2018 | Production Diary 2 - Doongalla | Film: Cycle

Day Two: Doongalla Picnic Grounds

The second day of filming commenced with a bit of a bumpy start, dirt tracks lead winding up to Mount Dandenong's scenic Doongalla picnic grounds - a strange tourist spot that was ours for the whole day. It's a beautiful location for what we all wanted our mysterious forest to be, with tall trees that covered us from the outside world (except a park ranger who would occasionally drive by to see what a group of nine students were doing).

As I arrived I found the gates closed and Ramin, our producer sitting in his car - we were under the impression that today of all days it wouldn't be open. A few phone calls later and googling and we we discovered it would open at 9, still 45 minutes away, and all of our filming crew had turned up and our morning light was rapidly fading.

Closed -  'The way is shut. It was made by those who are Dead, and the Dead keep it, until the time comes. The way is shut.'

   

Back when I used to make shoddy hand-held films in highschool I remember filming was something that you could get hands-on with, you could take the camera here, put it there, move it (by a special rig consisting of people being pushed on rolly-chairs to simulate a track), and there wasn't much deliberation or limitation other than what you could think up. Once you get started filming with the 'big boys' - a crew of gaffers, AC's, AD's, producers and directors, all situated in an unevenly grounded forest, the ease of shooting goes out the window and a whole world of pain and joy emerges.

Ramin tries to make sense of the logistics and what we could film today, taking similar shots and deciding to shoot them in one group.

Before shooting began we needed to get all the equipment out and over closer to the where we would be filming as we weren't going to lug all the heavy-duty cases and bags down into the wet forest floor.

We began by taking a trip into the forest to find a good spot, with enough room for everyone and a clearing where we could place actors etc. It's a very unforgiving terrain because the rain the night before had made the leaves slippery and the fallen trees which we had used for tables soggy, muddy and dangerous. Once we were all happy and we had moved the camera, one of Deakin's three 4k RED cameras, it was onto blocking and getting the shots out of the way.

Because the film was experimental we could get away with shooting things that weren't in the normal choke-hold of continuity, but before too soon we realized that we needed some semblance of continuity in order for some of the shots to have a narrative (a wreckage our poor editor will have to navigate). We were filming a cluster of shots out of order to allow for the rest of the shots to take place tomorrow and as we were doing this we needed to create a small location that our actress could move in without throwing off continuity.

Left to Right: Dir. Başak, AC Dylan, DOP Nikki, Main Girl Alex, Gaffer Danny

Our actress was Alex, someone who had experience and was the perfect fit for what Başak had wanted. She was cooperative and understanding, even permitting that most of her time was spent in the forest, with a thin cotton dress under her jacket between takes. When Ramin and I suggested that Başak should choose an actress to play the main role (something she wanted to play the part of ) we thought that the burden of directing is a challenge that requires you to be behind the camera, not both. I think we've all found it a good experience to have an actress we can direct and negotiate with and so that Başak could have more control where we might've had a nightmare. It's not an easy thing to do, to relinquish the desire to be in your own film, and the act of producing a film isn't what she is used to. One of the things I've learned during this time is how the production crew is essential, working collaboratively and falling on someone else is better than going solo and getting stuck with nothing or no one to back you up.

Dylan, Nikki, our brilliant photographer Lachlan who captured all of our promo shots and better photos than these, and Dir. Başak - overseeing a shot.

We used the tree behind Alex as an anchor point for continuity for where she would be located in relation to where the other actors will be.

Our Sound Recordist for today was Sam, who stuck through all of the shoot capturing the sound of the wildlife, twigs snapping, producers complaining etc.

One of many times we were deliberating a setup.

Lighting played a bigger role than I had expected, and the density of the trees and foliage had meant that the light was shielded from entering, making it darker in the overcast parts of the day and the bright rays when the sun could penetrate the forest were all the more brighter by contrast. Danny, our gaffer had brought some of his knowledge and equipment with him which meant we could counteract the lighting changes by either lighting up areas, or diffusing the bright sunlight. When we wanted the sun it wouldn't come, and when we had set up for no sun, it would show up and blind us all. But the moments the sun fell through the clearings and through the rain drops were a spectacular sight!

Our equipment base camp just outside the trees were we shot. Deakin has some flashy and very expensive equipment! 

My role on the set was offering both our director, and the DOP advice in how to shoot or capture the setups and also to assist Ramin in noting the shots we were taking. Luckily we had Nikki and Danny on hand, our DOP and Gaffer who offered a better understanding of the various filmic techniques and vocabulary to help Başak to get the most out of everything. It was a chance for me to see the way the limitations from page to screen sometimes throw a spanner in what can be achieved, and how important storyboards are, even if they ultimately are dropped in favor of what can be done practically. The limitations of the set, lighting, sound, weather etc. are considerations that you can't make until you're on location and get a feel for the place. Externally, you think everything looks good, then you step into the forest and see it, warts and all and realize your work has only just begun.

It was a slog of an experience shooting because we just weren't prepared within the time we had to film on the location - setting up each shot, moving things, making last second adjustments were all exhaustive and exhausting. One problem we encountered was simply time spent between the director, Başak, and our main actress, Alex, which was a necessary evil - after all, you can't shoot something without first having solid direction and acting to follow - and getting our actresses marks and communicating her movements right was a challenge for what Başak was going for, and ultimately something we overcame.

In the end we pulled off most of the shots we wanted to complete that day, yet with more emphasis that tomorrow the crew et al. (without me) will need to move much more efficiently if they hope to film, and film with multiple actors this time!

Up next I'm on set for the final scene which seems like the easiest because we'll be indoors in a set we can have control over. The reality is that the complexity of pulling off some film magic and trickery is where the difficult parts come in and that more control doesn't necessarily mean more fluidity and ease...

Near the end of today's shoot.

2018 | Production Diary 1 | Film: Cycle

Film Production Diary: Storyboarding to Prodcution

I haven't updated this blog since Cabbage Pot and the film review of Blade Runner 2049, so I felt a bit ashamed I hadn't continued to update this as planned, but things are starting back up and I felt I wanted to share what was coming.

The start of last month I was brought onto a film project by a good friend of mine, Ramin Iranfar, a filmmaker to look out for in the future; it's a small, no-budget, student project that's experimental in nature and Ramin is producing it. Our director is Başak Demirbaş, completing her Master's Degree at Deakin University who gave us this opportunity to produce what is essentially, an experimental film. Her idea was bold and was open for interpretation in the broadest sense - that there are more readings than one that could be taken. A young woman discovers a dream-like space that she is trapped within, she finds others who inhabit this ether who have their own invisible 'rooms'.

The project was a chance for all of us as students to sink our teeth into something creative and hopefully, prosperous as we're all involved in the arts and all hope to go onto bigger things. The craft of filmmaking is an immense one, even with the wide array of things we needed (and still need) to consider when producing this film, it quickly becomes apparent at how our project pales in comparison to the sheer complexity and nightmare of what a big-budgeted studio film would have to accomplish within the space of a few years or more. We began to understand quite quickly what we were all getting into and it has certainly given my respect to the multitude of filmmakers that have come before and are operating at this very moment.

My role was as a humble storyboard artist, a strange limbo-like position of taking the director's vision and putting that into frames, visualizing what it might eventually look like on film. I say limbo-like because it's very much a halfway point between one's own creative vision and the director's. The look and feel of the shots had already been in their mind, I was merely a transcriber of those images.

Ramin and I sat down with our director and we planned out each shot and what it should look like - I then took those little sketches which looked like some strange forgotten language and made full-paged storyboards, the likes of which are standard in film and animation.

Excerpt from my notebook scribbles - old woman dancing

Excerpt from my notebook scribbles - old woman makes faces

After these were completed we all went in for another meeting, this time with Nikki, our Director of Photography - another of Ramin's recruits. In this meeting it was crucial that we worked out all the shots we would need to film and see what exactly could be shot - a consideration in where the boundaries between our imaginations ended and the physical limitations of the camera were drawn; a drawing can only show so much. In the meeting we enacted what we were all imagining in the hopes we could explain to Nikki how the shots should be done, composition, speed, motion etc. We worked out we could combine, cut, where we could insert shots that weren't needed or hadn't been made, and this process lead to the structure of the ending changing from what Başak and I had in mind.

Shooting began last week without me, my commitments to my uni assignments won out and the shoot wasn't demanding enough where I felt I could be of any real help. From what I've seen, it went well and Ramin managed to wrangle a photographer who took a number of photos that will fit perfectly into the promotional materials that will inevitably be made.

This week I'm on set, as Art Director and Continuity, two roles that hardly apply to where we're shooting, the already beautiful Mt. Dandenong. The scenes we're shooting are in a dream-like forest (Page 3 of the storyboards) and there's quite a bit of room for experimenting beyond our boards, an area which hopefully I can help my director and the actor.

Next up will be a diary from after tomorrow's shoot if I have time to write it up!

Phone Notes: Blade Runner 2049

After many months of being sidetracked by other things I've finally gone through my notes on my phone which are a collection of thoughts on the films I've seen. Most of them were written months ago and since a few thoughts have changed and for the purposes of sharing them, I've formatted them into "reviews". The first is:

BLADE RUNNER 2049

Ana de Armas and Ryan Gosling got distracted by three large billboards outside of  Ebbing, Missouri, in 2049!

Blade Runner 2049 was a film that was unavoidable and necessary to see in cinemas, the original films status as a cult staple of sci-fi filmography precedes it. The visuals, the production design (thanks Weta) and the acting are all incredibly detailed, well realized and utilized to convey a stylish film much in the same vein as Tron Legacy, which to some might seem like a strange and blasphemous connection. The old term 'style over substance' is applicable here, because 90% of what makes the film for me are the visuals and settings which seem to elevate the plot and characters beyond very simple foundations. It’s crazy to think audiences were swept away by James Cameron’s Avatar, specifically the paradise planet of Pandora, which was essentially just a huge jungle, and yet not have the same response to the vast, detailed cityscapes here which hit harder and closer to home with how real and depressing they are.

Agent K can't find MIB Headquarters in this fog.

Sidetracked by presumably more important things is Jared Leto's revolution of androids which never comes to fruition in this film. The slower, more methodical pace of the film might be to blame for that, because the 'ticking clock' element that takes us to the end of the film amounts to a short showdown in a sinking car which leaves Leto's involvement to sink into the depths with the car. Where's the revolution, where's the grand overarching subplot?

Jared Leto is Future Jesus.

I guess I was in a bit of an apathetic mood by the end of the film because 'K's (Ryan Gosling) character goes through an arc that isn’t satisfying at the conclusion. The revelations he (and we as an audience) are presented with I felt were underwhelming because not enough time had been devoted to his character to feel like anything was worth a damn, except for perhaps his relationship with the holgram A.I. (Ana de Armas) another riff on the original film and of Tron Legacy's Quorra. Perhaps it might be Harrison Ford’s character 'Deckard' whose character definitely had more resonance and purpose.

The next generation of advertisements, no more pop-ups, just giant holograms that have motion awareness...

The score is wallpaper, nice sounds for the dreary cityscapes, but it doesn’t have any emotional core to latch onto, the characters aren’t afforded musical identities that grow and change as they do. Although the music, like wallpaper, remains serviceable and perhaps not intended to be as important as the visuals alone, which should be praised and admired like a long episode of Planet Earth and narrated of course by Sir David Attenborough.

Buy it on Blu-ray and watch it on a large enough screen to soak in all the visuals, then watch something else that isn't so bleak and depressing.

Cabbage Pot Pre-Production Diary | "Pottle"

Originally Cabbage was to be the sole character of the story, but as I went along scribbling down ideas and drawing designs for the steam-powered carriage it became clear to me that the story, if it were going to get anywhere, it would need something else - another character to propel it. That character was Pottle, and fittingly the name of the story "Cabbage Pot" had found it's Pot part. Instantly a dynamic was created; two friends going on an adventure, also giving something for Cabbage to bounce off of and grow as a character too. Cabbage is the fat friend popularized in many films, television shows, games and books: Samwise Gamgee from The Lord of the Rings, another 'Sam' in the form of Samwell Tarly in Game of Thrones, but the biggest source of inspiration for Pottle I think is the character of 'Chowder' from Gil Kenan's 2006 3D animated film Monster House:

Mitchel Musso as 'DJ' and Sam Lerner as 'Chowder' in Monster House (2006)[1]

In fact, that film probably has given me much inspiration in terms of the tone the story will take and comradery of the friends, the fact that they're willing to help eachother out in dire situations; sometimes they don't get along, they fight and they're stubborn. There's also the supernatural element in that film that makes it effective. What I think separates Monster House from most other children's films is that it has a darker tone than most can get away with. It doesn't obfuscate that horror behind a wall of childish antics, it embraces the horror and there you come away with something genuine which enlivens and makes the characters more believable too.

... 

Unlike the design process for Cabbage which took a while for him to come to fruition in terms of his appearance, that challenge was lessened with Pottle. I knew what he needed to look like and committed to that vision from the get-go. In one sketch I had found him, a large chubby, cantankerous and expressive kid. Over the next few days of designing him and becoming more acquainted with his character and who he was going to be, I found him to be the more interesting of the two characters.
Here in the first sketch I gave him a cloak and a knitted beanie, which wasn't an item of fashion in our counterpart Victorian era history, yet I wanted to give them items of clothing which would better suit them to the world I was creating. These are characters who are relatively poor, who come from backgrounds where clothing is patched-up and never discarded - mixing the old with the new which is hinted at in other design elements of the world.

A theme I wanted to give Pottle was something to do with nature, leaves, trees and all things green, but my next drawing would dress him in the mucky earth tones and orange! I think orange would play nicely alongside Cabbage's purples and it gave him a more boisterous attitude to wear a quite radical colour to other Gromples who prefer a more sophisticated, yet plain attire of a suit.
Like Cabbage I gave Pottle a motif, some pattern that would be somewhere on him which just so happened to be his beanie. Vaguely inspired by Celtic knots but simple and with less going on.

I gave him a button-up cardigan that he'd outgrown or stretched with the addition of his weight gain over the years and it isn't particularly colourful - it's murky and stained and once had a few more buttons which have popped off. He also has a messenger bag which has been patched-up with handkerchiefs and swatches of old clothes, if the green and leaves didn't make it into his costume, it became a part of his bag, with the leaves around the flap.

After this drawing my vision of Pottle was solidified, he turned out quite well according to my mind. Another thing I wanted to do with his character was design someone whose silhouette was distinct from Cabbage's - another callback to Monster House's 'DJ' and 'Chowder'.

Sometime in the middle of designing Pottle, I designed his buttons which I was hoping to somehow work into the story as a catalyst for later events. First I sculpted two buttons from fimo oven-bake clay which were red and had glitter throughout it making it look slightly magical. After that I devoted a page to sketching a few designs with a crack which had been inflicted during a fight with Cabbage (which is yet to be elaborated on).

After they were baked I applied a few splashes of sepia/black ink diluted with water to bring out a few of the details and give it an old and worn look and a bit of gold sharpie for the star on one of them.

I ran out of clay, or enough to make as many as I had hoped but there was a small piece remaining and that sculpt went onto become the final button design which was based on one or two of the sketches above. It was the perfect size and look, even if I didn't think at first it was going to look like anything.

I only had a week cut out of my schedule to roughly animate everything, but I still had time to animate the button falling and cracking in Adobe Animate.

The same process applied to Cabbage in the Animatification stage: breaking down the character design into lines and using contrast to add form. Pottle's face has more protruding features than Cabbage therefore his expressions were quite different to work with.

Animating Pottle was fun, as I had mentioned before, his features made it a different challenge to move all at once. Here's a simple rotation of Pottle's head:

So with Pottle mostly done the next post will be a brief one looking at the carriage designs, then onto the rough animatics which I produced in Adobe Animate for my art installation. Then onto the Witch and many other things!

References:
1. Monster House image sourced from Google Images.

Cabbage Pot Pre Production | "Cabbage"

The first character of Cabbage Pot is the eponymous 'Cabbage'. I'm not sure where his name came from, but I liked the idea of his family being named after various vegetables, fruits, plants and other objects (his younger sister is called 'Cauliflower' and his mother is 'Aubergine'). He went through a few iterations which saw him as an elderly Gromple, fat, thin, crazy, wise, I wanted him to be a wanderer, always traveling, so I drew him with that in mind.

Here are the two moleskine pages of quick sketches of Cabbage. I knew I wanted him to have a unique look or style, which ended up being his scarf, but his facial structure was integral to his look too. Big eyes and a rounded head were features I wanted to keep because it would display a more vulnerable and youthful side to the non-human character. Something that came out of those original sketches was giving him two very distinct front teeth, again giving him a more youthful, yet crazed look.

First fixed Cabbage concept

I moved onto the first blocked-in design of Cabbage after taking a few elements from the sketches and mixing them together. From this, Cabbage went from pauper and wanderer to magician with the simple addition of a cloak and hat. Before now, none of the Gromples I imagined had possessed magical powers or necessitated the attire for cloaks and robes, yet here it worked with Cabbage and thus magic became another figment of the world. Also, like with prior Gromples, I tried to give each one a motif, a special pattern that would reoccur in their clothes, Cabbage is no different.

Detail of the trim design on Cabbage's hat. 

 So that pattern would adorn the hems of his robes, the trim on the hat and the cuffs of his jacket. I was really pleased with how that original drawing turned out and decided to move onto giving him a bit more detail and including a colour scheme. Cabbage is accented with purple details, and the rest of his costume is really mundane and ordinary. He has a shabby quality, expressed in browns and beiges and off whites; he isn't dressed to impress, but still wears a full ensemble suit under his cloak. When thinking about the costume design I drew inspiration, or was thinking about the kind of lived-in quality of Eddie Redmayne's 'Newt Scamander' in the recent Fantastic Beasts and Where To Find Them film.

Newt Scamander's Costume in Fantastic Beasts and Where to Find Them

Tweed textures and nothing refined or distinctive for his time, yet still magical for us an audience. Wrapped around Cabbage's neck is a long knitted scarf with arcane alchemical symbols, some based off real symbols, others just random magical-looking symbols, I wanted it to suggest something magical about Cabbage - perhaps it was an heirloom, or it was knitted by his mother - all to suggest more depth to the character. Then I began a process of simplification - breaking down the above drawing into simple shapes, because at this time I was thinking about how to translate the character into a form easier to animate.

I found some textured paper at my art store and some scraps of paper I had saved from other projects and collaged them into a more animated version from the previous drawing. It gave me a good indication of what all the elements look like in a more basic manner.

Something to note on his hair is how jagged and simple it is; animating lots of individual elements such as hair is made extremely difficult the more of it there is to move, anime characters usually have their hair simplified into jagged clusters (even Yugi from Yu-Gi-Oh!) to avoid the problem of making the workload difficult. It's also an easy way to suggest that Cabbage is a wild character who doesn't really groom himself or care much for the state of his hair.

The next stage of the design process meant translating Cabbage into animated form, but first I had to draw him in a more stylised way which I've chosen to call "Animatification". The image below is an excerpt from the journal featuring a variety of expressions and poses that try to give me an idea of how he'll look from different angles - how his cloak and scarf move during action. All this was very quick and rough as I was really pressed for time. The development phase began right after giving a proposal to the lecturers of what my project wanted to be which was four weeks into an eleven week course, so everything in this early stage was done under pressure from that damn clock!

In theme with his magician outfit, I had given him a wand, but that element will come into play later with another character, 'Esrae the Witch'. Because Gromples don't have traditional human noses, just Voldemort-esque slits for nostrils, working out the various positions of his head was difficult. I used his mouth to suggest more dimensionality than is actually present to get away with it!



That's it for this post on Cabbage's development, there'll be another post tomorrow finishing off his pre-production phase and then it'll be onto Pottle and Esrae!

Cabbage Pot Pre-Production Diary | The Gromples

I thought it might be a useful tool to post the progress of a new animated feature I'm currently in the very early stages of creating.

For almost two years now my drawings have featured these small skeletal creatures which sprung forth from a small sketch one day whilst on a break during my animation class. The creatures would later be called 'Gromples' - an apt filmic term which roughly means an unrealistic change an art director might request during production; the constant nitpicker who is never truly satisfied. If that name has any resemblance to these creatures, I'm not entirely sure, my main concern was in finding a name which sounded different enough from Goblin or Gremlin! With the advent of a name came the advent of needing a world for these creatures to inhabit and thus came about trying to classify these beings as 'Sprites', a name which is usually ascribed to Fairies, Pixies and other small, magical creatures, mostly those who dwell in forests. The Gromples however were derived from that first sketch, a Station Master dressed in a workman's overalls and carrying an old oil lamp to light his way on dark nights on the platforms.

Already an aesthetic template was chosen, the Gromples' world would be one of industry, echoing late Victorian era Europe. The next few Gromples I drew were for Birthday cards, dressed in suits of various states of disrepair, denoting class and wealth yet without any cohesion or sense of belonging which of course will come later.

It wasn't until my third year and first unit of my final art course at University that these creatures would soon be placed together in the same world, even if no habitats were yet designed (and to this day have still yet to be) for them to live and take on a life of their own. Various questions arose from this melding: What do female Gromples look like? Children Gromples? What apparatus did they use, what do Gromple prams look like? A few of the drawings from that unit became part of an art installation that attempted to show the day-to-day process of my life as written in a journal.

During the time between my university work I was commissioned to create and install an artwork for Grossi Florentino's new bar 'Arlechin'. I had about two weeks to come up with a design and get it all printed and pasted up, settling on the Gromples for the content of the work. They're what I'm comfortable drawing and thought was reasonable enough to fill a twelve metre long wall, throwing a few trees in for good measure. Here's the original draft page for what the illustration would become:

In the top left corner you might be able to discern two thumbnail sketches where I tried to block in how I could use the door to work the characters around - ultimately that proved to be completely useless as I didn't take any measurements from my visit to the location, just a general gist of where things should go. To fill in twelve metres was a challenge at first, but two A3 sized sheets scale up quite nicely to the right dimensions, with a little cropping here and there.

Armed with a mechanical pencil, a biro pen and very sore fingers, the drawing took at least a week to complete, I really had to push myself to get it done to have enough time to scan it professionally, get it printed (60 sheets of A0 tiles) and paste it to the wall! Unfortunately the two Gromple's in the centre, the mother and daughter would be cut out because of the placement of the back door to the restaurant! That was a shame, but I thought having the full three Gromples on the left hand side was more important as that side of the wall has two vents which I was worried would interfere with what I thought was the most important part. Here it is installed, three days of cooking wheatpaste which is sickening to smell and driving into the city with the help of family to get it all up:

The commission cut into the first week of my next unit at uni in which the time came to choose a project to undertake and complete (or at least develop to a certain state of completion) for my final art unit of my Bachelor's degree. At this point I was conflicted. For a while, at least a year, I had been developing another project with a friend from uni. It was and still is a project still too ambitious to attempt where I am now in terms of my skills and confidence as an artist, with my time torn between drawing Gromples and other uni work that demanded attention. So with that project sidelined but not completely forgotten or abandoned I decided my project would follow the Gromples and specifically the creation of a few characters in a new story.

'Cabbage Pot' is that story, all stemming from that first Gromple sketch two years ago. Cabbage, a lowly magician and trader and his best friend who cobbles various nic-nacs together, Pottle. The two friends go around hunting for lost treasure and trade it in their steam-powered horseless carriage.

Something I think worth mentioning at this point is how uncanny a character can come into existence from seemingly disparate places of influence and interest. Nothing comes from a truly unique place, nothing truly original, but the hope of being content with your work is in fooling yourself into believing it to be original enough. The characters of Cabbage and Pottle are at their core archetypes of the common held ideals of best friends; the cheerful fat friend whom I've drawn from much of my own character; the slightly lanky and more normal, yet somehow a social outcast leader, and the comradery between the two. There's nothing magical or otherworldly about them, but that's the power of archetypes in their ability to be familiar and wholesome, loved and recognised - they're coming from the same places we do. They have hearts and can be just as vulnerable to emotions as we are.

Now in these early stages developed over the last month and a half comes the process of breathing life into these beings and giving them a story worth telling.

The following few posts will be chronicling the process of creating the characters and will continue in the future as the journey continues to create the world of Cabbage Pot...

Scores and More!

The last few weeks have seen me scoring more than usual with one game score down, another follows suit and it is relatively lighter when considering the tonal differences that each genre of film or game brings.

The last game score was for a Zombie shoot-em-up action/adventure thingy and it was scored for all the major action sequences and cut-scenes there might be. The score consisted of around 25 cues and was nothing short of what you'd expect from the music style the horror genre demands.

The next score which came by after a week of moving houses and frustration is a light-hearted pirate adventure called Cassigan's Cove. Teenagers disturb a tomb of a deadly Pirate called Cassigan. He is released and begins to torment the small island of Torensey.

This score gave me a chance to do some fun things whilst trying out new instruments and soundfonts allowing some experimentation with the regal brass sounds.

Here is the draft version of the cue list which has had some revisions since so all the slates are mismatched!

Cassigan's Cove Score
Composed by Rhys Purton

1m1 Set Sail!
1m1b Menu Select
1m2 Feathers
1m2 Feathers ALT
1m3 The Legend of Cassigan's Cove
2m4 Cassigan's Tomb/ The Return
2m4 Cassigan's Tomb [With Choir]
2m5 Toby Fenwidge
3m6 Docklands Suite - Day
3m7 Docklands Suite - Night
3m8 Docklands Suite - Stormy
4m9 Captain Fenwidge's Fine Ship
4m10 The Moon and Stars
5m11 Timed Event I - Barrel Chase
5m12 Finding the Treasure
5m13 Timed Event II - Dockland Scramble
6m14 Toby in Action
7m15 Cassigan's Plan
8m16 Ammorette in Debt
9m17 The Lighthouse/ Ammorette's Theme
10m18 Gunpowder and Feathers
10m19 Gunpowder and Feathers II
11m20 Cassigan's Ransom/ The Fire
12m21 The Duel I
12m22 The Duel II - The Rope Slide
13m23 Cove Reunion
13m24 Toby Runs
13m25 The Duel III - Endgame
14m26 Cassigan Falls, Cassigan Sinks
14m27 Toby and Ammorette Embrace
15m28 Credits