Equipment Planning Services

Kit planning across Japan turns on one thing: knowing which rental house holds the right stock at the right time.

Our team works closely with NAC Image Technology in Tokyo, Toho Studios' gear arm, and pro vendors in Osaka and Yokohama. Together we build camera packages around ARRI, RED, and Sony cinema bodies, and we tune the HMI, LED, and tungsten lighting kits to each site's power profile. Lens menus, monitor carts, recording media, and grip support all ship as one bundle, so department heads see exactly what arrives on the truck.

For shoots shipping gear into Japan, we line up ATA carnet work, customs brokerage at Narita and Kansai International, and last-mile delivery. Set bases run across Tokyo, Kyoto, or far-flung regions like Hokkaido and Okinawa.

Drone rigs, gimbals, underwater housings, and motion-control kits get booked early so the pro hold is locked. Allow two-to-four weeks of lead time on standard packs, and we keep rush channels in reserve for the rest. On-call techs, DITs, and rigging leads travel with the kit, and each team stays on the clock through pickup, prep, and wrap.

We spec each package against your delivery target, not just the shoot day. A RED V-Raptor body, the right lens set, and matched media keep the data path clean into a DaVinci Resolve grade. HDR and Dolby Vision finishing needs careful on-set monitoring, so we build calibrated displays into the cart. Steadicam rigs, HMI heads, and LED panels are sized to the look the director and DP have agreed. The kit then serves the final picture, not a generic checklist.

Logistics in Japan turn on timing and place. Site power varies, so we map HMI and LED loads to each location's supply. We add generators where a remote Hokkaido or Okinawa base needs them. Peak periods like Golden Week and Obon tighten both stock and transport, so we book ahead. Pricing is quoted in JPY with the 10% consumption tax shown clearly. That keeps foreign producers in control of the gear budget from the first quote to wrap.