- published: 26 Jan 2012
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Masaru Sato (佐藤 勝, Satō Masaru, May 29, 1928 – December 5, 1999) was a Japanese composer of film scores. He was born in Rumoi, Hokkaidō and raised in Sapporo. While studying at the National Music Academy, Sato came under the influence of Fumio Hayasaka, Akira Kurosawa's regular composer for his earlier films. He became a pupil of Hayasaka's, studying film scoring with him at Toho Studios, and working on the orchestration of Seven Samurai (1954). When the older composer died suddenly in 1955, leaving the scores to Kenji Mizoguchi's New Tales of the Taira Clan, and Kurosawa's Record of a Living Being incomplete, Toho assigned Sato to finish them. His first original score was for Godzilla Raids Again in 1955. He wrote the music to all of Kurosawa's movies for the next decade, including Throne of Blood, The Bad Sleep Well, Yojimbo, Sanjuro, and Red Beard. In addition to Mizoguchi and Kurosawa, Sato worked with Hideo Gosha.
His work in the realm of popular film continued throughout his career, composing the scores to Ishirō Honda's Half Human (1955) and The H-Man (1958), Senkichi Taniguchi's The Lost World of Sinbad (1963), and three Jun Fukuda-directed Godzilla films: Godzilla vs. the Sea Monster (1966), Son of Godzilla (1967), and Godzilla vs. Mechagodzilla (1974). During his 44-year association with Toho Studios, he wrote more than 300 film scores. He also created the music for such Japanese Television series as Water Margin. He was nominated for Best Music at the 15th Japan Academy Prize.
The illusions or tricks of the eye used in the film, television, theatre, video game, and simulator industries to simulate the imagined events in a story or virtual world are traditionally called special effects (often abbreviated as SFX, SPFX, or simply FX).
Special effects are traditionally divided into the categories of optical effects and mechanical effects. With the emergence of digital filmmaking a distinction between special effects and visual effects has grown, with the latter referring to digital post-production while "special effects" referring to mechanical and optical effects.
Mechanical effects (also called practical or physical effects) are usually accomplished during the live-action shooting. This includes the use of mechanized props, scenery, scale models, animatronics, pyrotechnics and atmospheric effects: creating physical wind, rain, fog, snow, clouds, etc. Making a car appear to drive by itself and blowing up a building are examples of mechanical effects. Mechanical effects are often incorporated into set design and makeup. For example, a set may be built with break-away doors or walls to enhance a fight scene, or prosthetic makeup can be used to make an actor look like a non-human creature.
In film and television, a production designer or P.D is the person responsible for the overall look of a filmed event such as a TV program, video game, music video, or advertisement. Production designers have a key creative role in the creation of motion pictures and television. Working directly with the director and producer, they must select the settings and style to visually tell the story. The term "production designer" was coined by William Cameron Menzies while he was working on the film Gone with the Wind. Previously (and often subsequently) the people with the same responsibilities were called "art directors".
In the United States and Europe as well as Mexico, production designers are represented by IATSE local 800; the Art Directors Guild. The production design credit must be requested by the producer, prior to completion of photography, and submitted to the Art Directors Guild Board of Directors for the credit approval. In Canada, production designers are represented by the Director's Guild of Canada, except in British Columbia where they are represented by IATSE.
Film editing is part of the creative post-production process of filmmaking. The term film editing is derived from the traditional process of working with film, but increasingly involves the use of digital technology.
The film editor works with the raw footage, selecting shots and combining them into sequences to create a finished motion picture. Film editing is described as an art or skill, the only art that is unique to cinema, separating filmmaking from other art forms that preceded it, although there are close parallels to the editing process in other art forms such as poetry and novel writing. Film editing is often referred to as the "invisible art" because when it is well-practiced, the viewer can become so engaged that he or she is not even aware of the editor's work. On its most fundamental level, film editing is the art, technique, and practice of assembling shots into a coherent sequence. The job of an editor isn’t simply to mechanically put pieces of a film together, cut off film slates, or edit dialogue scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors' performances to effectively "re-imagine" and even rewrite the film to craft a cohesive whole. Editors usually play a dynamic role in the making of a film. Sometimes, auteurist film directors edit their own films, for example Akira Kurosawa and the Coen Brothers.
Jun Fukuda (福田純, February 17, 1923 Manchuria - December 3, 2000) was a Japanese film director, writer and producer.
Jun Fukuda joined Toho in 1946 and ventured into the realm of assistant director as others like Hiroshi Inagaki took the young man under their wings. By 1959, Fukuda began a career as a full-fledged director. His early work slanted more toward mystery, but he began to expand into more comedic work by the mid-1960s, with movies such as Iron Finger (1965). It was around this time that Fukuda was approached and given the opportunity to direct a movie in the Godzilla series, Ebirah, Horror of the Deep (1966), which he accepted. By the director's request, Akira Ifukube was bypassed for the production in favor of Masaru Sato, a composer with whom Fukuda was more familiar. Fukuda would go on to direct entries in Toho's popular Young Guy series and Konto 55, however he would be best known for his Godzilla work and would later in his career become the "go to" director for special effects productions after Ishiro Honda stepped out of the limelight. Fukuda also wrote the un-produced Invisible Man vs. the Human Torch.
By Masaru Satô, the main theme from Kill!
Masaru Sato provides a great score for Kihachi Okamoto and Teruyoshi Nakano's 1971 war epic, Battle of Okinawa(Toho, 1971)
According to legend in Okinawa: when a black mountain appears above the clouds, a monster will appear to destroy the earth. The prophecy is discovered on a statue, recently uncovered and said to belong to the protector King Caesar. The prophecy's importance is quickly discovered, though, when Godzilla emerges after a black mountain visage is seen in the clouds. As Anguirus appears not long afterwards, Godzilla attacks and defeats him, causing confusion in onlookers for assaulting his close ally. The truth is shortly uncovered as a second, and the true, Godzilla emerges to reveal an alien invasion using a mechanical Godzilla. STAFF: Directed by Jun Fukuda Writing credits : Jun Fukuda, Masami Fukushima, Shinichi Sekizawa, Hiroyasu Yamamura Produced by Tomoyuki Tanaka Music by Masaru Sato C...
Determined that his brother is alive after a shipwreck, Ryota is desperate to set sail to go after him and convinces two men to help him look at boats. While looking at the yachts, the trio comes across a man claiming to be the owner who threatens them at gunpoint for trespassing. Rather than reporting them, he says they can stay the night as long as they vanish tomorrow morning. That evening, Ryota sets sail in search of his brother without telling anyone. The rest are taking as unwitting captives as none of them know how to sail to turn the ship around. The quest is interrupted, though, by a giant, crimson claw that emerges from the South Seas. Destroying the yacht, the group is stranded on a nearby island... an island under the control of a terrorist group called the Red Bamboo and that...
Shoichi Tsukioka and Koji Kobayashi, two airplane fishing scouts and close friends, make a startling discovery when they find two giant monsters on a remote island: a second Godzilla and a kaiju called Anguirus. As the monsters fight their way into the ocean, the two fishing scouts rush to warn the authorities. Eventually, Godzilla makes his way to Osaka and, after an unsuccessful blackout in the city by the self defense force to try and lure the creature away, is joined by Anguirus as the two beasts lay waste to the city amidst a brutal conflict. STAFF: Directed by Motoyoshi Oda Writing credits : Shigeaki Hidaka, Shigeru Kayama, Takeo Murata Produced by Tomoyuki Tanaka Music by Masaru Sato Cinematography by Seiichi Endo Film Editing by Kazuji Taira Production Design by Teruaki Abe, Tak...
The Sword Of Doom (1966) soundtrack music by Masaru Satô
A group of scientists are on tropical Solgel Island in the Pacific to conduct weather control experiments. Just before they begin, they find giant preying mantises measuring 25 feet tall called Kamakaras. They decide to go ahead with the experiments, but a malfunction in one of the devices and as a result a radioactive storm that pushes the temperature up to two hundred degrees. The storm also causes the mantises to grow even bigger to 100 feet tall. The mantises then make their way to a huge mound where they uncover a giant egg which contains a young Godzilla, later named Minilla. Eventually, Godzilla shows up and saves his offspring. The rest of the movie features Godzilla taking care of and teaching his young son the skills that will eventually help him to become the new "King of Monste...
Goyokin soundtrack (1969) music by Masaru Sato
Music from the soundtrack of Yojimbo (1961) by Masaru Sato
Masaru Sato provides a score of epic proportions for Shuei Matsubayashi and Eiji Tsuburaya's war opus Battle of The Japan Sea (Nihonkai daisakusen, 1969)
Soundtrack From The Akira Kurosawa's Film "Akahige" (1965) Composed By Masaru Satô
Music from the soundtrack of Yojimbo (1961) by Masaru Sato
performded in "Rebirth all stars live" at Play House 2005/6/19 vo.ibuki Gt.shunsuke Gt.kyotaro Ba.daigo Dr.junichi Key.Masaru Sato -Video Upload powered by https://www.TunesToTube.com
Composer Masaru Sato with the funky end theme from the 1974 film, Lupin the Third: Strange Psychokinetic Strategy AKA Nenriki chin sakusen. (All rights reserved by the copyright holders.)
Compositeur: 佐藤優 Masaru Sato Un film de Hideo Gosha (Japon, 1969) avec Shintarō Katsu, Tatsuya Nakadai, Baisho Mitsuko, Ichiro Nakaya, Jiro Sakagami et Yukio Mishima... Histoire: Izo, samouraï vagabond, cruel, passablement stupide et désargenté, est exploité par Takeshi, chef de clan, qui veut se servir de lui pour assurer son ascension sociale. Mais malgré sa dévotion absolue à son maître, Izo n'arrive pas à trouver la sérénité.
Ame Agaru movie. Mucic by Sato Masaru
The rousing opening theme from Kurosawa Akira's The Hidden Fortress.Original music by Satô Masaru.
When a narcotics deal goes sour and a suspect disappears, leaving only his clothes, Tokyo police question his wife and stake out the nightclub where she works. His disappearance stumps the police - until a young scientist appears who claims that H-Bomb tests in the Pacific, evidenced by a "ghost ship" that has turned up in the harbor, have created radioactive creatures - "H-Men" - who ooze like slime and dissolve anyone they touch. STAFF: Directed by Ishiro Honda Writing credits : Takeshi Kimura, Hideo Kaijo Produced by Tomoyuki Tanaka Music by Masaru Sato Cinematography by Hajime Koizumi Film Editing by Kazuji Taira Production Design by Takeo Kita Director of Special Effects : Eiji Tsuburaya CAST: Chikako Arai : Yumi Shirakawa Masada, Doctor : Kenji Sahara Tominaga, Inspector : Akihi...
Racked by earthquakes and volcanos, Japan is slowly sinking into the sea. A race against time and tide begins as Americans and Japanese work together to salvage some fraction of the disappearing Japan. STAFF: Directed by Shiro Moritani Writing credits : Shinobu Hashimoto, Sakyo Komatsu Produced by Tomoyuki Tanaka, Osamu Tanaka Music by Masaru Sato Cinematography by Daisaku Kimura, Hiroshi Murai Film Editing by Michiko Ikeda Production Design by Yoshiro Muraki Assistant Director : Koji Hashimoto Director of Special Effects : Teruyoshi Nakano CAST: Tanaka Tadokoro, Doctor : Keiju Kobayashi Toshio Onoda : Hiroshi Fujioka Reiko Abe : Ayumi Ishida Yamato, Prime Minister : Tetsuro Tamba Prince Watari : Shogo Shimada Narita : John Fujioka Australian Prime Minister : Andrew Hughes Japanese Amb...
A small group of university students wind up discovering the truth to one of the world's greatest legends during a skiing trip in the Japanese Alps. Two of the students, charged with a jolt of caution-free excitement, ski ahead of their comrades. However, a blizzard sweeps over the mountain. The remaining three skiers return to their cabin and attempt to contact another shelter further down the slopes. A phone call from the cabin ends with gunshots and a mysterious shriek that's only vaguely human. A subsequent investigation discovers the shelter in shambles, one skier dead, his comrade missing, and a set of footprints trailing into the wilderness. The mystery continues to build, with complications arising from a money-hungry businessman and a nearby village of less-than-friendly people......
Composed by Masaru Sato TRACKS: 0:00:00 - 01. Opening (M1) 0:00:25 - 02. Main Title (M2) 0:02:35 - 03. The Sherbet Plan (M3) 0:02:59 - 04. Visitor from the Sky (M4) 0:03:33 - 05. The Univinted Guest (M5) 0:04:00 - 06. The Giant Praying Mantis (M6) 0:04:51 - 07. The Young Girl From Zorugeru Island (M7) 0:06:13 - 08. Preparing for the Experiment (M8) 0:08:19 - 09. The Frozen Sonde I (M9) 0:09:06 - 10. The Synthetic Radioactive Sonde I (M10) 0:10:04 - 11. The Island's Misery (M11) 0:11:17 - 12. Gimantis (M12) 0:13:03 - 13. The Appearance of the Egg (M13) 0:13:15 - 14. The Silhouette on the Tree (M14T2) 0:13:47 - 15. The Birth of Minya (M15) 0:14:27 - 16. Parent Godzilla Comes Ashore (M16) 0:16:01 - 17. Psycho and Minya (M17) 0:17:45 - 18. Shinjo and Psycho (M18) 0:18:12 - 19. Godzilla and Mi...
Track Title: Godzilla's Adversaries and Allies Movie: The Godzilla Series Composer(s): Akira Ifukube, Masaru Satoh, Kunio Miyauchi, Riichiro Manabe, Koichi Sugiyama, Takayuki Hattori, Michiru Oshima and Kow Otani Theme of the Week: May 1, 2014 Track Info: For more information on these themes click here: http://www.scified.com/site/we-all-wear-suits---japanese-sci-fi--fantasy/the-music-of-godzilla-adversaries--allies 1. King Kong's Theme from KING KONG VS. GODZILLA - Akira Ifukube - 0:01 2. Mothra's Theme from MOTHRA VS. GODZILLA - Akira Ifukube - 1:43 3. Rodan's Theme from GHIDORAH: THE THREE HEADED MONSTER - Akira Ifukube - 3:42 4. Mothra Larva's Theme from GHIDORAH: THE THREE HEADED MONSTER - Akira Ifukube - 5:18 5. King Ghidorah's Theme from GHIDORAH: THE THREE HEADED MONSTER - Ak...
http://link.imd.org/home - The 12th Nikkei Global Management Forum
큐슈대학 예술공학부 교수(Content and Creative Design Faculty of Design) 예술공학회 이사 일본디자인 학회 이사 일본사인학회 부회장 일본사인디자인 협회 부회장 후쿠오카 도시경관상 심사위원장 아시아 경관디자인학회 회장 1995년 후쿠오카 유니버시아드대회 토탈디자인 시스템 계획으로 SDA(일본사인디자인협회) 대상(1996) 외 수상 다수 , 후쿠오카 컨테이너 항만시설 색채계획, 후쿠오카 시내 공공사인계획 후쿠오카 니시나카지마바시(西中島橋) 교량 디자인, 후쿠오카 지하철 3호선(나나쿠마센) 토탈 디자인 큐슈대학 종합병원 아동병동(일본 굿디자인상 수상), 정신병동, 신외래병동 색채계획 큐슈대학 신캠퍼스 토털디자인계획
公益財団法人フォーリン・プレスセンター Foreign Press Center/Japan http://fpcj.jp/ プレス・ブリーフィング:「竹島に関する日本の立場」(2012年8月22日) 佐藤勝 外務省国際報道官 Press Briefing:"Position of Japan on Takeshima" " (August 22, 2012) Mr. Masaru Sato, Assistant Press Secretary, Ministry of Foreign Affairs 詳細はこちら↓ http://fpcj.jp/modules/news3/?opt=2&storytopic;=3&ml;_lang=ja For more information↓ http://fpcj.jp/modules/news3/?opt=2&storytopic;=3&ml;_lang=en