showcased similar animation in works such as Magical Shopping Arcade Abenobashi (episode 3), Gurren Lagann (episode 14), and Space Dandy (episode 23), attributing his choice to honor director Shinichirō Watanabe, who directed both Macross Plus and Space Dandy. While action staging involving mass missile launches has become more common, Shoji Kawamori remarked that "While some animators can draw beautiful and speedy missiles, few can draw 'a painful missile' like Itano," highlighting the unique visceral quality of Itano's work that goes beyond mere spectacle.
Beyond anime, there is a theory that Hollywood filmmakers involved in Top Gun, after viewing Itano Circus sequences in the video version of Macross: Do You Remember Love?, drew inspiration for the film's aerial photography scenes. More recently, Neill Blomkamp, an avid fan of Macross, intentionally incorporated the "Natto missile" visual into a scene in his 2009 film District 9, where a powered suit fires a missile, explicitly acknowledging Itano's influence.
Furthermore, the impact of Itano Circus extends into contemporary digital art. The digital art collective teamLab created a piece titled Crows are chased and the chasing crows are destined to be chased as well, Division in Perspective as an homage to Itano Circus. This artwork is a three-dimensional reproduction of the "Deformed Space" concept previously depicted in two-dimensional animation, illustrating the enduring and cross-media influence of Itano's unique visual style. His pioneering work not only pushed technical boundaries but also cultivated a new visual language for animated combat that has become a benchmark for action sequences, demonstrating the profound social and cultural impact of his innovative artistic contributions.
3.4. Fostering New Talent
Ichiro Itano has played a significant role in nurturing the next generation of animators, sharing his distinctive techniques. According to Itano himself, only three animators have fully mastered the intricacies of Itano Circus: Hideaki Anno, Masami Gotō, and Yasushi Muraki.
Hideaki Anno reveres Itano as his primary mentor in the animation industry, stating that Itano "taught an uncompromising creative attitude." Anno has expressed the immense challenge of reaching Itano's level, acknowledging, "It's hard to get there though I'm trying. I tried to cross, but I can't." As a testament to this influence, Anno's live-action film Cutie Honey includes an homage to Itano's style. Both Masami Gotō and Yasushi Muraki belong to the generation influenced by Itano's work on Space Runaway Ideon and The Super Dimension Fortress Macross, and they have since contributed speedy aerial battle sequences to prominent anime series such as Cowboy Bebop (Gotō) and Eureka Seven (Muraki), respectively.
Although Itano himself ceased direct participation in the Macross Series after the completion of Macross Zero, many of the creators responsible for the CG in Macross Frontier the Movie: The Wings of Goodbye from studios like Satelight, unknownCASE, and Graphinica are his direct proteges who received his guidance. Itano has specifically recognized Jō Harada of Satelight (known for Basquash!) as the first recipient of full mastership in Itano Circus for CG, and Hiroshi Yagishita (known for Macross Frontier) as "the best student among the graduates."
During his involvement with the Ultraman Series, from Ultraman Nexus to Ultraman Mebius, Itano also provided instruction to Tsuburaya Productions' CGI team, profoundly influencing subsequent tokusatsu productions. In 2011, Itano announced the dissolution of D.A.S.T (Defence Animation Special Team), the animation studio he had presided over, explaining his decision by stating, "All the people I needed to grow have already graduated, so from now on, I'm going to do what I like." This highlights his dedication to cultivating talent, having reached a point where he felt his mission in fostering the next generation was complete.
4. Anecdotes
Ichiro Itano is distinguished within the anime industry for his hands-on approach and intense physicality, often referred to as a "battle animator." Numerous personal stories illuminate his unique personality and work ethic, often involving unconventional methods and extreme dedication.
4.1. Motorcycle-Related Anecdotes
Itano's passion for motorcycles has generated several notable anecdotes, often intertwined with his animation techniques:
- He would ride his motorcycle through narrow gaps between trucks and buses, claiming this practice helped him improve his dynamic vision. During an appearance on NHK's BS Anime Yawa, he famously introduced himself by saying, "I believe I improved the dynamic eyesight of Japanese children."
- On the same program, he recounted how his childhood play involving attaching rocket fireworks to the front fork of his Honda XL125 and launching them while chasing friends on the beach directly inspired the missile trajectories in his Macross work.
- Inspired by the film Mad Max 2, Itano once rode his motorcycle up a pedestrian bridge.
- On another occasion, while riding his motorcycle, he became enraged after being cut off by a truck. He retaliated by swerving back towards the truck, which resulted in him falling off his bike. Despite his fall, he continued to verbally abuse the truck driver.
- During the production of Megazone 23, Itano attached photographic equipment to his motorcycle and conducted location scouting throughout the Tokyo Metropolitan Area. His personal black Honda VT250F was notably adorned with a skull and crossbones motif, reminiscent of Roy Focker's design from Macross.
- According to writer Gen Urobuchi, Itano's shift from animation `sakuga` (drawing) to focusing primarily on directing was prompted by a motorcycle accident that resulted in a wrist injury, rendering him unable to continue detailed drawing work.
4.2. Work-Related Anecdotes
Itano's animation career is filled with stories that highlight his creative intensity, resilience, and unique approach to production challenges:
- His decision to become an animator was somewhat serendipitous; he applied after chancing upon a recruitment advertisement during a high school suspension, partly to secure a job and reassure his parents.
- He briefly worked at a stunt office, though he did not actively perform stunts.
- During the production of Mobile Suit Gundam episode 31, Itano meticulously animated a scene where a flock of flamingos flies around the White Base as it departs from Jaburo. This laborious task, involving animating each bird's wings, was one he volunteered for as a newly promoted key animator. The scene later became a famous sequence, reused at the end of the second Gundam theatrical film, Soldiers of Sorrow.
- While working on Gundam, Itano's animation was sometimes deemed "too fast" by directors. Dissatisfied with the feedback, he would secretly redraw the timesheets for the movement of the Elmeth's bits when the director was absent. His distinct sense of dynamism was recognized by director Yoshiyuki Tomino upon seeing the scene in a preview.
- During his time at Studio Beebow, Itano juggled his animation work with a late-night job delivering morning newspapers by truck. He would finish his delivery route, grab a few hours of sleep at the studio, and then continue animating until night, epitomizing a demanding work-life balance.
- The demanding schedule for The Super Dimension Fortress Macross led to Itano being hospitalized twice for conditions such as hematemesis (vomiting blood) and hematuria (blood in urine). Despite doctors advising immediate hospitalization, he defiantly participated in an 8-hour endurance race on a Honda Super Cub.
- Itano is credited as the conceptual creator of "Perfect Gundam," which appeared in the manga Plamo-Kyoshiro. While participating in the Mobile Suit Gundam television series, he envisioned it as a crucial combat enhancement against the Zeong, sketching the design between his original drawing assignments. Due to his overwhelming schedule, he forgot about the design until he saw a plastic model kit of Perfect Gundam in a hobby store, only then realizing it had been commercialized.
- During the production of Macross Plus, Itano traveled to the United States with Shoji Kawamori to experience a mock aerial battle. In an attempt to fully understand the extreme conditions faced by pilots, he deliberately pulled the control stick straight up without his instructor's permission, enduring blackouts and G-LOC (G-force induced loss of consciousness).
- At a wrap-up party for one of his productions, the president of a finishing company reportedly physically struck Itano, angrily exclaiming, "How many people do you think quit because of you?" This anecdote highlights the intense pressure and high demands associated with his perfectionist standards and working pace.
- In the 2025 anime series Zen-Shu., episode 2 featured a recreation of the "mass missile launch" technique, with Itano himself serving as a guest staff member, supervising the animation. He was credited in the ending as "Storyboard/3DCG Supervision for Itano Circus Part." The segment led to "Itano Circus" trending on SNS, demonstrating his continued relevance and impact.
5. Major Works
Ichiro Itano has made extensive contributions across various media, including anime, tokusatsu, live-action films, and video games, often serving in key animation, direction, or supervision roles.
5.1. Anime Works
| Year | Title | Crew Role |
|---|---|---|
| 1977 | Danguard Ace | In-between animator |
| 1977 | Arrow Emblem Gran Prix no Taka | In-between animator |
| 1978 | SF Saiyuki Starzinger | In-between animator |
| 1978 | Pink Lady Monogatari: Eiko no Tenshi-tachi | In-between animator |
| 1978 | Farewell to Space Battleship Yamato | In-between animator |
| 1978 | Galaxy Express 999 (TV series) | In-between animator |
| 1978 | Captain Future | In-between animator |
| 1979 | Mobile Suit Gundam | Animator |
| 1979 | Galaxy Express 999 (film) | In-between animator |
| 1980 | Space Runaway Ideon | Animator |
| 1981 | Mobile Suit Gundam (film) | Animator |
| 1981 | Mobile Suit Gundam II: Soldiers of Sorrow | Animator |
| 1981 | Dr. Slump - Arale-chan | Key animator |
| 1982 | Mobile Suit Gundam III: Encounters in Space | Animator |
| 1982 | Space Runaway Ideon: Be Invoked | Animator |
| 1982–1983 | The Super Dimension Fortress Macross | Mechanical animation director, Key animator, Opening animation |
| 1983 | Urusei Yatsura (TV series) | Key animator |
| 1983 | Crusher Joe | Key animator |
| 1983 | Plawres Sanshiro | Key animator |
| 1984 | Macross: Do You Remember Love? | Animation director |
| 1984 | Urusei Yatsura 2: Beautiful Dreamer | Key animator |
| 1985 | Megazone 23 | Action director, Unit director, Storyboard, Voice actor (Navigator) |
| 1986 | Megazone 23 Part II: Please Give Me Your Secret | Director, Mechanical animation director, Storyboard |
| 1985 | Fist of the North Star (TV series) | Unit director, Animation director |
| 1987 | Good Morning Althea | Original concept |
| 1987 | Battle Royal High School | Director |
| 1987 | Royal Space Force: The Wings of Honnêamise | Key animation |
| 1988 | Violence Jack: Evil Town | Director, Series composition |
| 1988 | Mobile Police Patlabor (OVA) | Unit director |
| 1989 | Peacock King 2: Castle of Phantom | Director |
| 1989–1994 | Angel Cop | Director, Screenplay, Unit director, Storyboard |
| 1991 | Souryuuden | Special animator, Key animator |
| 1992 | Star Dust | Director, Original concept, Storyboard |
| 1992 | Space Knight Tekkaman Blade | Unit director, Storyboard, Animation director |
| 1993 | Slam Dunk | Animation director |
| 1994 | Macross Plus | Special skills director, Mechanical design cooperation (also film version in 1995) |
| 1994 | Time Bokan Royal Revival (Vol. 2) | Guest animator |
| 1994 | Plastic Little | Key animator |
| 1996 | Ihatov Gensou: KENjI no Haru | Key animator |
| 1996 | Magic User's Club! | Avant-title sequence director, Animator |
| 1998 | Popolocrois Monogatari (anime) | Key animator |
| 1999 | Space Pirate Mito | Mechanical design |
| 2000 | Medarot (anime) | Key animator |
| 2001 | Rayca (零花~raycaJapanese) | Motion director |
| 2001 | Earth Defense Family | Key animator |
| 2001 | Arjuna | 3D motion supervisor, Unit director, Animator |
| 2001 | Cowboy Bebop: The Movie | Key animator |
| 2001 | Digimon Tamers: Battle of Adventurers | Key animator |
| 2002 | Macross Zero | Special skills director |
| 2004 | Gantz | Director |
| 2006 | Super Robot Wars Original Generation: Divine Wars | 3D animation advisor |
| 2008 | Blassreiter | Director, Series composition |
| 2008 | Linebarrels of Iron | Special skills director |
| 2012 | Evangelion: 3.0 You Can (Not) Redo | CGI supervisor, Animation material, Next preview storyboard |
| 2014 | Expelled from Paradise | Motion advisor |
| 2014 | Japan Animator Expo "Yoshikazu Yasuhiko / Ichiro Itano Original Key Frame Collection" | Layout, Key animation, Animation correction (Joint with Yoshikazu Yasuhiko) |
| 2015 | Mobile Suit Gundam: The Origin I: Blue-Eyed Casval | Avant animation storyboard/Unit director, Key animator |
| 2015 | Japan Animator Expo Yamadeloid | Supervisor |
| 2017 | Juni Taisen: Zodiac War | Animation advisor |
| 2018 | SSSS.Gridman | Kaiju design (Yūshūanken Kaiju Jiribur) |
| 2021 | SSSS.Dynazenon | Kaiju design (Kōbōshinjo Kaiju Gibuzōgu) |
| 2025 | Zen-Shu. | Storyboard, 3DCG supervision (for Itano Circus part of episode 2) |
5.2. Tokusatsu Works
| Year | Title | Crew Role |
|---|---|---|
| 2004 | Ultraman Nexus | CGI motion director |
| 2004 | ULTRAMAN (film) | Flying sequence director |
| 2005 | Ultraman Max | CGI motion director, Kaiju design (Bagdaras, Kesam, King Joe separated form) |
| 2006 | Ultraman Mebius | CGI motion director, Design (Cherubim, Dragolien Moth, Psychokino Alien, Final Metel) |
| 2006 | Ultraman Mebius & Ultraman Brothers | CGI director |
5.3. Live-Action Films
| Year | Title | Crew Role |
|---|---|---|
| 1988 | April Phantom | Animated sequences |
| 2013 | Akaka Renren | CGI motion director |
5.4. Game Works
| Year | Title | Crew Role |
|---|---|---|
| 1995 | Oyaji Hunter Mahjong | Animation director |
| 1996 | Macross Digital Mission VF-X | Motion supervision |
| 1997 | Quovadis 2: Planet Assault Ovarn Ray | General director |
| 1997 | Nessa no Wakusei | Character design, Action supervision, Movie director, Unit director |
| 1999 | Macross VF-X2 | Motion supervision, Movie unit director, Storyboard, Mechanical animation director |
| 1999 | Vampire Hunter D (video game) | Movie motion supervision |
| 2000 | Macross Plus -Game Edition- | Motion supervision, Movie unit director |
| 2000 | Dogoo Senki: Hao | Planning, Original concept |
| 2001 | Macross M3 | Motion supervision, Movie unit director |
| 2002 | Tako no Marine | Animation director |
| 2003 | The Super Dimension Fortress Macross (PlayStation 2) | Motion supervision |
| 2004–2005 | Digital Devil Saga: Avatar Tuner 1 & 2 | Dramatic and event scene supervision |
| 2012 | Asura's Wrath | Special performance director |