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What led you to choose the CG2700X?

I had been using an iMac for some time, but when I switched to a Mac Studio, I needed a monitor. That’s what led me to the CG2700X. In my main editing studio, we also use ºÚÁÏÊÓƵ monitors as master monitors, so I never considered any other option.

YOASOBI “HEART BEAT” Official Music Video

What benefits have you found from using the CG2700X?

I already knew that monitor calibration was necessary, but in the past, I only did it when I had the time. When delivering commercial work, color inevitably becomes a point of discussion. Each time, I found myself explaining that colors appear differently depending on the monitor, and looking back, I think I may have left some of those conversations a bit ambiguous.

With the CG2700X’s automatic calibration, I can now work with confidence, knowing that what I’m seeing is accurate. In addition to video work, I also work as an art director on design and illustration projects. I often layer delicate, watercolor-like tones and produce outputs for large-format media, so having a high-resolution monitor is incredibly helpful.

Nameless Faces – Japanese Ver. feat. Lilas Ikuta Music Video

What do you consider important when creating video works?

I always keep in mind the idea of “reexamining something familiar from a different perspective.” Rather than creating something overly unconventional, I believe that introducing a new angle to something widely understood creates a stronger sense of surprise for the viewer. It’s also important to keep the audience engaged and never let their attention drift.

(Official Expo 2025 Osaka, Kansai X account)

Spectacular Water Show Presented by Suntory at Expo 2025 Osaka, Kansai
“Ao and the Night Rainbow Parade” Official Video

What kinds of projects do you want to work on going forward?

Recently, I had the opportunity to work on high-end game productions for platforms such as PS5 and Steam. It was a fresh and extremely rewarding experience. Today, the line between cinematic scenes and gameplay has nearly disappeared, allowing me to explore the game world much like scouting real locations, freely positioning the camera as I shoot.

In a real studio environment, large equipment such as cranes is often required. This time, however, there were no constraints in terms of budget or location, and I was able to capture highly realistic, intricately built environments exactly as I envisioned them. That was particularly striking. Japanese games are one of the country’s most celebrated forms of content, and I hope to continue being actively involved in this field.

Do you have a message for those aspiring to become video creators?

At some point, you’ll likely encounter experienced professionals who tell you not to call your work “art.” My work exists because of my clients, and I understand, and accept, the meaning behind those words. Even so, even at this stage in my career, there are times when I when find it difficult to set aside my own feelings.

At the same time, I’ve learned that when I can clearly define something as “work,” I’m able to accept revisions without hesitation. Directors are professionals who understand their strengths in expression and use them as a foundation to build their careers. That’s exactly why, even when it is “work,” it’s important to engage sincerely with those who seek out your unique creative voice. Ultimately, I hope that by taking responsibility for my own expression, I will one day be able to proudly call my work “art.”

Official Mascot Character of the 2027 International Horticultural Expo “Tunktunk”

About Atsushi Makino

After enrolling in 2006 at the Academy of Arts, Architecture and Design in Prague (UMPRUM), where he studied drawing animation and puppet animation in the TV & Film Graphics Department, Makino went on to complete the Animation Course at the Graduate School of Film and New Media, Tokyo University of the Arts. He works fluidly across live-action, artwork, and animation, taking on a wide range of roles including video direction, art direction, animation direction, character design, and illustration.

Rooted in a nostalgic sensibility and universal sense of scale, his work integrates contemporary, highly refined ideas and techniques, drawing viewers closer into the world of each piece. His style goes beyond simple labels such as “analog expression” or “handcrafted aesthetic,” distinguished by a striking and unmistakable presence.

He has received numerous awards and invitations at international film festivals including Annecy (France), Golden Kuker-Sofia (Bulgaria), and ANIFILM, as well as major advertising festivals such as ACC and ADFEST. In 2017, he was named Best Video Director of the Year in the Professional Categories at the Mnet Asian Music Awards, organized by CJ E&M Corp. (Korea), one of Asia’s largest music awards. In 2018, he won the World Gold Medal at the 61st New York Festivals. In 2021, he received the Runner-up Grand Prix at the Eibunren Awards.

Selected Works

• Opening sequence for NHK serial TV drama Boogie Woogie
• Tokyo 2020 Paralympic Games Opening Ceremony (Video Director)
• YOASOBI “Gunjou” music video
• E-tele opening and closing sequences
• Opening direction for the 72nd NHK Kouhaku Uta Gassen
• Expo Parade “Parade of Global Harmony” at the opening ceremony of Expo 2025 Osaka, Kansai
• And more

Website: (Japanese)
 

Deployed Products

ColorEdge CG2700X