2020/7/21

[ Motion Graphic Director / CG Designer: yama_ko (Kotaro Yamazaki) ]No Need to Check Home Position—Work Comfortably with Intuitive Control!

【 This Creator 】
yama_ko / Kotaro Yamazaki

Motion graphic director and CG designer. Inspired by Flash animations on the internet, he began creating around 2005 and became a freelancer in 2010. He has since produced numerous MVs and PVs.
He enjoys creating visuals that sync with music, especially EDM. While motion graphics remain his foundation, he experiments with various techniques, recently exploring cel-shaded CG expressions. Since 2015, he has also worked as a part-time instructor at a vocational school, and often gives talks or contributes articles.
Website：yama-ko.net
Twitter：yama_ko
YouTube：Kotaro Yamazaki

【 Daily Work 】
ー What kind of creative work do you usually do?

I mainly produce visuals for music: MVs, game videos, and live concert backgrounds. Almost everything is built with CG, with motion graphics and 3DCG created from scratch. My main tools are After Effects (AE) and Cinema 4D (C4D).

ー You’ve worked on visuals for LiSA LiVE is Smile Always. What did you create and what were your priorities?

I produced the visuals for background LEDs and venue displays. While some guidance was given, most projects started with just the music, leaving a lot of creative freedom. That also meant I had to constantly check and revise to avoid major issues.

I handled everything—path drawing, modeling, motion, compositing, and preparing final output data. Sometimes, visuals had to match unusual stage setups or sync with live camera feeds using transparency effects.

My top priority is always “sync with the sound.” For example, if there’s a call-and-response, I want the moment fans raise their hands to be exactly when the letters explode onto the LED screen. I build workflows that calculate timing down to the frame based on BPM.

ー Aside from live visuals, you’ve also created PVs and MVs such as for Tokyo 7th Sisters and Granblue Fantasy. Which project stands out most to you?

I’d say the PV for SEVENTH HAVEN from Tokyo 7th Sisters. The song is incredibly cool, and although it was released in 2016, it led to many more requests for Nana-shi content.

Like with live visuals, I focused on precise sound-syncing. But the director emphasized the concept of “aggressiveness,” so I pushed contrast, pacing, and flashing effects to the limit—something unusual for a character content PV.

It seems SEVENTH HAVEN has since become one of Nana-shi’s signature songs, and I’m proud my visuals contributed to that.

ー You mentioned building everything in CG. What does your workflow look like?

Typically, I draft paths in Illustrator (Ai), then create models and camera work in C4D as needed. Motion and effects are added in AE, then rendered.
That’s the base workflow, but I mix tools flexibly: for example, building textures in AE, creating effects in C4D, or drawing paths in Ai specifically for motion.

ー Is there anything you’d like to try in the future?

I really want to dive into real-time 3D, given how fast it’s evolving. Also, I’ve always avoided making music myself, thinking it might change how I experience songs—but lately I’ve felt it might be time to finally try.

【 yama_ko’s Workspace 】
ー What’s your work environment like?

I use a single custom-built Windows PC: Core i9-9900K, GeForce RTX2080 Ti, 64GB RAM. It was built by a friend and has run smoothly with no major issues.

I also value peripherals:
Logitech wireless mouse
Three 2560x1440 monitors (I feel cramped with fewer)
Pen tablet (occasionally, but usually stored away)

【 About Orbital2 】
ー What was your impression when you used a left-hand device?

I once tried a certain left-hand device, and to put it simply, it was impossible to cover all shortcuts with just one device.
If you’re going to place a large device on your desk, it only makes sense if you can complete your work entirely between the mouse and the device.
But in AE especially, the use cases are so broad that shortcuts alone already take up most of the keyboard. In the end, I always had to return my hand to the keyboard.

ー You mentioned that when you tried a left-hand device, you “ended up going back to the keyboard.” Do you have shortcuts or customizations you’ve set up by combining frequently used shortcuts with other tools?

Yes, quite a few, but here are some representative examples:
In Illustrator, I assign shortcuts for selection menus such as Select Same Fill Color. These are useful not only for selection operations but also for checking work.
In After Effects, I assigned PgUp/PgDn (frame forward/back) to the side buttons of my mouse.
Considering how often they’re used, I think the fact that they’re so awkward to press with the left hand is almost a design flaw in AE.
That said, most of my other keys are already taken up by frequently used properties.

ー Are there any lesser-known shortcuts or tricks that are useful once you know them?

Yes.
At some point, I started consciously using AE’s Select/Move Forward-Backward Layer commands, and it noticeably reduced my mental burden.
Specifically: Ctrl+[ and Ctrl+Shift+[. You don’t often see these in shortcut roundups.
Also, in C4D, I discovered much later that Ctrl+Shift+Z undoes camera moves. It’s one of those “I wish I had known sooner” shortcuts, so I actively recommend it now.

ー How was your experience with Orbital2?

My first impression was very positive—it’s compact, easy to handle, and the form factor is sleek.
It felt valuable not as a keyboard replacement, but as a companion next to it. Structurally, unlike button-based devices, Orbital2 doesn’t require checking your “home position,” so your eyes don’t drop away from the screen. Personally, I think it would be even better if it were wireless.

At first, I tried assigning frequently used shortcuts like Ctrl+S to the Orbital Engine.
But honestly, since the rotary motion is so intuitive, it sometimes registered multiple inputs. For single actions, I found the keyboard was easier.
However, for repeated actions, this characteristic of Orbital2 really shines.

The best use case was assigning keys that need to be pressed repeatedly. Not only was it efficient, but sometimes it even felt enjoyable to use.

ー You mentioned that Orbital2 “doesn’t require checking the home position.” What differences did you notice compared to other products?

It’s all about the physical design. With button-based devices, even if you memorize assignments, you often glance down to confirm the location or keycap.
With Orbital2, the shape itself makes it easy to find by touch, and the “rotating” action feels naturally intuitive. The guide display appearing on screen is also very logical and useful.

ー What was the most useful feature of Orbital2?

When building motion graphics—whether in AE or C4D—I constantly move the timeline indicator. By assigning these operations to the Orbital Engine and treating it like a dial for the timeline, I felt a huge reduction in stress.
Specifically, I assigned frame stepping and keyframe jumping, switching palettes while operating the timeline. Assigning modifier keys like Shift to the Flat Ring allowed me to handle most moves and key operations.
As a second point, assigning the arrow keys (↑↓→←) turned out to be surprisingly useful.
Adjusting parameters or layouts often involves cursor keys, so selecting parameters with the mouse and then adjusting them with Orbital2 felt very efficient.

ー Were these impressions from After Effects, Cinema 4D, or both? And for each, what creative tasks did you perform with the assigned keys, and how were they useful?

The specific keys differ, but the essence is the same for both. The most important was frame stepping—PgUp/PgDn in AE, and F/G in C4D.
The reason it’s so impactful is that it allows you to instantly “play or reverse-play just a few recent frames.” For example, in AE, pressing PgDn 30 times per second would be equivalent to preview playback—but humans can’t do that. Normally, you’d have to shift the indicator, start preview, stop, and shift again. With Orbital2, that entire sequence can be done smoothly at any timing and speed you like.
In practice, it was especially powerful for creating transitions in AE and checking character motion in C4D. It applies to all frame-level tasks: motion graphics, effects design, character animation, and more.

ー Do you have any recommended settings or tips for Orbital2?

Some directions are easier to input than others, so I placed the most frequent commands on the left tilt. PgUp/PgDn, J/K, and F/G felt most rewarding to assign.
I didn’t assign it this time since I can use the mouse wheel, but timeline zoom in/out would also work well.
Overall, for me, Orbital2 was extremely useful when treated as a timeline control–focused device. As a device specialized for a particular task, I believe it holds great versatility and potential.

ー People say Orbital2 improves efficiency. Beyond After Effects and Cinema 4D, do you think it could improve workflows in other creative software?

This might be a bit off, but I wonder if Orbital2 could be used for more intuitive 3D rotation control.
Rotating 3D objects with a mouse often feels clumsy—you have to adjust each axis bit by bit or rely on numerical input. Orbital2’s “rotating” action might be able to solve that problem.

【 Final Message 】
ー Any advice for people new to left-hand devices?

It’s true that devices don’t change what’s possible—just how easy it is. But in digital production, making things easier means trying more variations, which ultimately raises quality.Once you experience this, improving operability itself becomes fun.
So, I suggest first observing your current workflow closely—and then experimenting with alternatives like Orbital2.

▼ yama_ko’s Original Profile
We’re sharing yama_ko’s custom profile for Adobe After Effects (Windows version).
Windows： here
※Please note: Profiles are only distributed when provided directly by creators. Some may not be available depending on your OS or keyboard layout.

This translation has been performed using ChatGPT.

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