Successfully reported this slideshow.

Four Guns West

3

Share

1 of 58
1 of 58

More Related Content

More from Electronic Arts / DICE

Four Guns West

  1. 1.
  2. 2. Charles Maynes<br />
  3. 3. Weapons sound aesthetics-<br />Real?, HYPER Real?, or just REDONKULOUS?<br />Only your producer knows for sure.....<br />
  4. 4. Do all guns sound the same?<br />NO.........<br />but actually they sort of do.......<br />
  5. 5. Real world defining conditions for weapons recording<br />Weapon Caliber<br />Location<br />Barrel Length<br />Microphone type<br />Construction Materials<br />Mic placement<br />Ammunition type<br />Pads and Limiting<br />
  6. 6. Other location issues<br />Weather / Wind / Rain<br />Site Security<br />Activity Pacing<br />
  7. 7. http://vimeo.com/20869893<br />
  8. 8. Chuck Russom<br />
  9. 9. Philosophy Of Gun Sound Design<br /><ul><li>Guns Are Loud
  10. 10. Guns Give The Player Feedback
  11. 11. The Player’s Gun Needs To Be Bad-Ass
  12. 12. NPC Guns Shouldn’t Sound Cooler Than The Player’s
  13. 13. Gun Foley and Shell Ejects Make A Gun Feel Real
  14. 14. Every Gun In The Game Needs A Unique Sound
  15. 15. Don’t Forget The Tail/Decay Of The Gun
  16. 16. The Sound Is Not Done Until It Works In The Game</li></li></ul><li>Sound Design Is Like<br />Onions<br />Ogres<br />
  17. 17. Onions Have Layers<br />Ogres Have Layers<br />Sound Design Has Layers<br />
  18. 18. Player Gun Sound Layers<br />Mech<br />Body<br />Punch<br />Mix<br />
  19. 19.
  20. 20. NPC Gun Sounds<br /><ul><li>Can’t Overshadow The Player
  21. 21. Need To Convey a Sense of Danger
  22. 22. Great Opportunity to Change Sound Based on Distance</li></li></ul><li>NPC Multiple Distance Layers<br />Near<br />Medium<br />Far<br />Very Far<br />
  23. 23. Processing<br />EQ<br />Compressor<br />Limiter/Volume Maximixer<br />Transient <br />Tape Saturation <br />Bass Enhancer<br />
  24. 24. Chris vs Reality<br />“<br />”<br />17<br />
  25. 25. Chris vs Reality<br />Recording session with Charles Maynes<br />Weapons that have a unique sound<br />Building Blocks<br />18<br />
  26. 26. Chris vs Reality<br />Giving your weapons a unique voice<br />Using unusual non literal elements<br />19<br />
  27. 27. Chris vs Reality<br />Brink Silenced Pistol breakdown elements<br />20<br />
  28. 28. Chris vs Reality<br />Brink Silenced Pistol final versions<br />21<br />
  29. 29. Chris vs Reality<br />Brink Sniper Rifle breakdown elements<br />22<br />
  30. 30. Chris vs Reality<br />Brink Sniper Rifle final version<br />23<br />
  31. 31. Chris vs Reality<br />Ironsights sonic not realistic but who cares!?<br />This blends in when weapon in ironsights<br />Creates player focus<br />Non Weapon source elements<br />24<br />
  32. 32. Chris vs Reality<br />Choir of not just guns philosophy<br />Design with harmony in mind<br />25<br />
  33. 33.
  34. 34. Recap<br />+<br />+<br />+<br />Recordings<br />Elements<br />Sound Design<br />Plugins/Mastering<br />=<br />WIN?<br />
  35. 35. Playback Systems<br />Original Recording<br />6 Shot Burst<br />3 Singles<br />
  36. 36. Playback Systems<br />Monophonic<br />><br />Pros<br />•Simple To Implement<br />•Uses Only 1 (or 2) Voice(s)<br />•Works For Singles And Burst<br />•Change Fire Rate Without Pitching<br />Cons<br />•Looses Character Of Burst Fire<br />•Can Sound Flat<br />•Usually Frame Rate Dependent<br />•Hard To Use Burst Source<br />
  37. 37. Playback Systems<br />Polyphonic<br />><br />Pros<br />•Simple To Implement<br />•Can Limit Voice Usage<br />•Works For Singles And Burst<br />•Change Fire Rate Without Pitching<br />Cons<br />•Loses Character Of Burst Fire<br />•Can Sound Flat<br />•Usually Frame Rate Dependent<br />•Hard To Use Burst Source<br />
  38. 38. Frame Rate vs Fire Rate<br />30FPS<br />30FPS<br />Original<br />1177 RPM Un Quantized<br />Shot Every Frame<br />1800 RPM Quantized<br />Shot Every Other Frame<br />900 RPM Quantized<br />Is Firing / Is Not Firing<br />Binary Switch On / Off<br />
  39. 39. *<br />Playback Systems<br />Looping<br />><br />Pros<br />•Fairly Simple To Implement<br />•Preserves Burst Character<br />•Independent Of Frame Rate<br />•Quick To Edit And Place Markers<br />Cons<br />•Single Shot Can Lack Full Punch<br />•Changing Fire Rate Changes Pitch<br />•Can Be Repetitive<br />•Loop Release Needs Care<br />*<br />Birotron - Similar to a Mellotron, but uses tape loops, allowing sounds to play indefinitely<br />
  40. 40. Playback Systems<br />Granular<br />><br />Pros<br />•Per Grain AM,FM And DSP<br />•Preserves Burst Character<br />•Independent Of Frame Rate<br />•Change Fire Rate Without Pitching<br />Cons<br />•Harder To Implement<br />•More Sample Editing Required<br />•Works Best For Bursts<br />•Requires Some Thought<br />
  41. 41. Surgery<br />+<br />><br />Burst Fire “All In”<br />Body<br />Tail<br />
  42. 42. Surgery<br />+<br />><br />Burst Fire “All In”<br />What<br />Where<br />
  43. 43. Surgery<br />+<br />><br />Burst Fire “All In”<br />What<br />Where<br />
  44. 44. Surgery<br />+<br />><br />Burst Fire “All In”<br />What<br />Where<br />
  45. 45. Surgery<br />+<br />><br />Burst Fire “All In”<br />What<br />Where<br />Urban<br />Indoor Large<br />Open<br />Indoor Small<br />
  46. 46. Surgery<br />+<br />><br />Burst Fire “All In”<br />What<br />Where<br />Urban<br />Indoor Large<br />Open<br />Indoor Small<br />
  47. 47. Surgery<br />+<br />><br />Burst Fire “All In”<br />What<br />Where<br />Urban<br />Indoor Large<br />Open<br />Indoor Small<br />
  48. 48. Surgery<br />+<br />><br />Burst Fire “All In”<br />What<br />Where<br />Urban<br />Indoor Large<br />Open<br />Indoor Small<br />
  49. 49. Surgery<br />+<br />><br />Burst Fire “All In”<br />What<br />Where<br />Urban<br />Indoor Large<br />Open<br />Indoor Small<br />
  50. 50. Where is the What?<br />Body Layers<br />Environment<br />Weapon Wear<br />Swell/Energy Build Up<br />Low Ammo<br />Emotional e.g. Slow Mo<br />Overheating<br />
  51. 51. Where Is The What?<br />0P vs 1P vs 3P vs Far<br />vs<br />First Person<br />Third Person<br />
  52. 52. Where Is The What?<br />0P vs 1P vs 3P vs Far<br />vs<br />First Person<br />Third Person<br />
  53. 53. Where Is The What?<br />0P vs 1P vs 3P vs Far<br />vs<br />First Person<br />Third Person<br />
  54. 54. Where Is The What?<br />0P vs 1P vs 3P vs Far<br />vs<br />vs<br />First Person<br />Third Person<br />“Far” Person<br />
  55. 55. Where Is The What?<br />0P vs 1P vs 3P vs Far<br />vs<br />vs<br />First Person<br />Third Person<br />“Far” Person<br />
  56. 56. Where Is The What?<br />0P vs 1P vs 3P vs Far<br />vs<br />vs<br />vs<br />Zeroth Person<br />‘Iron Sights’<br />First Person<br />Third Person<br />“Far” Person<br />
  57. 57. Where Is The What?<br />0P vs 1P vs 3P vs Far<br />vs<br />vs<br />vs<br />Zeroth Person<br />‘Iron Sights’<br />First Person<br />Third Person<br />“Far” Person<br />
  58. 58. Really Real<br />Realness vs Distance<br />‘Unrealness’<br />Distance from Listener<br />
  59. 59. Really Real<br />What Does Real Sound Like?<br />News<br />‘Unrealness’<br />Youtube<br />Film<br />FAR<br />Distance from Listener<br />
  60. 60. Really Real<br />Up Close<br />DIY Recording<br />‘Unrealness’<br />Sample Libraries<br />Pro Recording<br />3P<br />FAR<br />Distance from Listener<br />
  61. 61. Really Real<br />Up Close And Personal<br />OTT Film<br />‘Unrealness’<br />SUB<br />Foley<br />3P<br />FAR<br />1P<br />Distance from Listener<br />
  62. 62. Really Real<br />Unreal<br />‘Unrealness’<br />?<br />3P<br />FAR<br />0P<br />1P<br />Distance from Listener<br />
  63. 63. Runtime DSP<br />Gelling Together In The World<br />IR Reverb<br />Distance Filtering<br />Angular Filtering<br />HDR<br />Emotional EQ<br />Ducking/Mixing<br />Obstruction/Occlusion<br />
  64. 64. La Fin<br />+<br />=<br />WIN!<br />FrostBite 2<br />
  65. 65. Questions?<br />Thanks For Listening<br />

×