Lemon Shimada's thoughts on how live-action footage can bring out the best in artists

At flapper3, we focus not only on videos that incorporate motion graphics, but also on live-action video production in a wide range of genres, such as music videos, stage videos, promotional videos shown at event venues, etc. We can provide one-stop production, from planning and planning to shooting and editing using our own filming equipment.

This time, director Shimada Lemon will talk about the behind-the-scenes stories of the live-action music-related video content he has worked on so far, as well as his attention to detail when it comes to video production.

What's important is accurate "judgment" on the spot
Flapper3's Shimada shares his secrets in directing photography

-First of all, please tell us about the work that you are in charge of.

I am mainly in charge of music video production and live recording. Sometimes I am only in charge of filming, but I am usually involved as a director from the planning stage onwards.

For example, when producing a music video, we start by listening to the song and solidifying the image of the video. Once the image is solidified, we put it together in a proposal and present it to the client. While we are working out the final image, we prepare storyboards for filming and come up with specific filming plans, such as the locations and composition of the shots.

On the day of shooting, I manage the site as the director. I share my vision with everyone on site, including the cameraman, lighting and sound operators, and the feeling of working together to create a work is one of the interesting aspects of live-action filmmaking.

After filming, the video is edited. Generally, video editing is entrusted to a professional editor, but I generally do the editing myself. I take full responsibility for the production from the planning stage to completion.

Unraveling the lyrics and creating an image
Creating music videos that express the artist's musicality

- Is there anything you keep in mind when overseeing a filming location?

Don't show any hesitation. I share my vision for the final product with all the staff on set beforehand, but as we shoot, we often come up with a better composition or shooting technique. In those cases, I think the most important part of a director's job is to make a firm final decision, saying "Let's go with this!", so as not to confuse the set with an ambiguous decision.

-Please tell us about the music video projects you have worked on so far.

I often work on idol-related projects.

I was in charge of directing the music video for Dempagumi.inc's song "Shouteki S/K/S/D." Based on live-action footage, I incorporated popping image effects mentioned in the lyrics, such as "electric discharge" and "static electricity."

This music video did not use any CG or animation, so it was completed in about two weeks. One of the characteristics of live-action footage is that it can be produced relatively quickly.

We were in charge of filming and video editing for the solo single "Youth" by Kaede, a member of the idol group Negicco. The director was the art director who designed the jacket. Based on the dramatic story he came up with, we decided on the filming techniques and suggested what kind of shots to shoot, and as a professional photographer, we supported the smooth progress of the shoot. The filming equipment used was a cinema camera owned by flapper3.

-When producing a music video, is there anything you keep in mind when solidifying the image of the video?

I think it's important to be close to the thoughts of the artist who wrote the song. If it's a song I wrote myself, I might be free to express it however I like, but if there's a creator, I try not to let the direction be based solely on my own subjective opinion.

To do this, I start by unraveling the lyrics. I list the words used in the lyrics, and narrow down the image by associating them with the shooting location, the overall color, whether it is inorganic or organic, etc. After that, I expand the image again, and I can discover new elements that I didn't see just by listening to the song a few times. As I unravel the lyrics, I interpret in my own way what the song was made with and what it is trying to convey, and then I add my own expression to solidify the image of the finished product.

Furthermore, before filming, I listen to the song hundreds of times, and if there is a moment when I can't imagine it in my head, I often start over from scratch. If I don't have a clear image of it, it will lead to "hesitation" on the spot, so I prepare thoroughly before filming.

-Can you tell us about other projects besides music videos?

In addition to recording live performances, we also handle the total production of the entire live performance.

When producing a live show in its entirety, we not only film the performance on the day, but also produce the opening footage and the footage that plays in the background.

When filming a live performance, I have a general idea of what to do beforehand, such as "The artist will strike a pose for this song, so I'll aim for that," or "For this rock song, I'll rotate the camera to film," but I also need to think about the camerawork according to the audience's reaction. Since quick decisions are important, it can be tense. However, I think the fun part of a live performance is seeing the reactions of the people watching in real time.

-Finally, what would you like to focus on in the future?

I want to make a short film. If I get the opportunity, I would like to try writing a script based on a story theme. I own a lot of filming equipment, including a 4K camera and a drone, so I would like to try various filming techniques and make a short film of about 30 minutes.

Also, since I mainly work on productions that are completed with live-action footage, I would like to focus more on visual expressions that combine live-action footage with motion graphics and CG. Recently, our company has been trying a new form of live performance, an AR live performance that combines live-action footage with virtual footage. One of flapper3's strengths is being able to propose expressions that go beyond live-action, so I would like to actively incorporate this.