Hidetaka Yosumi is among the most esteemed figures in the digital animation sector and currently resides in Bocacangrejo, the fishing village of Tenerife. His extensive career, spanning over 26 years, has been a blend of artistry, technology, and imagination, which has allowed him to collaborate on significant projects for globally recognised studios and firms. From his initial role as an engineer in Tokyo to becoming a character supervisor at Disney, his life has been driven by an unwavering desire to enhance his skills and discover new avenues.
Hidetaka Yosumi’s professional journey commenced at Dream Pictures Studios in Tokyo, where he began his career as an engineer/programmer. This initial exposure to digital animation enabled him to delve into character creation. His talents were quickly acknowledged, and he was soon recruited by one of the largest video game companies worldwide, Square Enix, where he contributed to prominent titles such as Final Fantasy X (2001), Final Fantasy XI, and Kingdom Hearts (2002).
However, Yosumi wished to expand beyond video games. In 2003, he opted for a career shift and relocated to London, joining the animation studio Vanguard Animation. There, he worked on the film Valiant (2005), marking his debut in the computer-animated film industry. The shift from video game animation presented challenges but also offered opportunities for growth.
Disney and Rapunzel’s Hair
In 2006, Hidetaka became part of Walt Disney Animation Studios in Burbank, California, contributing to some of the most memorable works in contemporary animation. He participated in the Rigging of the character Rhino in the iconic BOLT (2008). His experience at Disney was transformative; he emerged as a prominent figure in character design. In Tangled (2010), he served as the technical director for Rapunzel’s hair, overseeing the simulation of her 22 metres of locks—a significant technical and artistic undertaking. His efforts were vital in ensuring the hair felt like an extension of the character.
The Little Prince
Continuing his Disney journey, Hidetaka took on roles in projects like Wreck-It Ralph (2012), where he supervised the characters of Sugar Rush, including the lead character Vanellope. His accomplishments at Disney solidified his status as a leader in the rigging domain, which is a technique in digital animation for creating the structures that allow characters to deform and move. In 2016, he worked on two international projects in Paris: The Little Prince and Mune.
Love Leads to Tenerife
Despite his achievements in the animation capital, Hidetaka began to feel the need for a change. In 2021, while working remotely on several projects for Netflix, a personal connection opened the door to a new chapter in his life. A romantic interest led him to accept a position as an audiovisual coordinator in Santa Cruz de Tenerife, prompting him to consider a move to the Canary Islands.
The decision to relocate was influenced not only by his personal relationship but also by the prospect of living near the coast, something he could not experience while based in Los Angeles. Yosumi stated, “I have always dreamed of living near the ocean, and with the chance to work from anywhere, I decided it was the perfect time to explore the Canary Islands.” After exploring various locations, he discovered his home in the quaint fishing village of Bocacangrejo, Tenerife, a peaceful and charming area, as he describes it.
The Advantage of the ZEC
Once settled in the Canary Islands, Hidetaka Yosumi began to recognise the advantages of the Canarian Special Zone (ZEC), which provides tax incentives for companies involved in technology, animation, and film, among other fields. Consequently, he decided to relocate his company, Studio Nowake, from Madrid to Tenerife in 2023. This company focuses on developing 3D digital characters for various sectors, including animation, video games, VFX, metaverse/XR, fashion, and architecture. Additionally, they have created rigging software to simplify character animation. Yosumi is also investigating the influence of blockchain technology on digital animation.
“I realised that ZEC presented an excellent opportunity to expand my company and contribute to the industry’s growth in the islands. Living here allows me to achieve balance between my personal and professional life,” he commented, appreciating the tranquillity of the area.
Collaboration with Bong Joon-Ho, Director of ‘Parasite’
At Studio Nowake, Hidetaka Yosumi and his team are engaged in international projects. Currently, they are developing characters for the anime Poupelle of Chimney Town 2 in partnership with the Japanese studio Studio 4C, as well as for a project led by Bong Joon-Ho, the acclaimed director of the film Parasite, for which they are designing digital sea creatures. His studio employs ten professionals from Spain (including both the Peninsula and the Canary Islands), France, and India.
Yosumi also dedicates time to nurturing young talent in the Canary Islands. “I have learned from remarkable artists who shared their knowledge with me. I aspire to do the same for the upcoming generations.” He believes that the industry and academia should work collaboratively. “The universities must understand the industry’s requirements, and conversely, the industry must be open to shaping new talent,” he reflected.
