- All music and Images by Justin Tierney -
Tokyo Aglow tours the Japanese capital by road and rail. Whereas Aerial Arterial (the first installment) 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.
- - -
"Tokyo Aglow" is the second of three installments of At The CONFLUX, a short film that explores the rhythm of urban Japan and its people.
Stay tuned for the premiere of installment three, "In Praise of Shadows," which will be released on Monday, June 27th.
A complete gear and location list can be found at attheconflux.com.
- - -
At the Conflux was shot during two trips to Tokyo. In May and June of both 2014 and 2015. Editing began in earnest in November of 2015 along with the composition of the music.
I recorded the solo piano part in early April at Sound Pure studios in Durham, NC, with the help of recording engineer, Artem Smirnov. Members of The Deviant Septet, Karen Kim—violin, Doug Balliett—bass, Mike Gurfield—trumpet, Matthew, Melore—trombone, Jared Soldiviero—percussion recorded the instrumentals with recording engineer Rick Nelson.
The time-lapses were shot in raw (with a 5D Mark III and a Sony A7s) developed in Lightroom, edited and color graded with FilmConvert in Adobe Premiere Pro CC. I composed the music at the piano with paper and pencil, input it into Finale 2014, recorded the music into Pro Tools in two separate recording sessions, processed the field recording in Ableton and Max MSP, and executed the final edits in Adobe Audition and Premiere.
Add beautiful bokeh shapes to any scene using FCPX Overlay: Bokeh 6K and enhance them by adding realistic light defocusing effects. Choose from hundreds of Bokeh styles and blend effects to achieve any look. FCPX Overlay: Bokeh's endless variety of customization options can help users create any shot they can imagine. FCPX Overlay: Bokeh is created exclusively for Final Cut Pro X.
Drag & Drop
To add bokeh into any scene simply go to the effects tab located in Final Cut Pro X and navigate to the FCPX Overlay: Bokeh 6K folder. Choose between rounded and angular bokeh shapes and drag the effect onto any video or photo. Stacking bokehs this way is intuitive and doesn't add unnecessary layers to the timeline.
Use a simple color wheel to change colors of individual bokeh. Brightness, opacity and chromatic aberration can also be adjusted using the color manipulation section of the effects window. Using these controls any combination of looks can be achieved with FCPX Overlay: Bokeh 6K.
FCPX Overlay: Bokeh is shot in 6K using top of the line industry equipment. Over 1400 unique bokeh shots are available to the user using both the rounded and angular bokeh files. Choose between shots featuring clean bokeh, more grungy looks, and ones with alternate lighting to find the right bokeh for any shot.
Customizable in FCPX
Use amazing on-screen-controls to change the scale and position of bokeh shapes and take advantage of keyframeless animation by adjusting positional parameters in the movement control section. Individual bokehs can be manipulated in a variety of ways including blur amount, lighting effects, flicker controls, opacity and even control over bokeh edges to create an endless amount of unique bokeh imperfections.