A Grand Vision with Cinematographer Yuito Kimura
There’s an insider’s secret that industry professionals often refer to with each other that goes something like, “Films are where you express your art but commercials are where you get paid to do it.” That equates to a scenario in which the most skilled creatives manifest truly inspirational moments in the unobvious medium of commercials; professionals such as cinematographer Yuito Kimura. This Japanese born Kimura travels and works internationally on major campaigns because his peers and collaborators recognize the incredible vision and technical facility that he brings to every production he is a part of no matter the budget or the running time. From award–winning art films like Gallery to campaigns for such ubiquitous names as Sony and Nike, compelling visuals and an uncanny sense of motion are calling cards of Yuito’s professional style; a style which everyone seems to want to infuse into their creations.
Unquestionably, commercials are a cinematographer’s medium. While film is dependent on character and story development, a commercial must instantly grab the viewer’s attention. Translation; the visuals are paramount when it comes to this medium. For informative videos, maintaining viewer engagement through varied shots, graphics, and clear visuals is key, as there isn’t much time to develop a story or characters. The aim is to support the performance and message effectively, ensuring the content is both interesting and easy to understand. Informative videos have changed drastically since the productions of twenty years ago with sedentary monologues and a mostly stationary camera. As the cinematographer on a series of videos for Abbot (a pioneering company dedicated to crafting revolutionary products in diagnostics, medical devices, nutrition, and branded generic pharmaceuticals), Mr. Kimura crafted a sense of connectedness through continual camera movement which cultivated a feeling of direct interacting with each speaker on camera. The “dance” he designed with the talent, director, and client, is intuitive and immensely impressive when you consider that each shot is perfectly presented while being imbued with a sense of motion. There is a liquidity to the pace of the action in each scene which feels symbiotic.
In brief productions such as these, it’s important to both appeal to the intended viewer and present the client in the proper light. This means adopting the ideal emotional-meets-visual approach. For a commercial project centered around promoting a luxurious lifestyle and upscale real estate in Florida which targets affluent clientele, Yuito relied on the prestige grandeur of slow-motion. Compass and Ronto Group wanted to appeal to wealthy potential real estate purchasers in the Estero Bay area of Florida. Broadcast on television and websites, the videos feature affluent people enjoying the high life of the Bay area in something which looks as if it came directly from a major studio feature length film. Yuito describes, “in order to achieve rich and luxurious look, we shot all in slow motion. Slow motion can help the visuals stand out and be special. We decided to shoot all slow motion for this specific reason. It’s all about technical know-how; this type of approach is truly an art form.
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It’s easy to see the artistry and skill in Yuito Kimura’s work here. While he works in film and television, Yuito finds the ability to engage his creativity and talent in any avenue that utilizes the camera. It’s the deep passion and commitment he is known for that makes him so coveted by those throughout the industry. Kimura remarks, “I strive to bring out the best in every project, pouring my energy into making it shine. But of course, there are always hurdles and challenges along the way. To me, it’s like solving a puzzle or playing a game—I’m always up for the challenge. New projects continually inspire me, driving me to push boundaries and explore new creative avenues. In every project or shoot I undertake, there’s hardly ever a dull moment. Each time, I find myself learning something new. Being a cinematographer never gets old for me; it feels like I’m constantly uncovering new aspects of myself and refining my skills on every set. With different tasks and diverse collaborators each time, there’s always something fresh to tackle.”
Writer: Calvin Hooney
