Our Mother (Kabei,母べえ)
The Big Bee (Tenku no hachi,天空の蜂)

The Philippines’ “Photography Industry”

The Philippines' “Photography Industry”

Our generation who works in the movie industry in Japan are decreasing. Senior workers in the industry say that the working environment is way better than the past. Actually we do not know a lot about this industry because, i have not not experienced it myself when it was in its maxim.

When I think about it now, when I worked in a photography shop a long time ago, it reminded me of the past.

Because the Union was strong
・Closed on Sunday
・Open 8 hours from the start and end of the shooting
・Studio shooting starts at 8 am,
There were guidlines to follow

There are no problems in working hours in Tokyo and Manila, it will not change even when people die.
People who can work are all in demand in Tokyo. Then, Let’s do our best to make everyone able to work. But there’s such a place in the past that tall trees catch much wind .Everywhere I go, everyone got the same education and my seniors raised and teach me ,there is still such a place like this.

Working for many years with no worries of losing the job everyday, the Japan Academy won an award at 50-60 years old and a chance to become a professor at the University if there are seats available. If I had not quit, these roads might have been guaranteed.

I participated in three projects this year in the Philippines.
Perhaps, the photography industry in Manila now is as good as the past, a bubbly place where everyone else could like it and yet it is also a place to give a try and experience it.

In the Philippines, art-oriented movies have increased since the 3rd golden era. Into the digital age, younger independent film makers have increased.Young directors has emerged through the highly acclaimed and worldwide acknowledged Independent Film festivals like “Cinemalaya Film Festival” “NCCinema” “CineFilipino” and “QCinema” to name a few.
Some of these Festivals are supported by the third organizations such as enterprises who’s emphasis is on revitalizing the Philippine Cinema and its increase. Perhaps, not only local film festival in the Philippines, there are eight international film festivals that subsidizes movie directors in order to expose them to the international markets, thus granting them the international network they need. Independent producers and directors of the young generation are making movies by being invested in major studios like TOHO, TOEI and NIKKATSU in Japan.

Film festival, is not limited to domestic and overseas, it’s also a place where larger directors can show off their talents and expect new platform for their development.

Manila video industry is now at a high point. For Japan’s aging society pyramid type, the Philippines is an inverted pyramid type with a younger population.
Many directors and producers are active in their 20s and 30s, the investors, staff of the distributors, staff of the theater and the form of the audience are younger and I didn’t feel this current momentum in Tokyo.

In some circumstances, there are some consultation about Philippine locations recently. This time, many freelancers who are working in Manila also like to work in Tokyo, because it is a good opportunity.
I asked some of the production staff and crew about the standard salary and compared it together. I think that it would be helpful, since I summarized it simply. I would like you to refer for the salary price range. I think if you can compare the fact that even if Japan’s environment is not so good it can be said unconditionally.

Also, this time I heard it from a staff whom I worked with before in a movie project, some market prices are different for commercials and TV dramas. They taught me about this in different ways. Thanks everyone!

Katsuyuki Nakanishi
Born on 1984 in Nagoya City, Aichi Prefecture. Graduated in Vantan Film and Movie Institute major in film director. The fourth graduate of JSC Cinematographers assistant upbringing cramming school. While he was studying in Tokyo, he was also working with Director Shinya Tsukamoto's movie at the same time. After that, he became part of the lighting department of Toei Studios Kyoto, studied under Kiyoto Ando and Takashi Sugimoto. In these movies, he worked as an assistant lighting director with Takashi Sugimoto in "Chacha - Tengai no Onna"(2007) and Kiyoto Ando in "The Fallen Angel"(2010). He work as a freelancer since 2011 and became part of these latest movies as a lighting director of Director Yang Ik-June's ”Shibata and Nagao"(2012), Director Keisuke Yoshida’s ”Himeanile”(2016), Director Kohki Yoshida’s ”ThreeLights"(2017), Director Hiroshi Ando’s ”Moon and Thunder" (2017) and Director Shinya Tsukamoto’s ”Killing” (2018).

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