True to Yourself, True to the Moment

Haruna has worked on projects including the corporate web film for ASOBI SYSTEM, the official film for ZEROTOKYO, seasonal campaign films for United Athle, and the website film for AKIHABARA. We asked her about her approach to editing, the role of personal perspective in her work, and what continues to inspire her creatively.

How Making Memories with Friends Led Me to Video Editing

What first sparked your interest in video editing?

It started when I was in my first year of junior high school. Using my smartphone, I’d put together photos and short videos to create highlight reels for my friends. I’d send them around or post them on social media. I loved painstakingly moving cut-out images one millimeter at a time or flashing images every tenth of a second to create simple animations. Back then, I wasn’t thinking about a career in video. If anything, I dreamed of becoming an illustrator or a fashion designer.
The moment I seriously considered filmmaking was during my high school graduation project. I filmed our classes and club activities, then edited them into a promotional video for our graduating class. It was selected as the featured project for our graduation presentation, and later I heard that the video had even inspired more students to apply to the school. That was incredibly rewarding and gave me the confidence to pursue this path.

Did you go on to study film at university?

Yes. I was interested in both video and photography, so I chose a university where I could study both. While learning the fundamentals of After Effects and Premiere in class, I also gained hands-on experience through a part-time job as a video editor.

Learning Through Cross-Disciplinary Collaboration

What drew you to IN FOCUS?

I had already decided that I wanted to work in Tokyo after graduation, so while searching for internships during university, I came across the IN FOCUS website. Looking through the company’s projects, I was fascinated by how designers, web creators, filmmakers, and other specialists all collaborated on the same project. That multidisciplinary approach really stood out to me. After completing a four-month internship, I joined INFOCUS as a new graduate in April 2023.

What was your impression after joining?

The biggest thing that stood out was how much you can learn by collaborating across different creative fields. For example, on the AKIHABARA website film, where I worked as an assistant, I created design elements that were later transformed into 3D CG by Web Director Suzuka. Working closely with people from different disciplines opened up ideas that never would have emerged if we’d been working separately.
I also genuinely love the atmosphere at IN FOCUS. Many of my senior colleagues strike a great balance between work and their personal lives, and I really admire how naturally they switch between the two.

Bringing Just the Right Amount of Yourself to the Edit

Which projects have left the strongest impression on you?

One is definitely the corporate web film for ASOBI SYSTEM. Even before joining IN FOCUS, I’d admired the company’s work—especially the 10th anniversary website for Kyary Pamyu Pamyu—and hoped I’d someday get the chance to create something similar. So being able to contribute to an ASOBI SYSTEM project was incredibly exciting.
For the edit, I was asked to create a multi-screen composition using music videos and live performance footage. I knew there would be limitations when working with music video footage, but I wasn’t sure how far I could push the live footage creatively. So I decided to experiment without any preconceived ideas. I cut subjects out from their backgrounds, turned them into composited elements, and layered everything as freely as possible. The response was that it felt fresh, playful, and unlike anything they’d expected.
ASOBI SYSTEM represents artists like Kyary Pamyu Pamyu and ATARASHII GAKKO!, each with their own unique visual identity, so I wanted to make sure every artist’s personality came through. Seeing the finished film integrated into the website was an unforgettable moment.
One of my senior colleagues even told me, “I never would have thought of that. That’s an idea only you could have come up with.” Hearing that made me incredibly happy because it meant my own perspective had genuinely contributed to the project.

Another memorable project was the official film for ZEROTOKYO. The edit moves at a rapid pace, with countless cuts, so I layered all kinds of visual elements—lights, mirror balls, and glowing effects—to create a sense of energy. I also paid close attention to matching the rhythm of the visuals to the music. Sometimes I’d cut rapidly, flip the image horizontally for just a split second, or expand the visuals as the music built in intensity. I really enjoyed taking the footage and soundtrack we’d been given and experimenting freely to create something visually dynamic.

Balancing Personal Taste with Emerging Trends

What do you value most when editing?

I always start with my own instincts and the things I genuinely enjoy. I’m drawn to bright, energetic, and visually busy imagery, so I never hesitate to embrace those elements when they fit the project.
Many of my ideas also come unexpectedly. I think those moments of inspiration are important because they’re impossible to recreate. Editing is a creative process where your instincts are constantly being tested, and every idea only exists in that particular moment. There’s nothing quite like the excitement of seeing different ideas come together to create a scene that just works.

Where do you find inspiration?

I spend a lot of time watching music videos and films by artists I like, especially through Instagram and other social media. That’s where much of my creative inspiration comes from.

Saved images on Pinterest

I also make a point of keeping up with new work. K-pop and Western pop music videos are especially helpful because they’re often at the forefront of visual trends, making them a great source of inspiration.

Some of my recent favorites are Olivia Rodrigo’s “get him back!” and Doja Cat’s “Agora Hills.” I also pay attention to the credits at the end of music videos to see who directed or edited them. Some of my favorite creative teams are BRTHR and Ice Cream.
Looking ahead, I’d love the opportunity to work on music videos for artists myself.