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At the CONFLUX - The Rhythm of Japan in 5 Parts [FULL VIDEO]

At The CONFULX is a Portrait of Japan in 5 Parts exploring its rhythm and people. Part 1: Aerial Arterial 00:00 "Aerial Arterial" presents Tokyo from above. Its sprawling nocturnal cityscapes crisscrossed by thruways. It begins with shots atop the world's tallest tower—the Tokyo Skytree—with the expanses of the urban grid illuminated by headlights below. We end closer to the concrete with dizzying loops traced by traffic. In between these poles, the massive fiery-hued highways pulse through the wards of Minato and Shinjuku, like veins pumping blood. The towering skyscrapers watch over all, unmoved—soaring sentinels of steel and glass. Not a soul is seen. Only machines. The music is minimal. The images need space to breathe. Tender Japanese flavored chords are accompanied by street beeps, night noises and satellite hums. After all, in the metropolis, the crickets are replaced by singing machinery. This is an ode to edifices of the great eastern capital. To its atmosphere and infrastructure. A static lullaby for a city on stilts. Part 2: Tokyo Aglow 04:14 "Tokyo Aglow" tours the Japanese capital by road and rail. Whereas Aerial Arterial explores the edifices of the city from elevated perches, Tokyo Aglow captures the city from the blacktop. The automated Yurikamome flows through Odaiba and arrives downtown. A taxi whips to converging clusters of crowds in Shibuya. Scores surge, stream and swarm, tangle and scramble. Patterns of people, probabilities and periodicities, play. Weaving and knotting, the masses rhythmically engage with the machinery of modern life. Koto inspired chords underpin the music of the piano. Trombone, trumpet and violin map to the patterns recurrent and emergent. Crosswalk chimes, chirps and cuckoos echo into the night. Part 3: We Drift 1 - A Sonder 08:44 "We Drift" is two part series. Part 1, “A Sonder,” is inspired by an entry in the Dictionary of Obscure Sorrows, the brainchild of wordsmith John Koenig. Koenig coined the noun ‘sonder’ to describe the “the realization that each random passerby is living a life as vivid and complex as your own.” It was filmed in Tokyo and Matsuyama Japan on cool spring nights. In my previous time-lapse works, the blur and pace of the images obscure the individuality of the people of the city. They become abstractions. A goal of this series is to flip to the other side of the spectrum --slow motion images with a focus on the individuality of the people. Part 4: We Drift 2 - In Laughter and Mist 12:39 "We Drift 2 - In Laughter and Mist" It was filmed in Tokyo and Matsuyama Japan on cool spring nights. In my previous time-lapse works, the blur and pace of the images obscure the individuality of the people of the city. They become abstractions. A goal of this series is to flip to the other side of the spectrum --slow motion images with a focus on the individuality of the people. Part 5: In Praise of Shadows 17:09 "In Praise of Shadows" tours Japan's transportation systems in time-lapse. This runs the gamut from the massive monorails of Kobe and Chiba, the automated transit in Tokyo, and the trains of Osaka, as well as more modest transport methods–escalators, taxis, crosswalks, rickshaws, and sushi conveyor belts. While the first two installments of At The CONFLUX are exclusively nocturnal, “In Praise of Shadows” begins at dawn. Twilight gradually approaches, shadows sweep the city, and night falls, concluding high above the city where Aerial Arterial began. It takes its title from a 1933 essay by the Japanese author and novelist Jun'ichirō Tanizaki. Tanizaki uses shadows (both real and metaphoric) to contrast the subtlety of traditional Japanese aesthetics with the gleaming light of the modern era. The music is brighter than the previous installments. Clarinet, upright bass, and violin chords and lines punctuate simple koto-inspired melodies of the piano. Field recordings of train announcements, monorail accelerations, crosswalk jingles, elevator chimes, conversing crowds, and summer cicadas decorate the texture. _ _ _ FAQ about Gear: The time-lapses were shot in raw (with a 5D Mark III and a Sony A7s) developed in Lightroom, and edited in Adobe Premiere Pro CC. I composed the music at the piano with paper and pencil, input it into Finale recorded the music into Pro Tools in two separate recording sessions, processed the field recording in Ableton and Max MSP, and did the final edits in Adobe Audition and in Premiere.