InterBEE REVIEW2011 (EN)

17/46

As the VFX Producer and Line Pro-ducer for Saka no Ue no Kumo, Taka-fumi Yuuki was in charge of creating the film production work flow, including the VFX production coordination and shoot-ing location coordination. Seiichi Hishi-kawa created impressive title sequences for the film production Taku Kato was working on, which symbolizes the program. Both men were invaluable in supporting Mr. Kato’s film production. “With Saka no Ue no Kumo I gave my utmost effort,” Mr. Yuuki explains, look-ing back at his own work during the production. “In choosing locations and so on, including when it came to the selection of important sections relating to the content of the drama, I actively made proposals. In some cases I proposed using water-tank studios in Latvia and Malta as shooting locations for the Russia scenes, the Lushun block-age mission scenes, and the Sea of Japan naval battle. My involvement for the production was from preparing the schedule and the budget for the shooting preparation to the completion of the final post-production work. It was a very valuable experience to be able to take part in the production as an agent for the actual shooting and the VFX.” That being the case, there were undoubtedly various pressures accompanying that. “I was able to do this thanks to the trust placed in me by Mr. Kato and everyone else involved in the production,” says Mr. Yuuki. Taku Kato regards Mr. Yuuki highly: “Even when it came to proposals that had the potential to cause some uncer-tainty to those around him, Mr. Yuuki had the negotiating ability to ensure that the proposals would not fail, and the skills to see them through under any circumstances. This was not simply a contest of wills – he was able to win trust because his proposals were backed up by skills.” Along with Mr. Yuuki, Seiichi Hishi-kawa also made a major contribution to creating the drama’s imagery from an external standpoint. Mr. Hishikawa is among the creative forces currently receiving a great deal of attention in a large number of commercial and title productions. He was behind the spec-tacular openings for the NHK drama Komyo ga Tsuji, which unfolded in one--A relationship of trust betweenprofessionals with a high degree oftechnical prowess19

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