Scott Larson
DOP • Videographer • Cameraman
English Speaking Video Production and Photography Services in Tokyo, Japan
VideographyPhotographyDOP • Videographer • Cameraman, Japan based since 2001 working with foreign productions in need of English speaking video crews and video production services in Japan. Creating high quality content for clients ranging from independent documentaries to corporate videos, interviews, live event coverage and live streaming. Providing full video production services, equipment and video production crews. Past clients include Cartier, TV Arte, Discovery Channel, History Channel, Loreal, Louis Vuitton, Hitachi, Cirque du Soleil, etc.
DOP • Videographer • Cameraman, Japan based since 2001 working with foreign productions in need of English speaking video crews and video production services in Japan. Creating high quality content for clients ranging from independent documentaries to corporate videos, interviews, live event coverage and live streaming. Providing full video production services, equipment and video production crews. Past clients include Cartier, TV Arte, Discovery Channel, History Channel, Loreal, Louis Vuitton, Hitachi, Cirque du Soleil, etc.
Recent Works
History Channel, The UnXplained
Video I shot for season 7 of the History Channel’s The UnXplained
Role: Director of Photography
Nobel Awards Show for SVT (Swedish Television)
Shot for the Nobel Awards show for SVT (Swedish Television), we interviewed Susumu Kitagawa who won the Nobel Prize for Chemistry.
Role: Director of Photography
Documentary: National Geographic’s Archaic Festivals
Shot for National Geographic, Japan’s Onbashira Festival, the 1200 year old festival where they ride giant logs down a mountain. Shot in Nagoya, Japan.
Role: Videographer
Interviews
Corporate interviews I have shot in Tokyo and across other major cities in Japan.
Role: Videographer, Editor, Color Grading
DiCesare Designs, TV Commercial
Working in tandem with a a local umbrella designer and CGI artist, I directed and shot this commercial for DiCesare Desings. Shot in Tokyo, Japan
Role: Director, Director of Photography, Editor
Astroscale, Corporate Video
Featured on the live countdown launch for Adras-J, the world’s first satellite to attempt to start the removal process of in orbit space debris. Shot in Tokyo, Japan.
Role: Videogrpapher, Editor, Color Grading
Case Studies
History Channel’s Ghosts of the Tsunami
The challenge was the client needed 3 different locations for filming interviews, but only had one day to a shoot them all.
The solution was I spent an afternoon “location scouting” several dozen locations through local online networks. We shortlisted these to about 3 locations, then scheduled an in person viewing with all of them. I video called US-based director from each location for a walk through of each location until we found one that would work for all 3 interviews.
On the filming day we video called into the director again to get feedback and approval on framing and lighting.
The result was we were able to quickly shift the camera angles and lighting in one room to make it appear to be 3, saving production quite a bit of budget and time.
History Channel’s Ghosts of the Tsunami
The challenge was the client needed 3 different locations for filming interviews, but only had one day to a shoot them all.
The solution was I spent an afternoon “location scouting” several dozen locations through local online networks. We shortlisted these to about 3 locations, then scheduled an in person viewing with all of them. I video called US-based director from each location for a walk through of each location until we found one that would work for all 3 interviews.
On the filming day we video called into the director again to get feedback and approval on framing and lighting.
The result was we were able to quickly shift the camera angles and lighting in one room to make it appear to be 3, saving production quite a bit of budget and time.
Midnight Tour Japan
The challenge was the client was taking a 17 day, 6 city tour across Japan and needed highlight reels produced nearly everyday.
The solution was I brought on an extra Camera Operator, a DIT and an Editor. We had to book flights and hotels to be one day ahead of the client, and make sure we had constant internet access to get all the edits up by end of day.
The result was we were able to stay one day ahead of the client as needed, and upload daily sizzle reels and highlight reels for each city.
Midnight Tour Japan
The challenge was the client was taking a 17 day, 6 city tour across Japan and needed highlight reels produced nearly everyday.
The solution was I brought on an extra Camera Operator, a DIT and an Editor. We had to book flights and hotels to be one day ahead of the client, and make sure we had constant internet access to get all the edits up by end of day.
The result was we were able to stay one day ahead of the client as needed, and upload daily sizzle reels and highlight reels for each city.
Cirque du Soleil, Tokyo
The challenge was after the Northern Japan earthquake and tsunami of 2011, Tokyo Disneyland suddenly decided to shutter its long running Cirque de Soleil show “Zed” and the producers wanted to make a memorial DVD before it was too late.
The solution was to scout the show and run camera tests from as many angles as possible to figure out how many cameras and how many angles were necessary to be able to capture every single performer in the show, so they could appear at least once in the memorial DVD.
Cirque du Soleil, Tokyo
The challenge was after the Northern Japan earthquake and tsunami of 2011, Tokyo Disneyland suddenly decided to shutter its long running Cirque de Soleil show “Zed” and the producers wanted to make a memorial DVD before it was too late.
The solution was to scout the show and run camera tests from as many angles as possible to figure out how many cameras and how many angles were necessary to be able to capture every single performer in the show, so they could appear at least once in the memorial DVD.
The result was we shot Zed for 4 days, 5 times a day using 4 cameras, changing the camera angles throughout the day as needed, until we had at least one shot of every performer. The DVD was produced and handed out to every cast and crew member a few months after its final show.
Cirque du Soleil's "Zed"
The challenge was after the Northern Japan earthquake and tsunami of 2011, Tokyo Disneyland suddenly decided to shutter its long running Cirque de Soleil show “Zed” and the producers wanted to make a memorial DVD before it was too late.
The solution was to scout the show and run camera tests from as many angles as possible to figure out how many cameras and how many angles were necessary to be able to capture every single performer in the show, so they could appear at least once in the memorial DVD.
The result was we shot Zed for 4 days, 5 times a day using 4 cameras, changing the camera angles throughout the day as needed, until we had at least one shot of every performer. The DVD was produced and handed out to every cast and crew member a few months after its final show.
History Channel’s Ghosts of the Tsunami
The challenge was the client needed 3 different locations for filming interviews, but only had one day to a shoot them all.
The solution was I spent an afternoon “location scouting” several dozen locations through local online networks. We shortlisted these to about 3 locations, then scheduled an in person viewing with all of them. I video called US-based director from each location for a walk through of each location until we found one that would work for all 3 interviews.
On the filming day we video called into the director again to get feedback and approval on framing and lighting.
The result was we were able to quickly shift the camera angles and lighting in one room to make it appear to be 3, saving production quite a bit of budget and time.
Midnight Tour, Tokyo
The challenge was after the Northern Japan earthquake and tsunami of 2011, Tokyo Disneyland suddenly decided to shutter its long running Cirque de Soleil show “Zed” and the producers wanted to make a memorial DVD before it was too late.
The solution was to scout the show and run camera tests from as many angles as possible to figure out how many cameras and how many angles were necessary to be able to capture every single performer in the show, so they could appear at least once in the memorial DVD.
The result was we shot Zed for 4 days, 5 times a day using 4 cameras, changing the camera angles throughout the day as needed, until we had at least one shot of every performer. The DVD was produced and handed out to every cast and crew member a few months after its final show.
Cirque du Soleil, Tokyo Japan
The challenge was after the Northern Japan earthquake and tsunami of 2011, Tokyo Disneyland suddenly decided to shutter its long running Cirque de Soleil show “Zed” and the producers wanted to make a memorial DVD before it was too late.
The solution was to scout the show and run camera tests from as many angles as possible to figure out how many cameras and how many angles were necessary to be able to capture every single performer in the show, so they could appear at least once in the memorial DVD.
The result was we shot Zed for 4 days, 5 times a day using 4 cameras, changing the camera angles throughout the day as needed, until we had at least one shot of every performer. The DVD was produced and handed out to every cast and crew member a few months after its final show.
Pre-Production
In the pre-production phase of video production, I assist clients by helping to plan every aspect of their project, from conceptualization, to organizing logistics, equipment rental and crew hiring, ensuring a solid foundation for a successful production.
Production
During the production phase, I provide hands-on support and guidance, often overseeing the production on behalf of clients who can’t be in Japan during the filming, and ensuring that the creative vision is brought to life to meet your expectations.
Post-Production
In the post-production phase of video production, I work closely with clients using the latest editing and color grading techniques to refine and enhance raw footage, crafting a polished final product that exceeds client expectations and resonates with audiences.
FAQs
How do filming permits work for public locations like street shooting or Shibuya crossing?
Filming permits in Tokyo (known as Doro Shiyou Kyoka) require applications submitted directly to the local police district that hold jurisdiction in that area. While low-profile b-roll with a small camera setup doesn’t usually need a permit, commercial setups, tripods, and lighting rigs require local police approval and a native Japanese speaker to process the paperwork. I can provide full local production support to help navigate Tokyo’s strict municipal filming laws.
Can I bring my own cinema cameras to Japan, or should I hire a local DP with gear?
Japan operates on a unique electrical system: 100V at either 50Hz (Eastern Japan/Tokyo) or 60Hz (Western Japan/Osaka). Standard US equipment usually works ok, but European battery chargers and other equipment often run inefficiently or fail to charge properly without specialized step-up transformers. Hiring a local Director of Photography equipped with a native, locally maintained camera and lighting package eliminates international freight costs, customs carnets, and voltage compatibility issues on set.
Can I navigate Japan in English, or do I need a bilingual crew?
Navigating Japan and a Japanese film set requires not only understanding Japanese language, but also the culture and etiquette. Having been based in Japan for over 20 years, I can help you bridge not only the language gap but the culture gap as well. The crews I work with are all bilingual which ensures seamless communication throughout the shoot.