Shooting a manga documentary

Manga, the term for Japanese comic books or graphic novels, has evolved from its humble origins in Japan to become a multi-billion dollar industry, cementing its place as one of the most popular categories of books worldwide. The rise of manga adaptations in cinema and television, alongside a growing demand for the literature, has played a key part in attracting widespread appeal for the genre.

Sebastien Rossi, an accomplished director and cinematographer, delved further into the global phenomenon as part of his latest project, a six-episode documentary named Manga Mania. The series explores archival footage and interviews featuring Tony Valente, a renowned comic book and manga artist.

“The production takes place over 30 days in various environments, from the bustling streets of Tokyo to serene studios and interiors in Paris and Montreal,” Rossi explains.

With a portfolio of short films, feature-length productions and documentaries, Sebastien blends visual storytelling with a unique cinematographic approach. “What inspires me most is the ability to capture authentic moments and fascinating stories. I’m particularly drawn to projects that blend tradition with innovation, and Manga Mania is a perfect example of that.”

With more than 20 years’ experience working in the industry, combined with extensive knowledge of handling Sony and ARRI cameras, Rossi selected the compact and travel-friendly Sony FX6 and FX3 models to record the majority of the series. He paired the cinema line cameras with Atomos Ninja monitor-recorders to enable 4K ProRes HQ recording – a feature he utilises in his day-to-day projects to heighten image quality and reduce time editing footage.

“I often balance directing on set with supervising post production. LUT integration and optimizing ProRes workflows are key components of my work,” he shares. “As we’re already familiar with shooting in ProRes, we felt this workflow was the smartest way to record Manga Mania.”

Rossi explained that ProRes HQ enabled him to color grade footage which offered greater flexibility in post production. “Data transfers and general editing were so much faster,” he enthused.

One of the difficulties Rossi faced was the ability to accurately capture the picturesque backdrops in the series – this included the vibrant neon lights in Japan, to the more shaded surroundings in Canada. “Capturing the visual diversity of these locations while maintaining aesthetic consistency throughout the project proved a challenge,” he added.

“The combination of ProRes recording and monitoring tools enabled by Atomos’ products has transformed how we approach image capture and post production.”