Reflections on Reeltime: How DIT Yuji Fukazawa delivers on-set playback in Japan

In this article, we take a peer perspective on Reeltime by chatting with someone from the community, so you can see how colleagues around the world use it in their everyday workflows. Yuji Fukazawa is a Tokyo-based DIT who works across feature films, TV dramas, and commercials. On Japanese sets, the roles of DIT and video operator often overlap, so one person handles both image workflows and on‑set playback.

To meet those demands, Yuji has built his workflow around Pomfort tools. As a long‑time user familiar with our ecosystem, he recently decided to integrate our on-set playback system, Reeltime Pro, into his workflow. In this interview, Yuji shares how Reeltime supports his daily work, the features he values most, and why it has become an integral part of his cart and workflow. Let’s dive in! 

Thanks so much for taking the time to speak with us! To begin, where are you currently based?

Yuji: „Thanks for having me! I was born in Tokyo, Japan, and I’m still based here today. Most of my work is also here in Tokyo.” 

How did your journey into the film industry begin?

Yuji: „I have always loved films, so I decided to study filmmaking at university, where I mainly worked with 16mm film. After graduating, I started my career as a camera assistant and, through that experience, became really interested in color management. 

That eventually led me to work as a Video Engineer (VE) on TV shows and feature films, where I was responsible for building on-set recording workflows and handling on-set color correction. As digital cinematography became more common in films and commercials, I transitioned into working as a DIT.“

What kinds of projects are you focusing on these days? 

Yuji: „Today, I mainly work on feature films, TV dramas, commercials, and streaming productions. Recently, I’ve been involved in an action film and a science fiction drama. Both projects are shaping up to be very exciting and rewarding.“ 

Sounds interesting; maybe we’ll have to invite you back for a deeper Production Insight once they are released! Looking at the bigger picture: how would you describe the current film production landscape in Japan?

Yuji: „Japanese film sets often operate under tight schedules and limited budgets, so efficiency is very important. I think this kind of environment has strengthened teamwork and on-set problem-solving skills. Everyone understands that we need to move quickly, so workflows tend to be very practical and streamlined.“

When both speed and accuracy are essential, the roles of DIT and video assist become even more important.

How does that way of working impact your role on set?

Yuji: „When both speed and accuracy are essential, the roles of DIT and video assist become even more important. In my work, I try to act as a bridge between production and post-production. By supporting on-set monitoring and designing the workflow, I help create an environment where the director and camera department can make better, more informed decisions.“

What does that look like in practice? How do you support those decisions on set?

Yuji: „Most projects I work on place strong emphasis on real-time image review on set and clear visual communication among all stakeholders. I’m responsible for making that possible. 

So while my exact responsibilities vary depending on the project, they usually include on-set grading, exposure control, proposing color matching between the shooting environment and lighting, video signal management, building monitoring setups for each department, LUT management, support for reviewing recorded footage, media copying, and daily color correction.

I work closely with the camera department throughout the shoot. During takes, I’m always paying attention to continuity and the overall flow of the scene. Fine framing adjustments, exposure balance, and color consistency often require immediate on-set decisions, and in those moments, Reeltime plays a crucial role.

Reeltime allows me to share the same image in real time with the cinematographer and director, so we can quickly align on creative intent and direction.

Reeltime allows me to share the same image in real time with the cinematographer and director, so we can quickly align on creative intent and direction. That helps reduce miscommunication and minimizes corrections later in post. I feel this significantly improves the overall on-set workflow.“ 

What initially made you decide to try Reeltime? 

Yuji: „I was very interested in this new application because I already use Pomfort software regularly. What first caught my attention was Reeltime’s ability to share video in real time and manage outputs very flexibly. I found that it allows the crew to review and confirm footage more efficiently.“

After using Reeltime on set, did it meet your expectations? Could you share an example from one of your shoots? 

Yuji: „I’ve now used Reeltime on multiple projects, including short films and commercials. Rather than one specific project, what stood out to me was that across different productions, my decision-making speed on set improved.

For example, when I used Reeltime during a Virtual Production workshop, the ability to compare footage from two different cameras on the same monitor in a split-screen view was extremely useful. Being able to instantly share and check differences is a major advantage in a fast-paced production environment. 

It might sound quite basic, but being able to play back two synced recorded clips simultaneously was very important for confirmation tasks and to ensure the entire crew shared the same understanding […].

A different example would be a science fiction television drama I worked on. There were many green screen shoots, and Reeltime’s easy-to-use compositing features proved invaluable.

Also, it might sound quite basic, but being able to play back two synced recorded clips simultaneously was very important for confirmation tasks and to ensure the entire crew shared the same understanding.“ 

Let’s dive a bit deeper into your workflow. How do you typically integrate Reeltime into your process?

Yuji: „I usually start by creating looks from the camera’s log footage in Livegrade. Then I import those looks into Reeltime and output tailored views for each department, such as directors, cinematographers, production staff, and so on.

Because each role requires a different level of information, the ability to separate overlays and displayed data was particularly well received.

Because each role requires a different level of information, the ability to separate overlays and displayed data was particularly well received. On set, we often use a dual-output setup so different screens can show optimized information simultaneously.

Changes like adding frame lines or adjusting settings are reflected instantly, allowing for very smooth operation during shooting. Reeltime offers a new and flexible option for on-set operations.“

Were there any other features that stood out to you? 

Yuji: „When it comes to managing multiple outputs at once, I think Reeltime is exceptionally well designed. Switching signals and checking each output feels intuitive, which really helps reduce stress on set and allows for confident decision-making even in fast-paced situations.

Switching signals and checking each output feels intuitive, which really helps reduce stress on set and allows for confident decision-making even in fast-paced situations.

In addition, the UI design is very similar to Livegrade, so it was easy to use right away without any confusion. Feature-wise, the ‘Composite Slot’ is especially useful. I found it invaluable when comparing and reviewing multiple looks and settings.“

Every production comes with challenges. What was one technical or logistical challenge you faced, and how did you handle it?

Yuji: „Time! With limited setup time, preparing all monitoring environments is a challenge. However, thanks to Reeltime’s flexible configuration options, we are able to respond quickly and efficiently.“

What hardware do you use with Reeltime for your monitoring setups?

Yuji: „On my DIT cart, I use multiple reference monitors, with signals fed into Reeltime via the AJA IO 4K Plus. Depending on the scale of the production and on-set conditions, I design the monitor configuration and output routing accordingly. 

For larger projects such as feature films, I typically equip the cart with three monitors, enabling simultaneous monitoring of multiple cameras regardless of location. For streaming I usually use either wireless transmitters from Teradek or ACCSOON.  

In contrast, on shoots with challenging terrain or frequent movement, I switch to a more mobile setup using monitor stands and a PC stand, prioritizing agility and adapting the workflow to the specific demands of the set.“ 

Thinking back across your projects, is there one moment on set that really stands out where Reeltime made a difference? 

Yuji: „During a shoot involving large-scale effects such as explosions, there was a moment when we urgently needed to confirm the continuity of the actor’s performance. By using Reeltime, everyone on set was able to instantly share and review the same footage, allowing us to accurately assess the situation and make the right call on the spot. As a result, we were able to continue shooting without stopping, and it truly felt like Reeltime ‘saved the set’.

Reeltime provides a solid foundation for DITs and video assist operators to accurately share intent and context with the directing and camera departments. As a result, unnecessary checks and reshoots are reduced, helping the entire crew stay focused and maintain momentum on set.“ 

Thanks so much for sharing your perspective on Reeltime with us, Yuji!