This document discusses the game Grand Theft Auto 5 and analyzes its soundtrack elements. It describes a casual setting of characters talking in a bedroom with no background music. The genre is identified as a sandbox game.
Ig1 task 2 analysis work sheet lollipop chainsawVictoriaLBS
The document discusses the game Lollipop Chainsaw and provides details about its soundtrack. It describes the setting as the main character's bedroom, with a casual mood as she talks about her family and boyfriend. The game genre is identified as hack and slash, with the narrative focused on the main character talking.
Sound design in computer games analysis work sheetwdhanuka
This document discusses a unit on sound design for computer games. It prompts the student to analyze soundtracks from game examples by describing how specific elements establish setting, mood, and narrative through production techniques to support the game's genre.
Ig1 task 2 analysis work sheet kid icarus uprisingVictoriaLBS
The document summarizes sound elements from the game Kid Icarus Uprising. It analyzes the setting, mood, genre, and narrative of a boss battle scene. For each element, it states that different production techniques were used to create the sounds, including recording sound effects and voices in a studio and using digital sound software. The genres is described as a third-person shooter, and both text boxes and voice actors were used to convey the narrative.
The document summarizes the opening cutscene of the video game Assassin's Creed Revelations. It describes the game's setting as a distant mysterious land and its mood as dramatic and intense. The genre is identified as action/adventure. The narrative technique involves the main character describing his quest to find a lost library of wisdom in a letter to his sister. Production techniques used in the soundtrack include stretching and distorting sounds to create unusual instruments and using string instruments and a light vocal orchestra that rises and falls throughout the track.
Ig1 task 2 analysis work sheet grand theft auto 5VictoriaLBS
The document provides an analysis of the sound design techniques used in the video game Grand Theft Auto 5. It describes the setting as a living room shown through footsteps and radio music. The mood shifts from casual to serious to angry as characters talk. Background music is absent but gunshots and voices appear recorded in a studio then edited with software to achieve effects like the fuzzy radio sound.
The document analyzes sound elements from the game Farcry 3. It describes the dialogue as being recorded in an open space to capture both dialogue and background ambient noise, possibly using a single recording. The mood is described as dark and suspenseful, set by the loud and angry dialogue tones. The genre is difficult to determine from the short video but hints at an open-world shooter given gunshot and screaming sounds during a character being thrown into water. Directional and waterproof recording equipment were likely used to capture these elements professionally.
The document provides an analysis of the sound design in the video game "Call of Duty: Ghosts." It describes the game's setting across various global locations, its dark and serious mood as a war game, and its genre as a first-person shooter. Specific soundtrack elements are examined, including ambient natural sounds, a ominous repeated ding, explosions and destruction sounds, and the effectively dark tone of the introductory narration.
In the distant future, robotic soldiers known as Redbots and Bluebots will do battle using traditional Japanese weapons like katanas, bows, and spears. The multiplayer game Bushido Bots will have players controlling these robotic warriors in competitive Sengoku-themed battles to capture territory for their team. Players can earn gold to purchase different weapons and armor to customize their robot's loadout. The development team has made progress on combat, HUD elements, and networking, but continues to work on animations, environments, and implementing the full gameplay systems.
Ig1 task 2 analysis work sheet lollipop chainsawVictoriaLBS
The document discusses the game Lollipop Chainsaw and provides details about its soundtrack. It describes the setting as the main character's bedroom, with a casual mood as she talks about her family and boyfriend. The game genre is identified as hack and slash, with the narrative focused on the main character talking.
Sound design in computer games analysis work sheetwdhanuka
This document discusses a unit on sound design for computer games. It prompts the student to analyze soundtracks from game examples by describing how specific elements establish setting, mood, and narrative through production techniques to support the game's genre.
Ig1 task 2 analysis work sheet kid icarus uprisingVictoriaLBS
The document summarizes sound elements from the game Kid Icarus Uprising. It analyzes the setting, mood, genre, and narrative of a boss battle scene. For each element, it states that different production techniques were used to create the sounds, including recording sound effects and voices in a studio and using digital sound software. The genres is described as a third-person shooter, and both text boxes and voice actors were used to convey the narrative.
The document summarizes the opening cutscene of the video game Assassin's Creed Revelations. It describes the game's setting as a distant mysterious land and its mood as dramatic and intense. The genre is identified as action/adventure. The narrative technique involves the main character describing his quest to find a lost library of wisdom in a letter to his sister. Production techniques used in the soundtrack include stretching and distorting sounds to create unusual instruments and using string instruments and a light vocal orchestra that rises and falls throughout the track.
Ig1 task 2 analysis work sheet grand theft auto 5VictoriaLBS
The document provides an analysis of the sound design techniques used in the video game Grand Theft Auto 5. It describes the setting as a living room shown through footsteps and radio music. The mood shifts from casual to serious to angry as characters talk. Background music is absent but gunshots and voices appear recorded in a studio then edited with software to achieve effects like the fuzzy radio sound.
The document analyzes sound elements from the game Farcry 3. It describes the dialogue as being recorded in an open space to capture both dialogue and background ambient noise, possibly using a single recording. The mood is described as dark and suspenseful, set by the loud and angry dialogue tones. The genre is difficult to determine from the short video but hints at an open-world shooter given gunshot and screaming sounds during a character being thrown into water. Directional and waterproof recording equipment were likely used to capture these elements professionally.
The document provides an analysis of the sound design in the video game "Call of Duty: Ghosts." It describes the game's setting across various global locations, its dark and serious mood as a war game, and its genre as a first-person shooter. Specific soundtrack elements are examined, including ambient natural sounds, a ominous repeated ding, explosions and destruction sounds, and the effectively dark tone of the introductory narration.
In the distant future, robotic soldiers known as Redbots and Bluebots will do battle using traditional Japanese weapons like katanas, bows, and spears. The multiplayer game Bushido Bots will have players controlling these robotic warriors in competitive Sengoku-themed battles to capture territory for their team. Players can earn gold to purchase different weapons and armor to customize their robot's loadout. The development team has made progress on combat, HUD elements, and networking, but continues to work on animations, environments, and implementing the full gameplay systems.
The document summarizes the soundtrack elements of the game Bioshock Infinite. It describes the setting as an old house with cigarettes, beer, and a newspaper on a desk. The mood is one of fear as neither the player nor character know where a strange noise is coming from in another room. The genre is described as horror and first-person shooter. The narrative is limited but conveys a sense of urgency to find the source of the noise, which the tense, creepy music reinforces by getting louder.
The document provides an analysis of the sound design in the opening sequence of the video game Halo 4. It summarizes the setting as a secure headquarters where characters discuss previous threats from distant galaxies. The mood is described as exciting and mysterious. The narrative explains that children were abducted and turned into super soldiers to fight an alien race threatening humanity. Production techniques like high-quality microphones and sound editing software were likely used to record voices and add sound effects to the scene.
Ig1 task 2 analysis work sheet wolfenstein the new ordercopelandadam
The document analyzes sound elements from the game Wolfenstein: The New Order. It describes the setting as modern or futuristic based on recorded or digitally created electrical and robotic footstep sounds. Dark mood is conveyed through a recorded voice line about hunting and killing. The genre is identified as a shooter since the excerpt includes recorded knife sounds, an electric sound, and later gunshots and robotic footsteps. Foreign dialogue between two characters was likely recorded voices later overdubbed in English.
The document summarizes the sound design techniques used in the soundtrack for the game Crisis 3. Specifically, it notes that directional recording equipment was used to capture clear dialogue. Pre-recorded soundtracks were also used, with the music getting louder or softer to emphasize points in the dialogue and set a dark, depressing mood. All sounds were processed through sound production software to create the science fiction narrative involving an alien invasion.
The document provides an analysis of a soundtrack excerpt from the game Battlefield 3. It describes the setting as an indoor interrogation with subtle ambient sounds like footsteps and machinery. The mood is described as tense due to the angry and pressing questioning. The genre is determined to be action based on the dialogue. The narrative centers around characters interrogating a third about someone named "Dima" and events in Paris, suggesting an intelligence or military scene. Production techniques identified include foley artistry, software sequencers, field recording, and studio recording.
The document analyzes the soundtrack of the video game Dead Space 3 from the time period of 2:45 to 7:12. It describes the setting as a windy, snowy area with futuristic technology. Field recordings of wind and snow were likely used, along with VST effects for mechanical sounds. An eerie ostinato of a string quartet was used from 2:45 to 5:16 to make the player feel uneasy. The game genre seems to be horror based on the worried dialogue of characters, creating suspense. Voice actors would have recorded dialogue in a controlled booth, as the cut scene contains no narration.
The document provides analysis of sounds used in the game Deadpool that establish setting, mood, game genre, and narrative. For setting, the sounds of heavy rain and an answering machine beep were likely field recorded and added straight into the game. To set mood, gunshots and explosions recorded in the field or on a computer establish a tone of danger, mystery, and humor suited for younger audiences. The edited, cartoony sounds and different voice actors imply a comedy action game genre. Narrative is the primary source of humor, advanced through jokes between Deadpool's head voices, and is the main way to understand the story as character development is emphasized.
Jake sound design in computer games analysis work sheet saw 2Jaket123
The document summarizes sounds used in the video game Saw 2 – Flesh&Blood. It analyzes 4 examples of sounds:
1) The setting introduces crackling TV and talking sounds, which would have been recorded voice overs and Foley artistry.
2) Mood conveys fear and struggling through screaming and movement sounds, which would be voice overs and studio recorded without background noise.
3) Genre is identified as horror/adventure based on pain and atmosphere sounds created by pure silence.
4) Narrative features a voice on TV, moving metal objects, and bad signal sounds created through Foley artistry and voice overs.
The soundtrack uses various production techniques to establish the setting and mood. Violins play throughout to create a sad, dramatic tone as characters discuss loss. Sounds at the beginning are closed with reverb to suggest a space setting, while dialogue later has echo added to indicate conversations in an open ship area. Footsteps also have echo applied to portray an open room. Overall, the sci-fi game genre is conveyed through the soundtrack elements and narrative of Master Chief floating in space before being greeted on an army ship.
The document provides analysis of sound elements in the Halo 3 soundtrack, including setting, mood, and genre. For the beginning of the sequence, the student describes an abandoned wasteland setting and feeling of needing to get ready for something big. Later, the music picks up to feel like a crowded place rushing to get somewhere, putting the player in a mood to rush through the game. The genre is identified as sci-fi/FPS, and no narrative is present in the sequence.
The document discusses sound elements in the video game Halo 3. It analyzes the setting, mood, and genre conveyed by different parts of the soundtrack sequence. Specifically, it notes that the beginning sounds like an abandoned wasteland and picks up to feel like a crowded rush, and that multi-track sequencing was likely used to create this. The genre of the game is identified as sci-fi/FPS and no narrative is conveyed by the soundtrack.
This document provides analysis of sound elements from the video game Deadpool. It summarizes the setting of a cutscene in the game, taking place in a destroyed mutant utopia. It describes Cables' theme music as establishing his character as a "badass" and the lack of background music and loud wind sounds setting a mood of loneliness. It analyzes that gunshot and ride squeaking sounds were likely manipulated recordings, while the breeze sound was possibly directly recorded outside. Cables' theme and Deadpool's dialogue effectively convey character and narrative.
The document summarizes sound elements from the game Halo 4. It describes the setting as a wide open cave or enclosed military base based on echoing and metallic mechanical sounds. The mood is described as tense due to military sounds and explosions and spaceship noises, giving a futuristic feeling. The genre is identified as a war or sci-fi game based on explosions, gunshots, and space noises. The narrative involves a main character listening to radio during spaceship takeoff, taking orders, and receiving a monologue, which was likely recorded and edited in a studio.
The document provides an analysis of the sounds used in the opening cutscene of the video game Kingdom Hearts II. It describes four key elements:
1) The setting by the beach is established through wind and wave sounds that were likely field recordings but could also have been created using a soundboard or Foley artistry.
2) The calm yet tense mood is created partly through the lack of background music and the mysterious dialogue between characters that was recorded in a studio.
3) The genre of the game is suggested to be a puzzle/action-adventure or survival horror based on the dialogue and empty, windy atmosphere.
4) The narrative is unclear and mysterious due to the limited sounds
This document provides an analysis of the soundtrack for the video game Halo 4. It examines specific soundtrack elements from 0:38 to 3:31 of the video linked and identifies the production techniques used. Violins from 0:38 to 1:36 are analyzed as being used for dramatic effect. From 1:05 to 1:14, the recording of an airship includes a distance effect. Footsteps from 1:49 to 1:58 have an echo effect, indicating an open room. Dialogue from 2:00 to 3:31 is echoed, suggesting an open space setting. Overall, the analysis examines how the soundtrack conveys the sci-fi genre, mood, narrative, and setting of the game through these soundtrack
The document analyzes the sound design of the soundtrack from the video game Call of Duty: Advanced Warfare. It examines four different elements - the setting, mood, game genre, and narrative - and identifies the production techniques used to create the soundtrack for each element. For the setting, field recording was used to capture ambient environmental sounds. Both field recording and voice recording in a studio were used to convey the tense mood. Studio voice recording, foley artistry, and field recording combined to suit the action game genre. And studio recording was employed for the character dialog in the narrative passages.
The document summarizes the sounds used in an alternate cutscene from the video game Dark Souls 2. It describes the setting as a dark, dusty final area before the game's end where the player must face bosses. Sounds of a heartbeat and a strange, distorted woman's voice establish a tense, scary mood. The woman mocks the player in a way that confirms she is not human due to fleshy, rustling walking sounds. The sounds of wind, dust and stones were likely created using Foley techniques, while the non-human sounds were probably digitally made. The scene reveals the true motives of the speaking non-human woman and important narrative elements through edited studio recordings that remove her human nature.
The document analyzes the sounds used in the trailer for the game Rainbow Six: Siege. It describes hearing engines of a vehicle, sounds of struggle from a tied-up hostage, and footsteps of people rushing through a house. The mood is described as a serious action/panic situation. The game genre is identified as FPS and action. The narrative is summarized as four team-mates cooperating to save a hostage held in her house by criminals. For each section, the document states that most sounds were likely created in a game engine sound editor or by recording real-life sounds outdoors and manipulating them.
The document summarizes key elements of the soundtrack from the video game Bioshock. It describes the setting as moving from a plane crash into the ocean to an underwater city. It notes the mood was meant to be creepy and mysterious. Production techniques used included recorded or stock sounds edited for the setting, lowering the pitch and slowing playback of sounds to suggest being underwater, string instruments and drums to set the ominous tone, and voice acting with added effects to sound like 1940s recordings.
The document provides analysis of sound elements in a scene from the video game Deadspace 3. It describes how the sounds establish the setting as a snowy, uninhabited place that then changes to a city area with traffic. An argument scene in an apartment includes dialogue and sounds of objects being thrown. Field recordings captured wind and footsteps in snow while Foley artistry created the other sounds. The mood shifts from confusion and darkness to a more aggressive one as the scene turns to an argument. Eerie music emphasizes the panic and horror elements throughout. The genre encompasses both action and horror as shown through the music and dialogue. Narrative is used to tell the story without needing visuals to understand what is happening in the scene
The document summarizes the soundtrack elements of the game Bioshock Infinite. It describes the setting as an old house with cigarettes, beer, and a newspaper on a desk. The mood is one of fear as neither the player nor character know where a strange noise is coming from in another room. The genre is described as horror and first-person shooter. The narrative is limited but conveys a sense of urgency to find the source of the noise, which the tense, creepy music reinforces by getting louder.
The document provides an analysis of the sound design in the opening sequence of the video game Halo 4. It summarizes the setting as a secure headquarters where characters discuss previous threats from distant galaxies. The mood is described as exciting and mysterious. The narrative explains that children were abducted and turned into super soldiers to fight an alien race threatening humanity. Production techniques like high-quality microphones and sound editing software were likely used to record voices and add sound effects to the scene.
Ig1 task 2 analysis work sheet wolfenstein the new ordercopelandadam
The document analyzes sound elements from the game Wolfenstein: The New Order. It describes the setting as modern or futuristic based on recorded or digitally created electrical and robotic footstep sounds. Dark mood is conveyed through a recorded voice line about hunting and killing. The genre is identified as a shooter since the excerpt includes recorded knife sounds, an electric sound, and later gunshots and robotic footsteps. Foreign dialogue between two characters was likely recorded voices later overdubbed in English.
The document summarizes the sound design techniques used in the soundtrack for the game Crisis 3. Specifically, it notes that directional recording equipment was used to capture clear dialogue. Pre-recorded soundtracks were also used, with the music getting louder or softer to emphasize points in the dialogue and set a dark, depressing mood. All sounds were processed through sound production software to create the science fiction narrative involving an alien invasion.
The document provides an analysis of a soundtrack excerpt from the game Battlefield 3. It describes the setting as an indoor interrogation with subtle ambient sounds like footsteps and machinery. The mood is described as tense due to the angry and pressing questioning. The genre is determined to be action based on the dialogue. The narrative centers around characters interrogating a third about someone named "Dima" and events in Paris, suggesting an intelligence or military scene. Production techniques identified include foley artistry, software sequencers, field recording, and studio recording.
The document analyzes the soundtrack of the video game Dead Space 3 from the time period of 2:45 to 7:12. It describes the setting as a windy, snowy area with futuristic technology. Field recordings of wind and snow were likely used, along with VST effects for mechanical sounds. An eerie ostinato of a string quartet was used from 2:45 to 5:16 to make the player feel uneasy. The game genre seems to be horror based on the worried dialogue of characters, creating suspense. Voice actors would have recorded dialogue in a controlled booth, as the cut scene contains no narration.
The document provides analysis of sounds used in the game Deadpool that establish setting, mood, game genre, and narrative. For setting, the sounds of heavy rain and an answering machine beep were likely field recorded and added straight into the game. To set mood, gunshots and explosions recorded in the field or on a computer establish a tone of danger, mystery, and humor suited for younger audiences. The edited, cartoony sounds and different voice actors imply a comedy action game genre. Narrative is the primary source of humor, advanced through jokes between Deadpool's head voices, and is the main way to understand the story as character development is emphasized.
Jake sound design in computer games analysis work sheet saw 2Jaket123
The document summarizes sounds used in the video game Saw 2 – Flesh&Blood. It analyzes 4 examples of sounds:
1) The setting introduces crackling TV and talking sounds, which would have been recorded voice overs and Foley artistry.
2) Mood conveys fear and struggling through screaming and movement sounds, which would be voice overs and studio recorded without background noise.
3) Genre is identified as horror/adventure based on pain and atmosphere sounds created by pure silence.
4) Narrative features a voice on TV, moving metal objects, and bad signal sounds created through Foley artistry and voice overs.
The soundtrack uses various production techniques to establish the setting and mood. Violins play throughout to create a sad, dramatic tone as characters discuss loss. Sounds at the beginning are closed with reverb to suggest a space setting, while dialogue later has echo added to indicate conversations in an open ship area. Footsteps also have echo applied to portray an open room. Overall, the sci-fi game genre is conveyed through the soundtrack elements and narrative of Master Chief floating in space before being greeted on an army ship.
The document provides analysis of sound elements in the Halo 3 soundtrack, including setting, mood, and genre. For the beginning of the sequence, the student describes an abandoned wasteland setting and feeling of needing to get ready for something big. Later, the music picks up to feel like a crowded place rushing to get somewhere, putting the player in a mood to rush through the game. The genre is identified as sci-fi/FPS, and no narrative is present in the sequence.
The document discusses sound elements in the video game Halo 3. It analyzes the setting, mood, and genre conveyed by different parts of the soundtrack sequence. Specifically, it notes that the beginning sounds like an abandoned wasteland and picks up to feel like a crowded rush, and that multi-track sequencing was likely used to create this. The genre of the game is identified as sci-fi/FPS and no narrative is conveyed by the soundtrack.
This document provides analysis of sound elements from the video game Deadpool. It summarizes the setting of a cutscene in the game, taking place in a destroyed mutant utopia. It describes Cables' theme music as establishing his character as a "badass" and the lack of background music and loud wind sounds setting a mood of loneliness. It analyzes that gunshot and ride squeaking sounds were likely manipulated recordings, while the breeze sound was possibly directly recorded outside. Cables' theme and Deadpool's dialogue effectively convey character and narrative.
The document summarizes sound elements from the game Halo 4. It describes the setting as a wide open cave or enclosed military base based on echoing and metallic mechanical sounds. The mood is described as tense due to military sounds and explosions and spaceship noises, giving a futuristic feeling. The genre is identified as a war or sci-fi game based on explosions, gunshots, and space noises. The narrative involves a main character listening to radio during spaceship takeoff, taking orders, and receiving a monologue, which was likely recorded and edited in a studio.
The document provides an analysis of the sounds used in the opening cutscene of the video game Kingdom Hearts II. It describes four key elements:
1) The setting by the beach is established through wind and wave sounds that were likely field recordings but could also have been created using a soundboard or Foley artistry.
2) The calm yet tense mood is created partly through the lack of background music and the mysterious dialogue between characters that was recorded in a studio.
3) The genre of the game is suggested to be a puzzle/action-adventure or survival horror based on the dialogue and empty, windy atmosphere.
4) The narrative is unclear and mysterious due to the limited sounds
This document provides an analysis of the soundtrack for the video game Halo 4. It examines specific soundtrack elements from 0:38 to 3:31 of the video linked and identifies the production techniques used. Violins from 0:38 to 1:36 are analyzed as being used for dramatic effect. From 1:05 to 1:14, the recording of an airship includes a distance effect. Footsteps from 1:49 to 1:58 have an echo effect, indicating an open room. Dialogue from 2:00 to 3:31 is echoed, suggesting an open space setting. Overall, the analysis examines how the soundtrack conveys the sci-fi genre, mood, narrative, and setting of the game through these soundtrack
The document analyzes the sound design of the soundtrack from the video game Call of Duty: Advanced Warfare. It examines four different elements - the setting, mood, game genre, and narrative - and identifies the production techniques used to create the soundtrack for each element. For the setting, field recording was used to capture ambient environmental sounds. Both field recording and voice recording in a studio were used to convey the tense mood. Studio voice recording, foley artistry, and field recording combined to suit the action game genre. And studio recording was employed for the character dialog in the narrative passages.
The document summarizes the sounds used in an alternate cutscene from the video game Dark Souls 2. It describes the setting as a dark, dusty final area before the game's end where the player must face bosses. Sounds of a heartbeat and a strange, distorted woman's voice establish a tense, scary mood. The woman mocks the player in a way that confirms she is not human due to fleshy, rustling walking sounds. The sounds of wind, dust and stones were likely created using Foley techniques, while the non-human sounds were probably digitally made. The scene reveals the true motives of the speaking non-human woman and important narrative elements through edited studio recordings that remove her human nature.
The document analyzes the sounds used in the trailer for the game Rainbow Six: Siege. It describes hearing engines of a vehicle, sounds of struggle from a tied-up hostage, and footsteps of people rushing through a house. The mood is described as a serious action/panic situation. The game genre is identified as FPS and action. The narrative is summarized as four team-mates cooperating to save a hostage held in her house by criminals. For each section, the document states that most sounds were likely created in a game engine sound editor or by recording real-life sounds outdoors and manipulating them.
The document summarizes key elements of the soundtrack from the video game Bioshock. It describes the setting as moving from a plane crash into the ocean to an underwater city. It notes the mood was meant to be creepy and mysterious. Production techniques used included recorded or stock sounds edited for the setting, lowering the pitch and slowing playback of sounds to suggest being underwater, string instruments and drums to set the ominous tone, and voice acting with added effects to sound like 1940s recordings.
The document provides analysis of sound elements in a scene from the video game Deadspace 3. It describes how the sounds establish the setting as a snowy, uninhabited place that then changes to a city area with traffic. An argument scene in an apartment includes dialogue and sounds of objects being thrown. Field recordings captured wind and footsteps in snow while Foley artistry created the other sounds. The mood shifts from confusion and darkness to a more aggressive one as the scene turns to an argument. Eerie music emphasizes the panic and horror elements throughout. The genre encompasses both action and horror as shown through the music and dialogue. Narrative is used to tell the story without needing visuals to understand what is happening in the scene
The game's main plot follows an escape monkey trying to get back to the jungle after being experimented on in a lab. As the monkey makes its escape and progresses through the game, it experiences delusions caused by the experimentation it underwent. The player guides the monkey as it tries to make its way home while dealing with the effects of the experiments.
The document describes a video game story and its potential market fit. The story is about a monkey that undergoes experiments in an animal testing lab, driving it into insanity. It breaks out and must fight through different environments to return to the jungle while experiencing psychosis. The gameplay would get increasingly difficult. The game's simple story and mechanics resemble late 90s/early 2000s titles, appealing to both casual and hardcore gamers through nostalgia. Screenshots were provided as inspiration for a first-person retro-style game.
This legal agreement between E6 Radio (Salford City College Corporation) and two individuals, Damen Bramwell and Victoria Bell, establishes that a work created by the collaborators has been checked for appropriate standards regarding decency, representation of race, gender, religion and sexuality. Both Damen Bramwell and Victoria Bell signed the agreement on different dates, with Damen Bramwell signing on an unspecified date and Victoria Bell signing on November 25, 2013, to produce a work that meets ethical and legal standards.
This risk assessment identifies hazards associated with using computer workstations at all sites. Hazards include work-related disorders from prolonged sitting, eyestrain, and stress. Chemical hazards from screen cleaners and electrical hazards are also identified. Control measures require workstations to meet display screen equipment regulations, provide training, enforce safe chemical and electrical practices, and encourage varied work and breaks from the computer. The assessment will be reviewed annually.
The student created a production log and schedule for a 3D animation project for their BTec Level 3 Extended Diploma in Creative Media Production Games Design course. They researched logos and stingers for inspiration to create their own graphic for a college radio station. After developing their idea and storyboarding, they began animating using a pre-existing 3D model. Multiple entries document their continued work on the animation over several months, until they finally completed it by editing the animation and sound files together and uploading the finished radio motion graphic to YouTube.
This document is a production log for a student at Salford City College working towards a BTec Level 3 Extended Diploma in Creative Media Production in Games Design. The production log tracks work on a unit called 3D Animation and details progress on an assignment called "e6 Radio Motion Graphic". Dates are listed but no details are provided in the brief document.
This document contains links to various animation and entertainment-related wikis and websites, including pages about BBC Three, CBBC, Capital radio network, Cartoon Network in the UK and Ireland, and the Walt Disney logo. The links provide resources for learning more about British television channels focused on animation and children's programming as well as radio stations and Disney properties.
To add sound to an object in Game Maker, you first load the sound file by clicking the speaker icon and selecting the sound. You then apply the sound to an object by selecting that object, dragging the "play sound" action onto the event you want it to trigger, and choosing the loaded sound file. This will make the sound play when that event occurs for the object.
This document appears to be a timeline listing the weeks of an event from the 1st week to the 23rd week. It provides a high-level chronological ordering of weeks but does not include any other details about the content or purpose of the event.
Anabelle enters Jake's house with her key while hoping he doesn't notice her arrival. Jake confronts her about where she has been, and they start arguing before a gunshot is heard outside and frantic banging occurs at the front door. Jake pulls Anabelle out the back door, drags her to his car, and drives off at high speed as others shout at them to stop, promising to explain what is happening later.
The document proposes a racing game called "Road Hazard" where players race around tracks that are being damaged by natural disasters such as earthquakes, floods, and hurricanes. The game would be a 3rd person, rear-view racing game available on mobile, online, and home consoles, inspired by Mario Kart. The unique element of natural disasters damaging the tracks during races could appeal to a wide audience and make the game profitable.
This document provides definitions for sound design and production terms in a glossary format. It includes terms related to foley artistry, sound libraries, audio file formats like .wav and .mp3, audio limitations involving hardware like sound cards, audio recording systems involving analog and digital formats, MIDI, software tools, and concepts in audio sampling like bit depth and sample rate. The student has researched definitions for each term and provided examples of how the terms relate to their own production practice.
This document appears to be a timeline listing the weeks of an event from the 1st week to the 23rd week. It provides a high-level chronological ordering of weeks but does not include any other context or details about the content or purpose of the event weeks.
1. Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
Game Title
Grand Theft Auto 5
Provide detailed descriptions from chosen examples that establish…
Setting
Clearly state what production technique(s) you think have
been used to create specific soundtrack elements
Voices
A house in a bedroom
Mood
Casual, no music
Game genre
Sandbox
Narrative
Characters talking