No Unified Nationwide Film Permit for Japanese Locations... Leveraging FCs Is Crucial [K-Content Japan]

Direct Applications by Overseas Production Companies Not Possible... Local Partners Are Essential

Various National and Regional Incentives Including up to 1.5 Billion Yen through IP360

The unique administrative system in Japan is emerging as an obstacle for Korean production companies shooting on location there.

The drama "Merry Very Love," produced by CJ ENM Japan, Nippon TV, and Jiyuro Pictures, set to premiere on Disney+, is regarded as a model for Korean production companies conducting location shoots in Japan.

Sekine Ruriko, Secretary General of the Japan Film Commission (JFC), pointed out at the "Korea-Japan Content Co-production Week" hosted by the Korea Creative Content Agency in Tokyo on the 2nd that Japan does not have a top-down administrative order system, and there is no unified nationwide film permit system.

For Korean production companies to film in Japan, they must obtain separate permissions not only from the owners or managers of each location, but also seek approval from the local police and the consent of residents in the area.

Overcoming these challenges requires the support of specialized organizations like the JFC. Established in 2009, the JFC is a network organization comprised of 136 regional film commissions (FCs), local governments, and groups such as the Directors Guild of Japan.

About 80% of JFC members are affiliated with government departments related to tourism. Among these, roughly half of the local FCs are operated directly by local governments, while the other half are run by external organizations such as tourism associations or convention bureaus. In addition to recommending possible locations and providing information on incentives, they also help foster local community consensus.

Sekine presented four steps for international production crews to effectively utilize such support: First, contact the JFC and the regional FCs from the initial planning stage for consultation. Second, since production companies cannot directly apply for permits, they should partner with a Japan-based production service company or location coordinator to handle bookings and contracts. Third, use local FCs familiar with regional regulations to coordinate with facilities and residents. Fourth, when the work is released, collaborate with regional FCs on publicity efforts to enhance mutual recognition.

Ruriko Sekine, Secretary General of Japan Film Commission (JFC) / Tokyo Business Center of Korea Creative Content Agency.

She advised that projects establishing such a framework could also receive large-scale government funding. In fact, the Ministry of Economy, Trade and Industry provides up to 1.5 billion yen for large-scale live-action productions jointly planned with or commissioned by overseas production companies through the "IP360" program. Individual regional governments also offer separate incentive systems, such as up to 10 million yen in Sapporo, 20 million yen in Gunma, and 10 million yen in Tokyo.

The JFC is expanding cooperation opportunities through international markets. From October 10 to 13, it will participate in the Asian Contents & Film Market (ACFM) in Busan to conduct Korea-Japan film commission networking. From October 28 to 30, it will also operate a Japanese location consultation booth at TIFFCOM in Tokyo.

This content was produced with the assistance of AI translation services.