Motion Graphics & VFX

Shoots in Japan often need VFX work that blends cleanly with real sites. That can mean extending the skyline above central Nagoya, dropping items into a wide shot of a Tokyo plaza, or building CG sets that match the look and mood of Kyoto.

Our motion graphics and VFX team works closely with the shoot and edit crews from an early stage. We begin with on-set VFX oversight to gather the tech reference data that keeps comp work clean in post.

Visual Effects covers sky extensions, object removal, screen swaps, and the tricky comp jobs that come from site shooting across Japan's mixed settings. Motion Design covers commercial and broadcast content, which spans titles, lower thirds, brand-blended graphics, and promo packs for both local and global platforms.

For shoots that need fully built sets or product visuals no real site can give, our 3D Animation team builds the assets. Each one is graded and comped to match the photo look of the live-action plate. That holds true whether the plate was shot in Osaka, Yokohama, or the open coast of Okinawa.

We line up CG work through Japanese studios, including Marza Animation Planet for character and CG builds. Compositing and finishing route through houses such as OmnibusJapan, Sony PCL, and Imagica. The chain matches each deliverable to its end point. NHK, TBS, and Fuji TV work follows Rec.709 broadcast norms, while Netflix Japan shots run through HDR. English and Japanese versions both stay clean across review rounds.

Turnaround scales to the shot count and complexity. A single clean-up or motion pack moves in days, while a full CG sequence runs across weeks. We agree milestones at the bid and report progress against shot turnovers, so the schedule stays clear. Cost is quoted in Japanese yen, with the 10 percent consumption tax shown plainly. Each shot ships with the right passes and mattes, so compositors blend the work cleanly into the final frame.