Note: This interview covers a lot about Brazilian culture, including Bossa Nova music and Brazilian architecture. I recommend playing some Bossa Nova music in the background to feel the essence of Brazil while you read.
After 10 Years of Atmoph, Finally Filmed Brazil
Since the founding of Atmoph, we’ve repeatedly attempted to capture the landscapes of Brazil, but various challenges—ranging from environmental conditions to securing cameramen and the difficulty of travel—made it nearly impossible. Finally, in July 2024, we released the long-awaited Brazilian scenery.
Our co-founder and CEO, Kyohi Kang, has a deep passion for Brazil, particularly sparked by his love for Bossa Nova. On the occasion of this release, I sat down with him to talk about his strong connection to Brazil.
Kyohi Kang, Co-Founder / CEO
Born in Tokyo, Kyohi worked at Nintendo on UI engineering for their game consoles' online services, after leading the User Interface Technology Department at NHN Japan. He earned a BS in Mechanical Engineering from Aoyama Gakuin Univerisity and a MS in Computer Science from the University of Southern California, studying robotics. A Brazilian music lover.
Atmoph wouldn’t exist without Brazilian music
– The interview with Michael, who captured the Brazilian landscapes, was fascinating. It really made me realize that only those who are there can truly grasp the essence of a place. Michael was so moved by Iguazu Falls that he said, “Honestly, the video only conveys about 10% of the grandeur of Iguazu Falls. After watching it on Atmoph Window, I still hope people go and experience it in person.”
Kyohi: Exactly. All our Atmoph cameramen say the same thing. There’s so much they want to convey and make people feel, but not everything can be captured in a video. I think only those who’ve filmed in person can truly understand this.
That’s why Atmoph’s philosophy is “Make the every day an adventure.” We hope that Atmoph Window inspires people to actually visit these places.
– I see. I’ve heard that you’re particularly passionate about Brazil, so much so that you even mention your love for Brazilian music in your profile on our website. Brazil doesn’t seem like a place you’d have much connection to—what sparked this interest?
Kyohi: That’s a fair point. From 2004, I studied in Los Angeles for about two and a half years because I wanted to become a robotics researcher. Those were the most challenging years of my life—studying, researching, and dealing with English. One of the few things that eased my stress was Brazilian music, especially Samba and Bossa Nova.
Toward the end of my studies, when my dream of getting a PhD was shattered, I drove from Los Angeles to Las Vegas alone, listening to Cartola’s “Pranto de Poeta” on repeat. It was during that drive that I gained the courage to start my own company.
Without Brazilian music, I wouldn’t be who I am today, and Atmoph wouldn’t exist either.
Looking back, my mother also loved Bossa Nova and often played it at home. So I grew up accustomed to the unique rhythms and melodies, which might be why I find it so comforting. I still listen to it every day.
– I’m embarrassed to admit that I didn’t even know Samba and Bossa Nova were Brazilian music.
Kyohi: Yes, “Bossa” means “trend” or “flow,” and “Nova” means “new.” It’s a genre of music born in Rio de Janeiro, blending Brazilian Samba with jazz. Brazil often has a cheerful image, but Bossa Nova touches on various themes like melancholy, love, loneliness, and solitude, each with its own unique charm. This connects deeply with Atmoph’s concept, which is why I love it so much.
Bossa Nova was created by Antonio Carlos Jobim and João Gilberto. Though both have passed away, I went to a live performance when Gilberto came to Japan.
The venue in Yurakucho held about 1,000 people, and he arrived very late. It was during a hot season, but he even requested that the air conditioning be turned off, which surprised me. But his dedication to the sound was truly impressive.
There’s also a lyricist named Vinicius de Moraes… Oh, should I stop talking about Bossa Nova now?
– Maybe we should leave it at that (laughs).
Kyohi: Anyway, my love for Brazil, especially Rio de Janeiro, is deeply rooted in Bossa Nova.
Brazilian architecture is also fascinating. Since Atmoph Window is about windows, it has a strong connection to architecture. I often read photo books on architecture, particularly by Tadao Ando and Le Corbusier. In Brazilian architecture, Oscar Niemeyer is famous, and his works might even appear in future Atmoph scenes.
Ten Years of Attempts to Film Brazil
– This time, we were able to film in Brazil because Michael, a member of the Atmoph team who is originally from Brazil, returned to his home country. Have you tried to capture Brazil in the past ten years?
Kyohi: We’ve approached it in various ways, but it just never worked out.
It might look simple, like we’re just setting up a camera and filming a fixed point, but capturing Atmoph’s landscapes is very challenging. The composition that makes it look like a view from a window, the horizon, the angle of view, the environment of the filming location, and even tourists who might start talking to you while filming—all these factors make it difficult. Also, since the filming is usually done alone and involves handling expensive equipment, there’s always the risk of theft or personal danger, depending on the region.
We work with seven videographers, both in Japan and abroad, but when they can’t travel to certain locations, we either need to find new partners or send our own members. Finding new partners isn’t easy either; they need to understand and execute Atmoph’s standards while also being aware of the risks and challenges involved.
Even professional cameramen haven’t done anything like filming a 15-minute static scene. Since such landscape footage didn’t exist in the world, Atmoph pioneered it. The more someone has their own artistic preferences, the harder it is to understand Atmoph’s concept.
As a result, it took us ten years to finally capture Brazil.
Michael, being from Brazil and having a good understanding of the terrain, as well as being involved in creating CG landscapes, was able to grasp the composition well. After some test shooting, we realized he was the right person for the job.
– Michael mentioned that filming wasn’t easy either. Do you think you’ll be able to add more Brazilian landscapes in the future?
Kyohi: It’s hard to say. This time, we were lucky that Michael happened to return to Brazil, but since he primarily lives in Japan, it won’t be easy. Still, there are countless fascinating places, and I hope we can capture more in the future.
– This time, we released three consecutive Brazilian scenes, with a total of 18 views combining singles and panoramas. Which one is your personal favorite?
Kyohi: That would be the “Rio de Janeiro Cityscape.” Of all the Brazilian views I’ve wanted to capture, I have a special attachment to Rio de Janeiro, where Bossa Nova was born. The cityscape, with its iconic mountains rising from the sea, often appears on Bossa and Samba album covers. When I think that Jobim and Gilberto might have sung on these beaches, I feel like I’m connecting with them across time and space. It’s like a way to say thank you for getting me through those tough times during my studies.
Kyohi: Actually, as much as I love Brazil, I’ve never been there myself. There’s a part of me that’s a bit scared. But as I talked about Brazil today, I realized how little I really know about it. I think that’s because I haven’t actually been there yet. If only I could open a window through Atmoph and just go there (laughs).
Since that’s not possible yet, I want people to feel as close to it as possible. I hope they look at the Brazilian landscapes, think, “Wow, this architecture is amazing,” or “The music that comes to mind is really nice,” and be inspired to visit Brazil one day. That’s our ultimate goal.
(This article was translated by AI.)
