Play By Ear: Sound Design for Games | Sharon Kho, Gwen Guo
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When it comes to working with sound designers/composers, there isn’t a one-size-fits-all way of having an effective audio pipeline; it depends on which practices suit your company working style or culture the most to bring out the best in your game. IMBA will share various project postmortems from small, bite-sized casual games to AAA titles, and discuss how you can find the best audio pipeline for your team.
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Play By Ear: Sound Design for Games | Sharon Kho, Gwen Guo
- 1. Play by Ear: Sound Design for Games Sharon Kho and Gwen Guo Co-founders, IMBA Interactive
- 2. About Us • A small game audio company based in Singapore • Provide top-notch audio for game dev studios • Build game audio communities in this region
- 3. “An outsource-inhouse team” A PARADOX?
- 4. Taipei Game Jam experience ‘Technical’ Team ‘Creative’ Team Mostly programmers An all-rounded team Prototyped multiple ideas Went with one single idea Prioritise mechanics Prioritise narrative Less game industry experience More game industry experience
- 5. How did the sound designer manage this? ? CREATIVE TEAM TECHNICAL TEAM
- 6. How did the sound designer manage this? PRODUCTION PIPELINE CREATIVE OWNERSHIP KNOWLEDGE SHARING
- 7. CREATIVE OWNERSHIP IMBA CLIENT Who does it belong to?
- 8. IMBA CLIENT CREATIVE OWNERSHIP Defining creative boundaries Constants - Established IP - Target audience - Characters - Deadlines - Implementation - Music Variables - Art style - Theme - Game designers
- 9. IMBA CLIENT CREATIVE OWNERSHIP Defining creative boundaries CONSTANT - Art style - Game designer VARIABLE - Audio direction - Timeline - Implementation
- 10. SHARED KNOWLEDGE Who? What? When? Where? Why? How?
- 11. SHARED KNOWLEDGE
- 12. SHARED KNOWLEDGE • PROJECT BASICS • Age group and demographic • Genre and Platform • Where are you/dev team located or based off? • Why are you making this game?
- 13. SHARED KNOWLEDGE • TECHNICAL BASICS • How is the budget for audio like? • What is the game going to be developed on? • Tools and Middleware? • Filesize budget • When are the milestones and deadlines?
- 14. SHARED KNOWLEDGE • GOING DEEPER • What do we want the players to experience? • Why are going in this creative direction? • Is there any other media we can take reference from? • Your company’s branding and/or culture?
- 15. SHARED KNOWLEDGE • THE TEAM • Who are the audio programmers • Who is the game designer? • Who are the animators?
- 16. PIPELINE • Production Pipeline • Tools and Processes • Communication Pipeline • Managing Expectations • Conflict Resolution HOW?
- 17. PRODUCTION Sound Asset (SFX, VOICE, MUSIC) Editing/ Manipulating of the Sound Asset Repository Recorded Sound (Ambience, Foley, Voice, Musicians) Game Engine Middle- ware QA and Testing IMPLEMENTATION Audio Production Pipeline
- 18. Communication Audio Dept. Your Players Game Dev. Product Owner Art Dept. Other Depts.
- 22. Keeping the “pipes” clean Promptness Honesty Clarity Be kind Audio Team Project manager Producer Manage Expectations Individual A Individual B
- 23. Conclusion • Determine Creative Boundaries • No such thing as TMI • Establish/Tailor a Production and Communication pipeline that fits the project and team. • Basically, no such thing as a “One Size Fits All” strategy