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Metalpocolypse second final draft
The band members discover zombies outside their studio during band practice. They decide to fight off the zombies by using their guitars as weapons instead of panicking about the apocalyptic situation. Alex proposes turning the zombie slaying into a competition to see who can get the most points by decapitating or hitting zombies in the head. The others agree and run out screaming with their guitars raised to battle the zombies as Evanescence plays in the background.
Task 1 comic strip analysis
This document summarizes several comic strips and graphic novels, describing their narratives, artistic styles, use of images and text, and intended audiences. It analyzes works such as Superman, Beano, Garfield, Sin City, Biggles, Spiderman, V for Vendetta, Watchmen, Batman: The Dark Knight Returns, and Maus: The Complete Maus. Key details about the storylines, visual elements, and target demographics are provided for each work in concise summaries.
Ben ce sound recording glossary version 2
This document provides definitions for key terms related to sound design and production for computer games. It includes a glossary with over 20 terms defined, along with relevant URLs. For each term, the student also provides a brief description of how the term relates to their own production practice, such as using sound libraries to choose sounds or converting YouTube videos to mp3 format. The glossary covers areas such as sound design methodology, file formats, audio limitations, recording systems, sampling, and MIDI instruments.
Task 11 programming sounds into my game
The document describes how to add sound effects and background music to a game created in GameMaker. It explains how to import sound files, assign them to different objects like the player projectile and enemy projectile, and set the player projectile and enemy projectile sounds to play once without repeating. It also explains how to set a background music file to loop continuously and stop when the game ends.
Vst produced sound effects
The document describes the creation of different audio clips using effects in the Reaper program. Clips included a spooky, slowly lowering pitched sound made using the AlphaTone effect with a Bass Moog preset adjusted for parameters, a sound that gradually gets louder like a dance song made using the same effect but with a different preset, a rhythmic tapping and beat noise made using the Rhythmuse effect with a Patch12 preset, and a trance-like song with a fading in-and-out beat made using the TAL Noise Maker effect with an ARPSuper Sync TAL preset.
Plugins
The document discusses using various sound plugins in the Reaper program to alter sounds. The Tal-Dub plugin added delay to make a sonic boom sound like a spaceship. The battery acid effect plugin added interference to transform a time machine sound into a rocket launch. The Glitch plugin emphasized an explosion and added stuttering to make a laser gun sound effect.
Playback rate and pitch
The document describes experiments manipulating the playback rate and pitch of various sound clips from a sound library to change their tone and quality. The author selects sounds of a crying baby, screaming, an alien alarm, a fighting game attack, swords slicing, and a man screaming. For each one, the playback rate and pitch are adjusted, such as making baby cries higher or lower pitched, or making screams and swords sounds more like voices or instruments. The goal is to demonstrate how altering these properties can transform how the sounds are perceived.
Q card's
The document discusses ideas for a zombie survival video game called Metalpocolypse. It includes descriptions of the band members that the game is centered around, including their personalities. It also outlines an introductory cut scene where the band encounters zombies and decides to make a game of killing them. Finally, it addresses including appropriate sound effects and music in the game.
Recommended
Metalpocolypse second final draft
The band members discover zombies outside their studio during band practice. They decide to fight off the zombies by using their guitars as weapons instead of panicking about the apocalyptic situation. Alex proposes turning the zombie slaying into a competition to see who can get the most points by decapitating or hitting zombies in the head. The others agree and run out screaming with their guitars raised to battle the zombies as Evanescence plays in the background.
Task 1 comic strip analysis
This document summarizes several comic strips and graphic novels, describing their narratives, artistic styles, use of images and text, and intended audiences. It analyzes works such as Superman, Beano, Garfield, Sin City, Biggles, Spiderman, V for Vendetta, Watchmen, Batman: The Dark Knight Returns, and Maus: The Complete Maus. Key details about the storylines, visual elements, and target demographics are provided for each work in concise summaries.
Ben ce sound recording glossary version 2
This document provides definitions for key terms related to sound design and production for computer games. It includes a glossary with over 20 terms defined, along with relevant URLs. For each term, the student also provides a brief description of how the term relates to their own production practice, such as using sound libraries to choose sounds or converting YouTube videos to mp3 format. The glossary covers areas such as sound design methodology, file formats, audio limitations, recording systems, sampling, and MIDI instruments.
Task 11 programming sounds into my game
The document describes how to add sound effects and background music to a game created in GameMaker. It explains how to import sound files, assign them to different objects like the player projectile and enemy projectile, and set the player projectile and enemy projectile sounds to play once without repeating. It also explains how to set a background music file to loop continuously and stop when the game ends.
Vst produced sound effects
The document describes the creation of different audio clips using effects in the Reaper program. Clips included a spooky, slowly lowering pitched sound made using the AlphaTone effect with a Bass Moog preset adjusted for parameters, a sound that gradually gets louder like a dance song made using the same effect but with a different preset, a rhythmic tapping and beat noise made using the Rhythmuse effect with a Patch12 preset, and a trance-like song with a fading in-and-out beat made using the TAL Noise Maker effect with an ARPSuper Sync TAL preset.
Plugins
The document discusses using various sound plugins in the Reaper program to alter sounds. The Tal-Dub plugin added delay to make a sonic boom sound like a spaceship. The battery acid effect plugin added interference to transform a time machine sound into a rocket launch. The Glitch plugin emphasized an explosion and added stuttering to make a laser gun sound effect.
Playback rate and pitch
The document describes experiments manipulating the playback rate and pitch of various sound clips from a sound library to change their tone and quality. The author selects sounds of a crying baby, screaming, an alien alarm, a fighting game attack, swords slicing, and a man screaming. For each one, the playback rate and pitch are adjusted, such as making baby cries higher or lower pitched, or making screams and swords sounds more like voices or instruments. The goal is to demonstrate how altering these properties can transform how the sounds are perceived.
Q card's
The document discusses ideas for a zombie survival video game called Metalpocolypse. It includes descriptions of the band members that the game is centered around, including their personalities. It also outlines an introductory cut scene where the band encounters zombies and decides to make a game of killing them. Finally, it addresses including appropriate sound effects and music in the game.
Pitch script
The document summarizes the characters and plot of a zombie survival video game being developed. It describes the main influences as Dead Rising and Left 4 Dead, both known for zombie gameplay. It introduces the band members who must survive the zombie apocalypse - the sarcastic leader Alex, fun-loving drummer Freddy, scared but joking bassist Hank, and shy guitarist Fergus who doesn't like people. It outlines an opening cutscene where the band notices zombies and decides to have fun killing them, devising a points system and joking about the situation. Sound production plans include voice acting, music, effects and ambient sounds recorded in the field or studio.
Metalpocolypse final draft script
The band members discover zombies outside their studio. They decide to fight the zombies by using their guitars as weapons, turning the situation into a competition to see who can kill the most zombies. They all run outside screaming and swinging their guitars, trying to hit and kill as many zombies as possible. Though one member notes that their families may be dead, the others feel killing zombies can still be fun.
Ben ce sound recording glossary version 2
The document is a glossary assignment for a BTEC Extended Diploma in Games Design course. It contains definitions for various terms related to sound design and production. The student was asked to research definitions for the provided glossary terms and include how each term relates to their own production practice. Definitions are provided for terms like foley artistry, sound libraries, audio file formats (wav, aiff, au), compression types (lossy, mp3), audio hardware limitations, recording systems (analog, digital disc formats), MIDI, software tools, and audio sampling concepts.
Audio explanation
The document describes various sound effects used in an audio project, including thunder and rain to set the scene, gravel sounds for running, heavy breathing with a scream, gunshot sounds edited by copying and pasting, and a monster roar that starts very loud and gets gradually quieter to show the monster dying. Keyframe editing was used to gradually change the volume of some sounds to build tension as a monster approaches.
Job role description and equipment hire
A sound designer is responsible for everything the audience hears in a play. They study the script to identify required sounds and gather or create the necessary effects. The sound designer must combine pitch, volume, quality, direction, and duration of sounds and work with the design team. They are also responsible for recording sounds, modifying them in the studio or on location, managing a team, using software, and considering props when gathering sounds using Foley artistry.
Job role description and equipment hire
A sound designer is responsible for all audio elements of a play. They study the script to identify required sounds and design audio to set mood and match the scene. Sound designers must consider pitch, volume, quality, direction and duration of sounds. They work with the design team to understand how sounds will be used in context of the set. Equipment needed for sound recording includes a boom pole, microphone, cables, headphones, midi controller and digital recorder.
Dead space 3
The document provides descriptions of sounds from the video game Deadspace 3 and analyzes the production techniques used to create the different sound elements. It summarizes that the opening sounds establish a cold, windy remote location through field recordings or foley work. Background music builds suspense and the genre is established as sci-fi through futuristic sound effects that were likely digitally created using MIDI. Voices were recorded in a studio with voice actors.
Sunset overdrive
The document provides descriptions of sounds from the video game trailer Sunset Overdrive and analyzes the possible production techniques used to create the sounds. In 3 sentences:
The trailer establishes a city setting through sounds of trains and crowds that were likely field recorded or used foley artistry. Upbeat, loud music builds tension and conveys panic, possibly recorded with live musicians. Various sounds like gunshots, police sirens, and monster roars suggest an action/adventure genre and may have been field recorded or used foley artistry and digital enhancement.
The last of us
The document provides descriptions and analysis of sounds from a game trailer for The Last of Us. It analyzes how the sounds establish the setting, mood, game genre, and narrative. For the setting, background machine noises and footsteps create a small enclosed space. The mood shifts from calm to excitement through up-tempo background music. The game genre of action/adventure is conveyed through sounds of fighting like punches and clashing swords. The narrative of two girls discussing gameplay is established through one girl providing instructions and changing her tone of voice for different characters.
The crew
This document provides descriptions of sounds used in the game The Crew and analyzes the production techniques used to create them. It summarizes how sounds of cars establish the setting of a race, while background chatter of a crowd was likely recorded in the field. Music builds suspense and mood, and was possibly created digitally using software. Noises of cars and guns help demonstrate the racing and narrative genres. Dialogue and music together help tell the story of two brothers pursuing a "dirty cop."
Call of duty
The document analyzes and describes the sounds used in a clip from the video game Call of Duty. It identifies mechanical sounds, an engine, crashes, debris falling, and characters landing that establish the setting. Production techniques like foley artistry and digital enhancement are thought to create specific sounds. Background music builds suspense and coincides with heavy breathing to set mood. Shooting sounds define the fighting/war game genre. Voices were likely recorded in a studio using voice actors and a script to advance the narrative.
_ ig2 game audio cut sequence production_2014 to 2015 (1)
This document provides an assignment brief for a computer games design qualification. The assignment involves producing audio assets and a cut sequence for a computer game. It will assess learning outcomes related to understanding sound design, creating sound assets, and applying sounds to a game following industry practices. The tasks include researching sound design terms, analyzing existing game audio, scripting and recording dialogue, editing sounds using effects, creating sound effects, and programming the finished audio into a game. The deadline for completion is June 5th, 2015.
Ben ce sound recording glossary
This document contains a glossary of terms related to sound design and production for computer games. It provides definitions for terms like foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations, recording systems like analog and digital, MIDI, software sequencers, sampling constraints like bit depth and sample rate. For each term, it gives a short definition from an online source as well as how the term relates to the author's own production practice.
Game maker work flow 181214
The document describes the process of creating a game sprite and programming its movement in a game engine. Screenshots with red arrows or boxes are used to illustrate each step, such as choosing the sprite name, designing its shape, adding colors, setting properties for movement and collision, testing movement limits, and programming enemy sprites and their behavior. The goal was to create a playable game with a moving player sprite, scrolling backgrounds, enemy sprites that spawn and move, and jets that can be shot.
Unity work flow
The document describes Ben Comley's workflow for creating a 3D level for a first-person science fiction game. It shows the various tools used to sculpt the terrain, add textures and lighting, and place water and skyboxes. Models and assets from an asset store were also included, such as a spaceship, walkways between islands, land textures, and an indicator for how players enter space.
Y1 gd engine_terminology ben comley-excell
The document is a glossary task for a games design course that requires students to research and define video game development terms. It includes definitions for common terms related to game development stages, such as alpha, beta, and gold release. Additional terms defined include debug, automation, and white-box testing. The glossary provides images to illustrate concepts like level of detail, anti-aliasing, and normal mapping techniques used in game development.
Ig je game engines_y1_assignment brief
The document outlines the tasks and requirements for a unit on game engines. The student must complete 3 tasks: 1) A report explaining the purposes and components of game engines using industry terminology. 2) Creation of a 2D game prototype in Game Maker according to industry standards. 3) Creation of a 3D game prototype in Unity according to industry standards. The tasks are graded based on criteria around explaining concepts, following standards, and demonstrating imagination and independence.
Unit 4 media audiences pegi powerpoint
The document discusses the Pan-European Game Information (PEGI) age rating system. It was developed to provide a single, consistent rating system for computer games across Europe. PEGI replaced various national rating systems. Major game console manufacturers support PEGI. The document then outlines the various content descriptors that can appear on game packaging, such as violence, language, nudity, use of substances, and online gameplay. Descriptors provide additional information about why a game received a particular age rating.
Game script
Two men, Matthew and Bryan, meet a midwife and her bodyguards on a remote pier to exchange a bag of money for a briefcase. The briefcase contains a packet and a phone, with the phone concealing a hidden picture containing a drug formula. The midwife's boat then leaves, while Matthew and Bryan get a boat to a ship preparing to depart for Amsterdam, implying an international drug smuggling operation.
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Pitch script
The document summarizes the characters and plot of a zombie survival video game being developed. It describes the main influences as Dead Rising and Left 4 Dead, both known for zombie gameplay. It introduces the band members who must survive the zombie apocalypse - the sarcastic leader Alex, fun-loving drummer Freddy, scared but joking bassist Hank, and shy guitarist Fergus who doesn't like people. It outlines an opening cutscene where the band notices zombies and decides to have fun killing them, devising a points system and joking about the situation. Sound production plans include voice acting, music, effects and ambient sounds recorded in the field or studio.
Metalpocolypse final draft script
The band members discover zombies outside their studio. They decide to fight the zombies by using their guitars as weapons, turning the situation into a competition to see who can kill the most zombies. They all run outside screaming and swinging their guitars, trying to hit and kill as many zombies as possible. Though one member notes that their families may be dead, the others feel killing zombies can still be fun.
Ben ce sound recording glossary version 2
The document is a glossary assignment for a BTEC Extended Diploma in Games Design course. It contains definitions for various terms related to sound design and production. The student was asked to research definitions for the provided glossary terms and include how each term relates to their own production practice. Definitions are provided for terms like foley artistry, sound libraries, audio file formats (wav, aiff, au), compression types (lossy, mp3), audio hardware limitations, recording systems (analog, digital disc formats), MIDI, software tools, and audio sampling concepts.
Audio explanation
The document describes various sound effects used in an audio project, including thunder and rain to set the scene, gravel sounds for running, heavy breathing with a scream, gunshot sounds edited by copying and pasting, and a monster roar that starts very loud and gets gradually quieter to show the monster dying. Keyframe editing was used to gradually change the volume of some sounds to build tension as a monster approaches.
Job role description and equipment hire
A sound designer is responsible for everything the audience hears in a play. They study the script to identify required sounds and gather or create the necessary effects. The sound designer must combine pitch, volume, quality, direction, and duration of sounds and work with the design team. They are also responsible for recording sounds, modifying them in the studio or on location, managing a team, using software, and considering props when gathering sounds using Foley artistry.
Job role description and equipment hire
A sound designer is responsible for all audio elements of a play. They study the script to identify required sounds and design audio to set mood and match the scene. Sound designers must consider pitch, volume, quality, direction and duration of sounds. They work with the design team to understand how sounds will be used in context of the set. Equipment needed for sound recording includes a boom pole, microphone, cables, headphones, midi controller and digital recorder.
Dead space 3
The document provides descriptions of sounds from the video game Deadspace 3 and analyzes the production techniques used to create the different sound elements. It summarizes that the opening sounds establish a cold, windy remote location through field recordings or foley work. Background music builds suspense and the genre is established as sci-fi through futuristic sound effects that were likely digitally created using MIDI. Voices were recorded in a studio with voice actors.
Sunset overdrive
The document provides descriptions of sounds from the video game trailer Sunset Overdrive and analyzes the possible production techniques used to create the sounds. In 3 sentences:
The trailer establishes a city setting through sounds of trains and crowds that were likely field recorded or used foley artistry. Upbeat, loud music builds tension and conveys panic, possibly recorded with live musicians. Various sounds like gunshots, police sirens, and monster roars suggest an action/adventure genre and may have been field recorded or used foley artistry and digital enhancement.
The last of us
The document provides descriptions and analysis of sounds from a game trailer for The Last of Us. It analyzes how the sounds establish the setting, mood, game genre, and narrative. For the setting, background machine noises and footsteps create a small enclosed space. The mood shifts from calm to excitement through up-tempo background music. The game genre of action/adventure is conveyed through sounds of fighting like punches and clashing swords. The narrative of two girls discussing gameplay is established through one girl providing instructions and changing her tone of voice for different characters.
The crew
This document provides descriptions of sounds used in the game The Crew and analyzes the production techniques used to create them. It summarizes how sounds of cars establish the setting of a race, while background chatter of a crowd was likely recorded in the field. Music builds suspense and mood, and was possibly created digitally using software. Noises of cars and guns help demonstrate the racing and narrative genres. Dialogue and music together help tell the story of two brothers pursuing a "dirty cop."
Call of duty
The document analyzes and describes the sounds used in a clip from the video game Call of Duty. It identifies mechanical sounds, an engine, crashes, debris falling, and characters landing that establish the setting. Production techniques like foley artistry and digital enhancement are thought to create specific sounds. Background music builds suspense and coincides with heavy breathing to set mood. Shooting sounds define the fighting/war game genre. Voices were likely recorded in a studio using voice actors and a script to advance the narrative.
_ ig2 game audio cut sequence production_2014 to 2015 (1)
This document provides an assignment brief for a computer games design qualification. The assignment involves producing audio assets and a cut sequence for a computer game. It will assess learning outcomes related to understanding sound design, creating sound assets, and applying sounds to a game following industry practices. The tasks include researching sound design terms, analyzing existing game audio, scripting and recording dialogue, editing sounds using effects, creating sound effects, and programming the finished audio into a game. The deadline for completion is June 5th, 2015.
Ben ce sound recording glossary
This document contains a glossary of terms related to sound design and production for computer games. It provides definitions for terms like foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations, recording systems like analog and digital, MIDI, software sequencers, sampling constraints like bit depth and sample rate. For each term, it gives a short definition from an online source as well as how the term relates to the author's own production practice.
Game maker work flow 181214
The document describes the process of creating a game sprite and programming its movement in a game engine. Screenshots with red arrows or boxes are used to illustrate each step, such as choosing the sprite name, designing its shape, adding colors, setting properties for movement and collision, testing movement limits, and programming enemy sprites and their behavior. The goal was to create a playable game with a moving player sprite, scrolling backgrounds, enemy sprites that spawn and move, and jets that can be shot.
Unity work flow
The document describes Ben Comley's workflow for creating a 3D level for a first-person science fiction game. It shows the various tools used to sculpt the terrain, add textures and lighting, and place water and skyboxes. Models and assets from an asset store were also included, such as a spaceship, walkways between islands, land textures, and an indicator for how players enter space.
Y1 gd engine_terminology ben comley-excell
The document is a glossary task for a games design course that requires students to research and define video game development terms. It includes definitions for common terms related to game development stages, such as alpha, beta, and gold release. Additional terms defined include debug, automation, and white-box testing. The glossary provides images to illustrate concepts like level of detail, anti-aliasing, and normal mapping techniques used in game development.
Ig je game engines_y1_assignment brief
The document outlines the tasks and requirements for a unit on game engines. The student must complete 3 tasks: 1) A report explaining the purposes and components of game engines using industry terminology. 2) Creation of a 2D game prototype in Game Maker according to industry standards. 3) Creation of a 3D game prototype in Unity according to industry standards. The tasks are graded based on criteria around explaining concepts, following standards, and demonstrating imagination and independence.
Unit 4 media audiences pegi powerpoint
The document discusses the Pan-European Game Information (PEGI) age rating system. It was developed to provide a single, consistent rating system for computer games across Europe. PEGI replaced various national rating systems. Major game console manufacturers support PEGI. The document then outlines the various content descriptors that can appear on game packaging, such as violence, language, nudity, use of substances, and online gameplay. Descriptors provide additional information about why a game received a particular age rating.
Game script
Two men, Matthew and Bryan, meet a midwife and her bodyguards on a remote pier to exchange a bag of money for a briefcase. The briefcase contains a packet and a phone, with the phone concealing a hidden picture containing a drug formula. The midwife's boat then leaves, while Matthew and Bryan get a boat to a ship preparing to depart for Amsterdam, implying an international drug smuggling operation.
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_ ig2 game audio cut sequence production_2014 to 2015 (1)
_ ig2 game audio cut sequence production_2014 to 2015 (1)