Daisuke Abe

[News] Official Selection ドキュメンタリープロジェクト『色彩のシグナル（The Signals of Color）』が、サンフランシスコで開催される第23回 国際海洋映画祭「IOFF 2026」に選出されました。 Ambientecの久野さんとの対話から始まったこのプロジェクト。水中写真家・鍵井さんの眼差しが捉えた「海の底に眠る静かなシグナル」を、独自の視覚体験として紡ぎ直し、確かなメッセージを宿した一編の詩のような作品に仕上げました。 Cotopaxi、HELLY HANSENをはじめとする多くのパートナーの皆様のご協力に心から感謝するとともに、この物語を国際的な舞台で共有できることを誇りに思います。 I am deeply honored to announce that my documentary project, "The Signals of Color" (色彩のシグナル), has been named an Official Selection for the 2026 International Ocean Film Festival (IOFF) in San Francisco. This journey began through an inspiring dialogue with Mr. Kuno of Ambientec. By weaving the silent signals resting at the bottom of the ocean—captured through the lens of underwater photographer Mr. Kagii—into a unique visual experience, we created a work that delivers a profound and resonant message. My sincere gratitude goes to our partners, including Cotopaxi and HELLY HANSEN, whose support made this possible. I am proud to share this cinematic vision on a global stage. MMM -> https://looop01.github.io/mmm-sf/ #IOFF2026 #OceanFilmFestival #Cinematography #Documentary #UnderwaterPhotography #OldLens #FILMMAKER #ColorGrading

My showreel — stories I've shaped in motion.（映像作品集） My roles include: Creative Director, Director, Cinematographer, Editor, Colorist, VFX, Sound Design & Mix Clients: SONY, TOYOTA, NEC, YAMAHA, Daihatsu, Telexistence Inc., Oishii, Ambientec, and more.

A documentary film project has been in development for several years. The project is titled “MMM (Movie: Medium of Moments)”— an attempt to capture fleeting, irretrievable time: a single, unrepeatable moment. Its concept is simple: “Step outside the realm of recommendations, and go encounter something truly beautiful.” This is a road movie series that deliberately deviates from the “optimal answers” offered by algorithms, seeking authentic encounters guided by one’s own perception. At a certain point, Kuno from Ambientec / RGBlue approached with an offer that felt almost uncannily aligned with this intention— and the project finally took concrete form. I do not believe that any documentary can fully convey “the truth.” However, the way of life embodied by Ryuzo Shinomiya, and the landscapes shaped by Okinawa—where sea and land converge— are, without question, fragments of truth. This film is a record of an attempt to draw out and hold onto that beauty. 数年前からドキュメンタリムービーを企画していました。 プロジェクト名は「MMM」— Movie : Medium of Moment 。 二度と戻らない時間 ―「刹那」を捉えるための試みです。 コンセプトは、 「レコメンドの圏外へ、美しいものに会いに行く」 アルゴリズムが提示する“最適解”から逸脱し、自らの感覚で「本物」と出会うためのロードムービー・シリーズです。 そんな折、Ambientec/RGBlueの久野さんから、僕の気持ちを察してくれたかのようなドンピシャなオファーをいただき、形にすることができました。 ドキュメンタリーが「真実そのもの」を伝えることは不可能だと思っています。 それでも、篠宮龍三という人間の生き様、そして沖縄という場所が生み出す海と陸の情景は、疑いようのない“真実の断片”です。 本作は、その美しさを描き出そうとした記録です。 https://youtu.be/3gyjTQ3fjaM Cast : Ryuzo Shinomiya Producer : Yoshinori Kuno (RGBlue) Director/Cinematographer : Daisuke Abe Music : Tyme. / Tatsuya Yamada Drone operator : Wataru Kohayakawa Translator : Martine Iijima Special thanks : Vertical BL - Underwater Shots - Camera operator : Isamu Osada Model : Kaori Kirimoto Light 1 : Hikaru Chinomi Light 2 : Nana Abe Safety : Miyuki Komiyama Boat captain 1 : Kenji Kamiya Boat captain 2 : Kana Tomiyama Boat crew 1 : Sho Tanahara Boat crew 2 : Ayaka Kishi Boat crew 3 : Sachie Ozawa Produced by RGBlue

San Francisco Fragments, 2026 Capturing the "Setuna" (ephemeral moments) in San Francisco, through the 100-year-old lens of my Leica DIII. Film: Kodak Gold 200 Lens: Elmar 35mm f3.5 / Summar 50mm f2 A journey through light, ocean mist, and quiet moments. Every frame is a fragment of a larger story I’m bringing back to my studio in Tokyo. The signals of color are everywhere, and this little companion helped me see them all. サンフランシスコの光、霧、そして静かな街の断片。 Special thanks to the cozy spaces that inspired me: @fourbarrelcoffee @goodycafesf (Thanks for the reco! Loved catching a film at @roxie_theatre .) @radhaus_sf @magnoliahaight @thejaysf (The Jay Hotel) #SanFrancisco #FilmPhotography #LeicaDIII #Elmar35mm #Summar50mm #IOFF2026 #Cinematographer #Filmmaker #StreetPhotography #AnalogPhotography #negativelabpro #vintagelens #Setuna #MMM #TheSignalsOfColor #cinematicmodeon #reframedmag #artclassified #leicamag #filmisnotdead #shootfilmmag #filmdiscovered #filmwave

Work: Oishii “The Farm of the Future”— Solar-Powered Indoor Vertical Strawberry Farm A solar-powered facility—one of the largest vertical farms in the world. What exists here is not merely efficiency, but a clear response to the global food crisis, alongside an uncompromising pursuit of taste. By seamlessly blending FPV drone and gimbal shots, the film traces the journey from deep within the facility to the dining table—rendered as a single, continuous flow of light. It offers a visceral understanding that the future of agriculture is already in operation. Where cutting-edge technology transforms into a single, unforgettable bite. Shot in New York / New Jersey. 太陽光で稼働する、世界最大級の植物工場。 そこにあるのは、単なる効率化ではなく食料危機への明確な回答と、「美味しさ」への飽くなき追求。 FPVドローンとジンバルショットをシームレスに繋ぎ、工場の奥深くから食卓へ届くまでの道のりを、一筋の光のようにシームレスな映像体験へと昇華させました。 未来の農業の姿が社会実装されていることをリアリティを伴って見る者に理解させる。 最先端のテクノロジーが、ひと口の感動に変わるまで。 ニューヨーク／ニュージャージにて撮影。 Full Movie: https://youtu.be/IZj7YVa9YLI?si=Oa2zu_Pf0iSveegM Client: Oishii Production: elephant design Producer: Hiromi Nagaoka / Yosuke Masumoto Creative Director, Director, Cinematographer, Editor, Colorist: Daisuke Abe (FULVIS) Gaffer: Nicolas Ito (PBMC) Drone Operator: Atsushi Yokota Music Editor: TTYMD.com

Not every film about plastic looks like you'd expect. The Signals of Color by Daisuke Abe is one of four extraordinary films in Program 4: Turning the Tide on Plastic, presented by SC Johnson (@scj ) exploring the plastic crisis through art, science, and community. Screening Saturday, April 11 at 1:00 PM at Cowell Theater, Fort Mason Center for Arts & Culture. After the films, head to BATS Bayfront Theatre for Panel Discussion #2: Taking Action in Coastal Communities to be a part of the conversation. Festival passes and Panel RSVP available at the link in bio. #IOFF #OceanFilmFestival #TheSignalsOfColor #TurningTheTideOnPlastic #SCJohnson #OceanArt #PlasticPollution #OceanConservation

Recent Work: NEC Brand Movie “つなぐ” 企画・ディレクション・撮影・編集を担当しました。 Directed, shot, and edited this brand movie for NEC. NECとの歩みも4年目。 これまでの数々のプロジェクトで撮影してきた、膨大な撮影アーカイブ。 その一つひとつの素材に、改めて向き合いました。 Now in my fourth year of collaborating with NEC. I revisited the vast archive of footage I’ve captured across numerous projects over the years. 海底から宇宙まで、世界を支えるNECの技術。 事業紹介寄りな「クール」な視点を、今回は「温かみ」のあるトーンへ。 素材レベルからグレーディングを再度調整し、技術の先にある「人」や「社会」のぬくもりを表現しました。 NEC’s technology supports the world from the ocean floor to outer space. Shifting from a "cool," industrial perspective to a warmer, more human tone, I re-graded the footage from the ground up to reflect the warmth of the people and society that this technology serves. 築き上げてきた信頼関係と、ブランドの深化。 その意思を「つなぐ」という言葉に託し、 都心の巨大ビジョンから電車内まで、街の風景の一部として作り上げました。 The deepening of the brand and the trust we’ve built together. Under the theme “Connecting” (Tsunagu), these films are now part of the city’s landscape, from giant outdoor screens to train displays. 4年間の点と線が、より深い形になった瞬間。 The moment when the dots and lines of the past four years converged into a deeper form. Client: NEC Production Company: elephant design Producers: Hiromi Nagaoka Copywriter, Director, Cinematographer, Editor, Colorist: Daisuke Abe (FULVIS) Cinematographer：Nobuaki Tanaka/Shuhei Yamada(HANABI) Gaffer: Toshihide Kousaka CGI: Takeo Saito (FULVIS) Music: TTYMD.com Narration: Mai Kozuki

Recent Work: NEC | 世界をつなぐNECの海底ケーブル Submarine Networks -The Ocean Connects All of Us- 今回もコンセプトメイキングから撮影、CG、編集まで一貫して担当させていただきました。 Once again, I had the privilege of leading the entire creative process, from concept development to cinematography, CGI, and final editing. 世界の通信の実に99％が、海の深くを走る海底ケーブルによって支えられていることをご存知でしょうか。 Did you know that 99% of global communications are actually supported by submarine cables running deep beneath the ocean? 舞台は、重厚なスケールと緻密な技術が共存する製造現場、そしてフランスの敷設船。 山梨、北九州、そして船上という過酷なロケーションでの撮影を敢行し、現代の巨大インフラを支えるNECの圧倒的な技術力を、その「リアル」な質感から描き出しています。 The film captures the fusion of massive industrial scale and precision engineering within the manufacturing plant, as well as the cable-laying vessel. Filmed on location in Yamanashi, Kitakyushu, and offshore, we sought to depict NEC’s overwhelming technological prowess and the grandeur of modern infrastructure through raw, authentic textures. 後に制作した「つなぐ」ブランドムービーの柔らかなトーンとは対照的に、今作ではインダストリアルなグレーディングとシャープな質感を追求。 テクノロジーが支える信頼性と、インフラを支える設備や人々の力強さをクールに表現することを目指しました。 In contrast to the softer tones of the "Tsunagu" brand movie produced later, this work pursues an industrial grading and sharp aesthetic. My goal was to capture the reliability of technology and the powerful presence of the facilities and people who sustain our global infrastructure. Full movie: EN: https://youtu.be/Rm8qUakeMzc?si=VaQ_BxUJZE_e1LJ0 JP: https://youtu.be/c7vTO8vLdTI?si=ImnLl5YOIiEkfl8A Credits: Client: NEC Production Company: elephant design Producers: Hiromi Nagaoka Production Assistant: Tetsuichiro Ikawa Director, Copywriter, Cinematographer, Editor, Colorist, VFX: Daisuke Abe (FULVIS) Gaffer: Toshihide Kousaka Lighting Assistant: Ataru Yamazaki Camera Assistant: Nobuhisa Tanaka (Kasugai) Drone Operator:Koichi Takamoto(Sky Shot World) CGI: Takeo Saito (FULVIS) Music: TTYMD.com Narration: Kenji Kitamura/Ryan Casting: Sadaharu Shino (SARUCO) Used Lenses: - Sony G Master Primes - SAMYANG AF 14-24mm F2.8 - TAMRON 28-75mm & 70-180mm G2 - Canon New FD 85mm F1.2 L (Vintage) - Voigtlander APO-LANTHAR 65mm F2

Recent Work: Telexistence | Launching TX Motion Data Factory Full movie: https://youtu.be/5Q8rIQ6HA4M Client: Telexistence Inc. Production: elephant design Line Production: Pacific Bridge Media & Consulting (PBMC) Creative Director, Director, Cinematographer, Editor, Colorist: Daisuke Abe (FULVIS) Music: TTYMD.com [elephant design] Producers: Yosuke Masumoto / Hiromi Nagaoka Production Assistant: Yoshimi Sumi [PBMC] Producer: Nicolas Ito Assistant Producer: Moritz Brinkhoff Camera Assistant: Riku Watanabe Behind-the-Scenes Camera: Alexandre Cas / Futa Nagao [Drone Team] Technical Director: Oh Intake Drone Pilot: Nobuhiko Yoda Drone Assistant: Tsubasa Furuhara [Lighting Department] Gaffers: Hideki Fujisaki / Hitomi Katase Lighting Assistant: Yume Kimura [Props Department] Art Director: Maui Yanagiya Set Carpenters: Akio Suzuki / Egaku Oda Assistants: Takashi Watanabe / Kousuke Nakao

Recent Work: NEC | 衛星測位システム“みちびき” The “Michibiki” satellite positioning system Shown in stations, on trains, and online. “みちびき”のブランドムービーにて、ディレクション・撮影・編集を担当いたしました。 I was in charge of the direction, cinematography, and editing for the “Michibiki” brand movie. 宇宙という遠い存在と複雑なシステムを、いかに私たちの日常の地続きとして伝えるか。 How to bridge the gap between the vastness of space and the complex systems that support our daily lives. Full movie: https://youtu.be/Bs0qqU8r7cY?si=E2swA15ndZTtbkk9 https://youtu.be/tuvQ8T8bhnw?si=k4n9wJ6MiukL3-QV Client: NEC Production Company: elephant design Producers: Hiromi Nagaoka, Sadaharu Shino (SARUCO) Production Assistant: Yuma Godo (SARUCO) Copywriter: Yuji Kuge Director, Cinematographer, Editor, Colorist, VFX: Daisuke Abe (FULVIS) Gaffer: Toshihide Kousaka Lighting Assistant: Ataru Yamazaki Camera Assistant: Nobuhisa Tanaka (Kasugai) Cast: Mayuri Okumura, Haru Ikeda, Kokomi Tachibana, Ryusei Ichiki Stylist: Hanae Uwajima Hair & Makeup: Tsuyoshi Watanabe CGI: Takeo Saito (FULVIS) Music: TTYMD.com Narration: Mai Kozuki

The difference in rendering with the Summarex at different f-stops: 1️⃣ f/1.5 – dreamy softness with sharpness completely melting away. 2️⃣ f/2 – keeps decent sharpness while still giving a pleasant softness. Super usable! 📸 summarexのF値による写りの違い 1枚目がF1.5（シャープネス崩壊で怒涛のふんわり味） 2枚目はF2（シャープネス維持しつつも程よいふんわり感で使い勝手良し） #sony #a1 #Leica #summarex85mm #tokyo #japan #85mm #oldlens #vintagelens #vintage_bokeh_love #leicalens