Freestyle football continues to thrive both in Japan and across the world, with Japanese athletes making their mark on the international stage. Originating from football juggling, the sport captivates audiences through highly creative performances and has gained popularity among people of all ages as a street sport defined by each player’s individuality.

This time, we conducted an interview during a video shoot featuring freestyle footballer Yu-ri (Yuri Izu), the only Japanese athlete in the discipline sponsored by Red Bull.

Through the lens of visual production, we spoke with former player turned visual creator Issei Uehara and Yu-ri about their impressions of the shoot. Uehara also shared insights into his creative process, his filming techniques, and the key elements he focuses on when capturing freestyle football.

In addition, both discussed their experience using storage solutions from SanDisk, a brand highly trusted among filmmakers for reliably storing footage and project data—an essential part of preserving valuable creative work.

Below, we present their interview alongside video and photography from the shoot, offering a closer look at the creative process behind the project.

What it takes to create truly exceptional visual work — the shared commitment of the filmmaker behind the lens and the athlete in front of it.

Issei Uehara (hereafter U)
Yu-ri (hereafter Y)

— When filming freestyle football, what do you focus on most?

U:As a filmmaker, of course it’s essential to accurately capture the athlete’s movement. But since I also work on projects beyond street sports—such as music videos—I place a huge emphasis on finding angles that maximize the character of each location.

For example, during today’s shoot, there happened to be oil drums and an old television on site, so we incorporated those into the background while filming Yu-ri’s floor moves. We also used the industrial ceiling by shooting from an extremely low angle to accentuate the height of the ball during aerial tricks.

I believe that by creatively using the environment and layering those visual elements onto the athlete’s skill, the final piece becomes much stronger. That’s something I’m always conscious of.

— From the athlete’s perspective, what do you focus on when being filmed?

Y:Simply put, my priority is delivering a flawless, high-quality performance.

Freestyle football is inherently risky, and mistakes are easy to notice. In competitions or live performances, the top priority is landing the trick. But with filming, there’s the opportunity to redo takes, so I focus on perfecting every detail—hand positioning, foot angles, every subtle movement—so the performance is captured exactly as intended.

To prepare for that, I usually start about a week in advance by narrowing down the tricks I want to perform and training them intensively. Just like before a competition, I aim to arrive fully polished and completely confident.

Because of that preparation, even within the limited time we’re given on shoot days, I feel we’ve been able to capture the performances I wanted in nearly every project we’ve done.

For this particular SanDisk project, my personal goal was to outperform anyone who had appeared in previous campaigns. I came into it with the mindset of, “I’m going to show my absolute best freestyle.”

U:That level of preparation is incredibly valuable for us as filmmakers.

This time as well, once I shared the concept I wanted to capture, Yu-ri immediately proposed several tricks that fit perfectly. Thanks to that, we were able to move smoothly through the shoot and capture a wide range of strong visuals.

— You also have experience as a freestyle football player yourself. Are there any unique challenges that come with filming freestyle football?

U:I definitely feel that filming freestyle football is uniquely demanding.

With other forms of performance—like street dance, double dutch, or even music videos—the performer often remains relatively fixed within a certain space while moving. But with freestyle football, it’s not just about capturing the athlete’s body movement. You also have to clearly showcase the movement of the ball.

That creates a completely different challenge.

Because of that, I’m always focused on how far I can push my camera work to make the ball’s trajectory look as visually striking as possible. It’s something I constantly discuss with the player during the shoot so we can find the best way to present each movement.

Having practiced freestyle football myself gives me a big advantage, because I understand what makes the movement of the ball look truly impressive.

That understanding allows me to capture not only the player’s style, but also the beauty of the ball’s motion itself. I’m constantly studying and experimenting so I can keep evolving the quality of my filming and better express that full visual impact.

— Could you also tell us more about the specific camera techniques you’re particular about?

U:When it comes to camera work, smooth gimbal shots have become the standard in recent years, and a lot of creators rely on them because they produce polished visuals.

But since so many creators are already doing that, I try to approach things differently by drawing from my experience shooting music videos.

Sometimes I intentionally lock the camera off completely, while other times I switch to handheld and move the camera more aggressively to create a rawer, more visceral feel.

By varying the style of camera movement like that, I can create stronger visual contrast throughout the piece.

The goal is to keep the athlete’s performance clearly at the center, while also making sure the final video remains visually engaging from start to finish—something viewers won’t lose interest in halfway through.

Five years of shared history have built an almost instinctive chemistry — a one-of-a-kind relationship of trust that continues to drive each other’s evolution.

— How did this shoot feel for both of you?

Y:For me, it was an incredibly emotional experience.

Five years ago, when I was still just starting out as a player and honestly had no real idea what I was doing, Uehara-san reached out and invited me for a shoot.

We spent an entire day filming in Kichijoji, and I still vividly remember it. At the time, I couldn’t consistently land the tricks I wanted, and Uehara-san was still figuring out how best to capture my style. We were both drenched in sweat, experimenting and searching together throughout the day.

Then five years passed, and during that time we both kept pushing ourselves toward becoming professionals in our own fields.

This time, what really stood out was that I didn’t even need to tell him when I wanted certain moments captured—he just instinctively knew.

That gave me complete confidence to focus on performing until the very end. It was genuinely fun, and it made me really happy to feel how much we’ve both grown.

U:It really is nostalgic.

Back then, during the pandemic, I had almost no work coming in, but I was restless and eager to create something.

That was when I started making freestyle football content for YouTube, and the very first player I wanted to shoot was Yu-ri.

Looking back now, it feels like the culmination of five years of growth on both sides.

I feel my filmmaking has improved dramatically compared to then, and even though this time I was experiencing a lot of Yu-ri’s progression through the camera lens, it was obvious how much his level has risen.

Every trick he performed was on another level.

That made the shoot incredibly exciting for me, and I’m genuinely looking forward to seeing how people react when they watch this new piece.

— Speaking of your relationship, how would you describe Yu-ri as a player?

U:Even when I filmed him for the very first time five years ago, I had this instinctive feeling: “If I’m starting my YouTube journey, the very first player I want to feature is Yu-ri.”

There was just something about him that stood out.

Back then, he was still an up-and-coming young player trying to find his path. Seeing him grow from that stage into the professional athlete he is today—traveling across Japan and becoming a familiar name within the scene—has been incredibly inspiring to watch.

Of course, there are many players with amazing skills and great style.

But what makes Yu-ri special to me is his story—his evolution from the streets to where he is now.

That journey gives him a unique presence, and for me, he’s a one-of-a-kind performer who continues to motivate and inspire me.

— And on the other hand, how would you describe Uehara-san as a filmmaker?

Y:Back when he was still a player, Uehara-san specialized in the same style of air move that I do—what we call lower air moves, where you rotate your leg quickly and get it back underneath the ball as it drops.

Because of that background, he has a very deep understanding of that particular style and a strong attention to detail when filming it.

He always knows exactly which moments I most want to showcase, and because his camera work and direction are both so strong, I’ve always seen him as an incredibly high-spec filmmaker.

Over the years, though, I’ve come to see his growth in an even broader sense.

Recently, we’ve been crossing paths more often at events, and the last time we met at Freestyle Space, I saw him working behind the scenes handling live monitor switching.

That moment really stood out to me.

It made me realize that he’s no longer just someone who films great content—he’s become someone actively supporting and elevating the entire street scene.

Seeing that has been hugely inspiring for me.

Not missing a single split-second moment of brilliance — the choice is a cinema camera capable of capturing every movement of both player and ball.

— What equipment did you use for this shoot, and what made you choose it?

U:For this project, I used a Blackmagic Pocket Cinema Camera.

To be honest, it’s not the easiest camera to operate solo. It doesn’t have autofocus, the battery setup is heavy, and in terms of practicality, there are definitely more convenient options.

But when filming a player with this level of skill, I believe the filmmaker’s visual execution can’t fall short of the athlete’s performance.

That’s why I chose this camera. It’s widely used for music videos and drama productions, and it delivers a cinematic texture that elevates the final piece into something much more immersive.

Another major reason was how seamlessly it works with the SanDisk Extreme Portable SSD.

Being able to connect the SSD directly to the camera for recording—and then immediately plug it into a computer afterward without needing adapters or extra conversion steps—makes the workflow incredibly smooth.

That level of efficiency was a huge factor in my decision.

— Since you mentioned portable SSDs, what do you focus on when it comes to data management in your production workflow?

U:This particular shoot was relatively relaxed in terms of timing, but most production environments are extremely tight.

A lot of the time, once filming wraps, equipment has to be returned immediately, so the speed at which we can transfer and back up footage becomes critical.

There are many situations where the entire crew ends up waiting for data transfers to finish before we can leave.

Because backing up footage is always the top priority on set, it’s not something you can ever cut corners on.

That’s why transfer speed matters so much.

Choosing an SSD that can move large amounts of data quickly and reliably is essential for keeping the workflow efficient while ensuring every piece of footage is safely secured.

— To go a little deeper, how do you divide your workflow between portable SSDs and other storage devices when editing on your computer?

U:I actually keep two SanDisk Extreme Portable SSD units.

One is used directly during filming, while the second is dedicated to editing. After a shoot, I transfer all footage onto that editing SSD, and at the same time create a separate backup on an external hard drive.

For editing, working directly from the SSD is much faster and smoother, so I connect it straight to my computer and access the project files there.

The hard drive exists purely as a safety backup in case anything unexpected happens.

That dual-storage setup gives me both speed and security, which is essential for professional production.

— Have you ever experienced any major accidents during a shoot that made you realize just how important reliable storage is?

U:There’s one moment I’ll never forget.

I was filming a 3×3 basketball event, and I got so caught up in the energy of the game that I moved all the way underneath the hoop to capture the action.

Then suddenly, a basketball came flying straight at the SSD attached to my camera—the same SanDisk Extreme Portable SSD that was actively recording.

The impact was hard enough that recording stopped instantly.

The moment it happened, my heart sank. I was convinced all the footage was gone.

I remember sitting there in total panic, connecting the SSD to my laptop with shaking hands.

And then—to my absolute relief—every single file was still intact.

I can still remember the feeling of all the tension leaving my body at once.

That experience really reinforced just how critical reliable storage is in this line of work.

What SanDisk storage truly delivers is absolute trust — giving filmmakers the confidence to focus entirely on capturing the moment.

— Why did you choose SanDisk over so many other storage brands?

U:A big reason goes back to my very first year after moving to Tokyo.

At the time, I was working for a music video production company, and every storage device they used was made by SanDisk.

Because of that, using SanDisk products became almost second nature to me—it felt like the industry standard.

When a production company trusted with large-scale budgets and high-pressure professional sets relies on a certain brand, that gives you confidence.

So when I became independent as a freelancer, continuing to use SanDisk felt like the obvious choice.

As for portable SSDs specifically, the fact that they can connect directly to my camera made the decision even easier.

That workflow compatibility made them a perfect fit.

— You’ve been using SanDisk products for years. Could you tell us about the SSDs you’ve used over time?

U:For portable SSDs, I’ve consistently used the SanDisk Extreme Portable SSD—the same model we used for this shoot.

I currently own three 2TB units.

What gives me so much confidence in them is their reliability.

No matter when I go back to older footage, I’ve never had an issue with corrupted files, deterioration, or device failure.

That consistency is why I trust them completely.

— Are there any other aspects of SanDisk products that have stood out to you over the years?

U:One feature that’s especially important to me is the dust and water resistance of the SanDisk Extreme Portable SSD.

It’s something SanDisk officially highlights, but I’ve experienced firsthand just how valuable that durability is.

For example, when filming the project that later received an excellence award at CREATIVE X AWARD 2024, we spent a lot of time shooting on the beach.

There was one scene we absolutely had to capture at sunset.

Since the window for that light was incredibly short, both the player and I knew we only had a few minutes left.

At that point, there was no time to worry about protecting the gear.

We were fully locked in—thinking, “It doesn’t matter if this gets wet or covered in sand, we just have to get the shot.”

As a result, the camera and SSD were exposed to sea spray, moisture, and a lot of sand.

Honestly, after the shoot, I thought we may have pushed things too far.

But afterward, everything continued working perfectly.

That was the moment I really felt, “This is exactly why people trust SanDisk.”

I’ve never dropped one, but knowing it also has strong shock resistance gives me even more peace of mind.

Even the physical texture contributes to that confidence—the slightly soft exterior makes it feel like it can absorb impact and withstand tough conditions.

And beyond functionality, I also genuinely like the design.

Most camera equipment is entirely black, so the orange accent on the SSD adds a subtle visual contrast that looks great when mounted to the rig.

It’s a small detail, but one I personally appreciate every time I’m shooting.

— Compared to the SSD you usually use, what were your impressions of editing with the new SanDisk Extreme PRO with USB4?

U:The first thing that stood out was the transfer speed when backing up data from my computer.

Compared to my usual drive, it honestly felt more than twice as fast.

That was the biggest immediate difference I noticed.

When editing, I’m very particular about maintaining image quality, so I often work directly with heavy, high-resolution files rather than creating lower-quality proxies.

If an SSD’s read speed isn’t fast enough, playback during preview becomes choppy and inconsistent.

That’s extremely frustrating for editors.

Of course, one workaround is lowering playback quality, but as a creator, if I’ve captured something beautifully, I want to review it exactly as it was shot—at full quality and natural playback speed.

That’s where this SSD was incredibly valuable.

As I mentioned earlier, I usually record directly to the SanDisk Extreme Portable SSD connected to my camera, and in many cases I’ll simply unplug it after shooting, connect it to my computer, and edit directly from it without transferring the files.

This time, however, because I wanted to test the SanDisk Extreme PRO with USB4, I used it purely as an editing drive.

I transferred the footage from my computer onto it, connected it just as I normally would with my regular Extreme SSD, and edited directly from there.

The performance was immediately noticeable.

Actually, this particular project involved a few compromises in the shooting environment that introduced some noise into the footage, so I had to compensate quite a bit during post-production.

That kind of processing usually makes export times significantly longer.

But using the Extreme PRO with USB4, rendering and exporting felt noticeably faster.

And in this line of work, even shaving off a few minutes can make a real difference—especially when you’re racing against a delivery deadline.

That speed can genuinely be a lifesaver.

A filmmaker and a player — two distinct roles coming together to open the next chapter of freestyle football.

— In an era where social media and video content are everywhere, how do you see the value of preserving freestyle football as a lasting work of art?

U:I have nearly ten years of experience in freestyle football myself, going back to when I was in middle school.

Although I’ve since stepped away from competing and shifted fully into filmmaking, I still constantly check players’ social media.

There are so many moments when I watch new clips and think, “Wow, players have already reached this level?”

The scene is evolving incredibly fast.

As social platforms continue to expand, more and more players are becoming capable of creating impressive content on their own.

And honestly, I think that’s great.

That kind of everyday content creation is something I’d like to see each player continue developing for themselves.

My role, on the other hand, is different.

When opportunities like this arise, I want to keep challenging myself to bring the artistic perspective and cinematic knowledge I’ve developed over the years into freestyle football.

Of course, showcasing the beauty of a player’s tricks is essential.

— Finally, how do you hope to lead the future of freestyle football, and what vision do you have for the scene moving forward?

U:For me, the goal is to keep pushing how much artistic value I can add to the incredible movements players already bring.

It’s about taking their performance and elevating it into something even more powerful as a visual work.

One thing I strongly believe is that a great freestyle film shouldn’t only be compelling when the player is actively performing tricks.

There’s also beauty in the moments between the movement—the atmosphere, the framing, the silence, the tension, the storytelling.

If we can express that side of freestyle as well, I think it creates an entry point for people who may not have any prior interest in street culture.

Of course, preserving high-level technical tricks on film will always remain essential.

But I believe that by introducing new cinematic elements and expanding the way freestyle football is presented, we can attract entirely new audiences to the scene.

If I can contribute to that evolution through filmmaking, even in a small way, that would mean a lot to me.

Y:I have a lot of ambitions.

And they go beyond simply improving as a performer.

I want to achieve things that feel truly aspirational—appearing on major television variety shows, featuring in commercials, collaborating with artists I’ve always admired.

By accomplishing those kinds of milestones one by one, I hope to give dreams to the next generation of freestyle footballers, to my juniors, and to the wider street sports community as a whole.

When I was a kid, I looked up to Tokura, a freestyle footballer and Red Bull athlete.

Seeing what he accomplished gave me something to chase.

That dream is what pushed me to work hard enough to become who I am today.

Now, I want to become that same kind of presence for the next generation—or hopefully something even bigger.

I want to be someone who inspires young players to believe that freestyle football can take them further than they ever imagined.

That’s what I’ll keep striving for.

Sandisk「この瞬間を残したい」

① SanDisk Extreme Portable SSD

◼ Supports USB 3.2 Gen 2
◼ Up to 1,050MB/s read speeds and 1,000MB/s write speeds
◼ Built to withstand drops of up to 3 meters
◼ IP65-rated dust and water resistance for reliable outdoor use
◼ Backed by a trusted 3-year limited warranty
◼ Delivers high-speed NVMe solid-state performance in a compact, portable high-capacity drive
◼ Features 256-bit AES hardware encryption to help keep private content secure

② SanDisk Extreme PRO with USB4

◼ Supports USB4® Gen 3×2 (40Gbps)
◼ Up to 3,800MB/s read speeds and 3,700MB/s write speeds
◼ Available in high-capacity 2TB and 4TB options
◼ Exceptional durability with a forged aluminum chassis and silicone shell, built to withstand drops of up to 3 meters
◼ IP65-rated dust and water resistance for dependable outdoor portability
◼ Backed by a trusted 5-year limited warranty
◼ Ultra-fast storage optimized for demanding professional editing workflows
◼ Broad host compatibility with Windows® 10 or later and macOS 14 or later

“Preserving the history of football” — Official Licensed Product Collection celebrating the FIFA World Cup 26™

“Keep the historic moments of the FIFA World Cup 26™ close at hand.”

SanDisk is launching an official licensed product series for the tournament.

The lineup includes whistle-shaped USB-C drives, World Cup-themed SSDs, and professional-grade memory cards—each combining host-country-inspired design with trusted performance.

Built for fans, creators, and professionals alike, the collection is designed to capture and preserve every unforgettable moment born on football’s biggest stage.

Issei Uehara / Sharaku Profile

He discovered freestyle football during his school years and gained experience as a performer across various stages. At the same time, he was influenced by his surroundings and became exposed to a wide range of street cultures.

Later, at the age of 26, he moved to Tokyo, marking a turning point in his career as he shifted his focus to filmmaking. Expanding his work from freestyle football to dance and other movement-based disciplines, he has broadened his creative scope as a filmmaker.

Today, he also works as a camera operator for brands such as New Era and Red Bull, which feature action sports athletes, continuing to develop his career across both commercial and cultural visual production.

Yu-ri (Yuri Izu) Profile

He spent his childhood as a soccer-loving boy who enjoyed showing off juggling skills. After watching television coverage of “Red Bull Street Style 2012” and seeing Tokura win the championship, he was inspired and declared, “I will become a Red Bull Athlete in the future,” marking the beginning of his freestyle football career.

Yu-ri, who simply loved training and practice, decided to quit competitive soccer upon entering high school and fully committed himself to freestyle football. He went on to win the High School No.1 Championship, establishing himself as the top high school freestyler in Japan.

After graduating, he entered the prestigious world competition Super Ball, where he reached the Top 32 and quickly gained recognition. The following year, he won the national tournament Wing Crush of Freestyle organized by Tokura, further solidifying his position in the scene.

Since then, he has achieved multiple successes, earning victories and runner-up finishes across 12 competitions. In July 2024, he signed an official athlete contract with Red Bull Japan.

At the Asian Championship held in November of the same year, Yu-ri landed the world’s first-ever four-rotation trick in the final, becoming Asian Champion for the first time in five years for a Japanese athlete.

In addition, he has built a strong social media presence with over 300,000 followers, actively sharing the appeal of freestyle football with a global audience.