Director of Photography Services

Our DP roster shoots wherever the work takes you.

Sites span stage builds at Toho Studios in Setagaya, bright night exteriors through Shinjuku and Shibuya, period-drama coverage on Kyoto's temple grounds, and run-and-gun doc work across Osaka and Fukuoka. Many of our DPs hold JSC credits or have lit global features back-to-back with Japanese broadcast work. The same operator who shoots a TV commercial inside an Asakusa ryokan one week can step onto a feature aerial unit above Mount Fuji the next, and never miss a beat on schedule or kit.

On the tech side, our DPs pull camera and lens packages through Tokyo's trusted rental network — Imagica, Sony PCL, NAC Image Technology. They match ARRI Alexa 35, Sony Venice 2, or RED V-Raptor bodies to the job's grade and aspect ratio.

We build the full camera team around the DP, with a 1st AC, a 2nd AC, a DIT, a video assist, and a data wrangler. We also bring in the gaffer and key grip the DP trusts. Prep covers shot-listing in Japanese and English, site tech scouts in Yokohama or Hokkaido, and a clear lighting plan that honors each site's permit limits and all-night noise rules.

Our DPs plan exposure and color science from the first prep meeting. They build show LUTs and grade references so the DIT can monitor a Rec.709 or HDR image on set. At wrap, the DP hands the colorist a clear note on lighting ratios, lens character, and intent. That keeps the look intact through a DaVinci Resolve finish, whether the post house sits in Tokyo or abroad.

Scheduling shapes how a DP works in Japan. The Japanese Labor Standards Act sets clear limits on crew hours, so we plan turnaround and meal breaks into each day. Golden Week in May and the Obon period in August tighten studio space and crew bookings across Tokyo and Kansai. We confirm DP dates early. English-language coordination runs through prep, shoot, and the handoff to post.