Issue link: https://digital.copcomm.com/i/1541592
54 M PS E . O R G azuhiko Tomita is a Japanese production sound mixer known for his longstanding collaboration with director Hirokazu Kore-eda, including: The Third Murder (2017), Nominee 41st Japan Academy Prize for Sound Shoplifters (2018), Palme d'Or winner at Cannes, Nominee for 42nd Japan Academy Prize for Sound) Monster (2023), Nominee 47th Japan Academy Prize for sound I first met Akihiko on the set of Hirokazu Kore-eda's 2004 film Nobody Knows. At the time, I had just started my career as a location sound assistant under Yutaka Tsurumaki. At first, I thought Akihiko might be a bit quiet and intimidating, but he turned out to be nothing of the sort. He was incredibly kind, gentle-natured, and always looked after his juniors with great care. I had many opportunities to work with Akihiko as a sound effects artist, and before I knew it, nearly 20 years had passed. In the traditional Japanese post- production mixing style, it is common for the production sound mixer and the sound effects mixer to work as a pair. I always hoped that one day, when I became a mixer myself, I would have the chance to work alongside Akihiko. The reason is simple: His sound effects and Foley work were always natural, K never intrusive, and gently embraced the entire film. The most memorable project I worked on with Akihiko was Monster (2023, Dir: Hirokazu Kore-eda), a story set in the lakeside town of Suwa. A mysterious fire occurs in this small town, sparking a strange series of events. We were particularly focused on capturing the local atmosphere and the changing of the seasons. One of the most meaningful experiences was recording Foley, sound effects, and impulse responses on location with Akihiko. I served as Foley mixer while he performed as the Foley artist. He was a pioneer of on-location Foley in Japan, and we had been practicing this approach together since Our Little Sister (2015, Dir: Hirokazu Kore-eda) over 10 years ago. Despite the challenges posed by COVID, I suggested to Akihiko that we record Foley at an elementary school in Suwa. Using wireless mics and tablets to view playback, we spent four days recording sounds throughout the school building. Though he was a veteran, Akihiko threw himself into the performance, recording steps and props with incredible dedication. I'll never forget seeing him record barefoot on a cold steel rooftop in January. His recordings didn't sound like studio Foley—they blended naturally with the production sound, as if captured by the camera itself. We also recorded surround IRs throughout the school for use with Altiverb to enhance the studio Foley. The most unforgettable moment came when we recorded the sound of a fire truck racing through the mountains at night. It was the first time I ever saw Akihiko visibly excited. [A side note: The practice of recording impulse responses (IRs) for Altiverb on location is something I learned from Akihiko, and we did it together for many years. Originally, it was meant to blend production sound, ADR, and Foley more naturally. Over time, this evolved into an effort to preserve the acoustic signature of music studios and concert halls for future generations. In 2024, a reverberation profile we recorded Kazuhiko Tomita L to R: Yutaka Tsurumaki, Yoko Kanno, Akihiko Okase, Hideoki Motegi, and Kazuhiko Tomita for Our Little Sister (2016) at the 39th Japan Academy Prize Ceremony