Productions Aspects - Film By Film [Cinematography | Art | Sound Direction | OST]
Future Gospel IX | Cinematography
Despite already having an epilogue of sorts that aired in 2011 just two years prior, 2 years later after Ufotable rebooted the Fate/Stay Night franchaise, they also made a return to Kara No Kyoukai with two films, being Mirai Fukuin & Extra Chorus, pretty much wrapping up loose ends found within the story, while detailing subject matter that would happen in the future. Along with that, the character design also received updates & adjustments for all of Kara No Kyoukai’s main cast, though the changes are more moderate than not. Though this time around Ufotable’s core chief animation director and character designer Tomonori Suduo has taken the helm for this film as the auteur director for the film so to speak, taking responsibility for all of the said roles in addition to being the head director for this animation.
[Telephoto Shot W/ Foreground blocking techniques & Deep Focus] - [ECU Detail Shot W/ Mask Applied]
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| Tomonori Suduo [Mirai Fukuin Director] |
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| High Angle Tilt Central Framing |
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| Panning Motion W/ Telephoto Lens |
In that his framings are quite the balanced mix between central and flatter framings, along with adjacently off centre shots as well, nicely utilizing the golden ratio & the rule of thirds when seemingly appropriate. Thanks to his pretty diverse use of various distances & transitions, he also makes use of blocking techniques as well. This is where the telephoto profile shot becomes a staple here where he wants to isolate a given character from their surroundings, with nice depth of field transitions to timely shift the attention on another subject - In that he’s quite playful and aware of how to correlate subjects and points of interest within the immediate foreground in addition to the far away background in these various planes of motion. On the lateral plane, he most often uses level and overhead crane shots for the most part, however in more uncertain and oblique sequences within the film, he is able to squeeze in some low angle tilt shots as well. Being that since this is more of a personalized and open film, Tomonori Suduo also was able to splice in alot of close up’s and ECU’s (Extreme close ups) in addition to Pov and reaction shots, being that this film is often shot from the perspective of one given character throughout the entire film.
[Telephoto ECU Profile Shot] - [Telephoto Shot W/ Bokeh]
Lastly the film is pretty openly lit, as much of the movie takes place during the day, however Tomonori is pretty subtle acute in knowing when to make such transitions, particularly with the hue of the given lighting - Such as having more orangish hues in amicable moments, navy blue and dark oranges when wondering in the night, or even the overexposed oblique white of broad daylight.
In all, this is definitely one of my favourite films within the Kara No Kyoukai series, as it’s light and refreshingly simple in the way it was shot, and how it brings nicely sweet closure to the series.
Art Direction |
In tone, the film Future Gospel/Mirai Fukuin is quite similar to the 6th film Oblivion recording, in that most of the movie is set in the broad daylight, along side returning to the familiar scenery of Reien Girls Academy, in addition to simply having a similarly soft & fresh look regarding the films colour palette. As you might already know in addition to Extra chorus being the same, this film also houses 3 parts to it's collective story, as you'll find the first and second halves of the film to definitely have their own character to them that separates them visually a bit. As Emi Chiba often displays the lushness of greenery and soft mid tones of natural lighting within the city. In that here once again we see the return of analogous hues in addition to split complimentary and broken quadratic colour scheme's, opting to give the film a less intense contrast, to strengthen the films lighthearted and sweet tone.
It's also a film that's truly a step up visually that separates itself from previous Kara No Kyoukai films, as not only the principle animation and character design are fundamentally different, the quality of the scenery and background composites are also wonderfully rendered with the kind of clarity and sharpness you'd need to display dynamic lighting, fine gradients & colour pigmentation - Which I'm glad to say that Ufotable along side outsourced animation companies did excellent jobs here in transitioning the series to the true HD quality that it deserves.
The film can also have it's warm moments of comfort and joy such as in the Cafe scenes with Kokuto or perhaps the blue wonder & complimentary lighting of the city's neon lights, also showcasing the neutralizing compositions of more oblique alley way scene or perhaps at Touko's agency, which has been a hub for conversation in the series for quite some time now that we're all quite familiar with by now. At the end of the day I really do find it a wonderfully designed film from the ground up, strengthened by the visual departments attention to the small details to sell the larger whole. A very well made film visually as expected of Ufotable veterans in the shape of Art director Yoshikazu Iwanami, Emi Chiba on colour design & Yuichi Terao regarding the film's cinematography.
Sound Direction |
Once again as you might expect the sound department led by Yoshikazu Iwanami made for excellent & sound rich the film is. In that it's most likely that this film was the most well layered and meticulously detailed of all the films, despite being a relatively simple one at that. In accomplishing the spatiality of the scene, the given recordings and contextual sound information was mastered to be binaural so that we'd have a greater sense of imaging and placement relative to the source that was onscreen. In addition to this, every single scene, from cut to cut was meticulously well recorded to have it's own ambient noise layered on to it, so just as a cut to another location may occur, so does the ambient noise. Whether it's the blaring of sirens, the daily murmurs and passing cars of city life or the summer cicadas screeching, it's indefinitely rare to have a film so meticulously recorded and depicted such as this one has been. Acoustic information alongside corresponding sound effects were also a heavy focus, as I find that Iwanami here almost always takes in to account the surroundings of a films scene, along with the geography and layout to depict most accurately as possible in how contextual information such as any particular movement such as footsteps would sound in the depicted environment, in addition to taking into account all the various materials within the scene and how they would sound when coming into contact with one another.
The sound of the film also serves to enhance the given shot flow of a scene as well, in that since the film is so sound rich and meticulously layered, it gives us another keen awareness of the action and spatiality of a scene that can help gel cuts together, or perhaps make jump cuts even more sudden and abrupt. In terms of perspective however, it's a film that's a balanced mix between the subjective & objective as the film does indeed have the second longest score within the franchise and is used quite frequently within the film. However Iwanami & Suduo indefinitely also do appreciate the diegetic continuity of a scene silence, as the film has a beautiful flow alongside having a more grounded grip on reality. It's definitely a film that I can appreciate and enjoy, whilst being able to suspend my disbelief a little bit more than your typical anime, in that such attention to detail was crafted into this film
OST |
The collection of music on this film is definitely the most consistent listen track to track, however does lack some in it's variety, as does the film in it's emotional diversity. In that a large majority of the score is optimistic instrumental ensembles, that's bright and rich, in addition to being quite playful. This time around I'll be pretty selective as to what tracks to talk about, as the films score is simply not worth individually taking apart each arrangement for the said reasons. The first most recognizable arrangements that establish the films overall more optimistic and positive tone would have to be M3, M4 & M17. The first of which serves pretty much as the theme of the film, in that it's repeated a few times over, in that it starts off as a lightly bittersweet piano arrangement, though the cello later on provides the harmony. And like many Kara No Kyoukai films such as the second, the track is cued to run counterpoint to an introductory montage to the first opening scenes of Reien Girls Academy as we accompany Seo Shizune's private life there off. M30 & M32 is also an altered version of this arrangement with a far more emphasized stringed section, that also unfolds into a grand crescendo.
And after a little stop with just isolated conversation, we once again continue to follow Seo Shizune as she goes home for summer vacation. In this sequence of course is another montage, alongside her narration and the arrangement M4. Though this time we have a classical guitar (Nylon Strings) playing broken chords along side a stringed section taking care of the harmony, as I find it's a rich and lush track, and thanks to the tambourine it really has a european vibe to it, quite fitting of the hopeful though melancholic tone of the scene. The track M6 is the same arrangement just with a lighter & more subtler stringed harmony, & M23 just with the stringed sections as the main focus & slightly different instrumentation.M17 is another similarity optimistic arrangement, in that it starts off this time with a playful rhythm at the start, though slowly the subtle playing of the flute comes in to provide the melody, as the piano switches roles from the melody to the harmony. As the track progresses the strings come in softly just as Mikiya begins to flatter Shizune with his kind words, slowly building up into a crescendo then quickly blooming into the full ensemble climaxing just as Mikiya hands Shizune his business card. A pretty rosy moment, as the track begins to override the scene, to then be accompanied by Shizune's narration. In these conversations however it also displays some of the more tender arrangements within the film, as the piano arrangement M13 is cued just as Mikiya acknowledges Shizune's struggles, continuing onwards as her narrated recollection of some of the misgivings she's had to endure because of her future sight ability.
It's a deferential and lonely track at first, though as Shizune lapses into tears in her memory, the low voice of the cello sweeps in as we now have the warm and slow dual harmony of the piano and cello. Gradually building into a crescendo with the low voice of cello playing the harmony, accompanied by the teardrops of the piano as the arrangement enters into the climax. It's a moving and direct piece fitting of the winter snow of Shizune's foreshadowing, as the film does also house more intimate arrangements alongside M13, such as M15, M22, M27, M31. Next we have M15 played on the Vibraphone, a small lullaby like arrangement accompanying Shizune's moment of wavering and uncertainty as she and Mikiya contemplate the pros and cons of her ability. Though the track grows slightly more reassuring and warm as Mikiya begins to question her and assert her doubts about herself, as the piano later on begins to carry the piece for a warmer less metallic tone.
Though we shouldn't really forget about the film's far more progressive and dark theme's as the the score has a fair amount of them as well. With tracks such as M7, M14, M18, M19 & M20. The first of which (M7) is pretty much an extended and altered version of M1, with the progressive mix between 808's, synth & vocal chants. As the track pretty much serves as Mitsuru's arrogant and conceited theme song, as he brags about his future-sight ability. The next track over however (M14) is cued in a pretty confrontational moment between Shiki & the Mother of Mifune, as the track starts off slow & disquiet with the heartbeat of a bass drum and a muted blowing effect, though the low voice of the medium voicing of Kiyo Kido's stringed section comes in just after Shiki disarms and entertains the mother of Mifune's line of thought. It's an interesting think piece, perfect for the adversarial & confrontational film grammar of the scene with the power struggle between Shiki & the ambiguous Mother of Mifune.
However, the next few tracks house some of the more explosive arrangements, being that the first of which M18 starts off slow with the low 808 kick of an electronic drum kit and the subtle wailing synth in the background. Which accompanies the adversarial confrontational between Shiki & the bomber-man. As he continues to threaten Shiki, the high voice of the stringed section anxiously plays the melody. And as Shiki completely evades death with her life, M19's stringed section with the heart beat of the percussion and the cello come's sweeping in, soon hitting a more unnerving and dissonant verse just as Shiki catches him read handed. As the arrangement boils down subtly, only then to explode with the rawness and power of timpani hits, with the ascending dynamics of the stringed section once again just as the Mitsuru tries to nervously reassure himself. It's definitely the first half of the films climatic turning point, as M19 is quite a dynamic and progressive arrangement that really captures & provides the upbeat tempo and intensity the sequence of events needed.
The last of which is in the final moments within the film, as M20 starts off similarly to M7 with the wailing synth and blowing effects, and just as Mitsuru's foresight ability spells out Shiki's demise, The Garden of Sinners theme kicks in once again as Shiki completely outwits Mitsuru's schemes. Afterwords however comes one of the score's couple of "think pieces" as I like to call them, as Shiki closes in on Mitsuru and explains his undoing, the track M21 starts off with what sounds to be like a zither or some other sort of stringed instrument with that specific metallic resonance playing broken chords as I find myself infatuated with the sound, in that it particularly adds so much atmosphere to the given scene. There's actually quite a few similar tracks such as M11, M25, M26 & M28 that are definitely a highlight regarding the musical component of the film. The first of which is used the earliest in the film around a half an hour in a familiar scene set in Touko's agency just as she begins to delve into explaining some of the odd problems they've encountered as we've seen her do while taking her glasses off many times before in the past.
The arrangement starts off with the sparse periodic phrases of what seems like a zither again with the subtle playing of bongo drums and the slight brushes on the kit. Though as the conversation spirals deeper into more complicated subject matter the rhythm/tempo becomes more frequent as if spiralling and compelling the thought process behind the dialogue at hand. Though as Shiki begins to set off on her own, the high voice of the violin section quickly sweeps in to override the dynamic volume of the arrangement, though the playing of the zither still provides occasional thought provoking motifs as the violins switch to an accompanying harmony. A definite favourite of mine as it's not only a peculiarly interesting arrangement but spellbinding to the moment at hand, perfectly fitting the brazenly lit and oblique environments that Shiki finds herself walking about.
Much later on in the film at the second part of the story when Mana & Mitsuru are strolling at night to find the Mother of Mifune, they both enter the dark alleys as a beautiful nocturnal track (M25) plays with the whirling sound of keyboard effects, and quick thumps on Congo drums and the subtle texture of shakers. However as they get deeper into the darker alleys and further into the night the descending rhythm of the vibraphone comes in almost like a disquiet lullaby, as it preserves both the wonder and innocence of the moment, along side the anxiousness as well with the marimba playing the low abstract notes.When they do meet the Mother of Mifune she's confronted by Mana with a question, feeling guilty of having lost her future sight ability the erie playing of the Koto rings out, alongside dissonant synth reverb effects and such we've seen prior. After Mitsuru & the Mother of Mifune's short reunion, it takes back Mitsuru a little & at the end Mitsuru's deferential narration takes over, now realizing his short comings.
As one of the final tracks of this segment [M28] accompanies the moment with the playing of the vibraphone, slowly after being layered onto with a stringed section playing the harmony after Mitsuru gains a little hope for himself. Then the shortly after the piano takes over the melody just as Mana optimistically suggest talking Shiki into letting the mother of Mifune be, as the track builds into a gradual crescendo and dies down, only for the piano to exist in isolation and to build up softly once again and resolve on a final note from the piano. As the final goodbye when Mana tells the Mother Mifune her name and who she is, they leave on a high note as the arrangement M30 starts off rosily with a sappy piano arrangement, soon after blossoming into a full stringed ensemble, as if some Promise or wish came true after all. As the next few tracks such as M31 & M32 take us back in the past to see what that wish might've been and why Shiki sacrificed everything to obtain it so it could live on, showing us that all struggles that Shiki & Mikiya have endured up to this point was not in vain. Putting a beautiful exclamation point & rosy full stringed and piano ensemble to go along with it as one of the final resolving moments of the series. |
| The Garden of Sinners: Recalled Out Summer/Extra Chorus [Mirai Fukuin OST] |
Vocals :
Hanae Tomaru
Yuriko Kaida
Musicians :
All Keyboard & Programming - Yuki Kajiura
Strings - Kiyo Kido Strings (Group)
Rie Akagi, Yuriko Kaida
Flute - Rie Akagi
Guitar - Koichi Korenaga
Acoustic Guitar - Koichiro Tashiro
Drums - Kyoichi Sato
Bass - Tomoharu "jr." Takahashi
Piano - Hirotaka Sakurada
Cello - Masami Horisawa
Page 9
Article Contents - Comments Section
- Overlooking View
- Murder Speculation [Part 1]
- Remaining Sense Of Pain
- The Hollow
- Paradox Spiral
- Oblivion Recording
- Murder Speculation [Part 2]
- Epilogue
- The Future Gospel
- The Future Gospel [Extra Chorus]
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