Today we were given a task to go outside and record an environment of our choice. I decided to go to a park because one of the levels in my map is happening in a park/forest.
The audio clip can be viewed here.
Things that can be heard:
0:05 - car passing by (park is situated near the road)
0:21 - another car passing by
0:27 - beeping sound of a reversing truck
0:34 - a seagull
0:44 - not sure what that is, probably a falling leaf
1:00 - very clear seagull sounds followed by a small plane that's flying by
1:47 - another car
2:04 - me clicking away on a laptop (didn't think the microphone would pick that up)
2:13 and 2:43 - some more very subtle seagull sounds
2:53 - clearer seagull sounds
Throughout the whole video we can hear the wind gently moving through tree branches creating a non-stop low in frequency ambient sound effect.
Tuesday, 8 November 2016
Tuesday, 27 September 2016
Week 4 - Learning Wwise
First thing is creating a sequence container called 'Sand' within the Footsteps container.
I then changed play mode to continuos and to always reset playlist and I added a transition delay so that both sounds don't play immediately one after another
Tuesday, 20 September 2016
Week 3 Notes
Foley:
Why do we need Foley & SFX, why not record at source?
Foley generally consists of three elements:
- Clothing Moves
- Footsteps
- Set Specifics
Each element is added in stages and synchronized with the picture
Well done Foley blends to such a degree that it sounds natural alongside the images
Waveform:
- By far the most used method for triggering audio during gameplay
- Similar to film foley for recording techniques
- Simple to implement
Procedural:
- Avoids repetition at a fundamental level
- Sounds can evolve in real-time
- Higher level of detail (In the future the detail might get so complex that sample based sounds might become too inefficient)
Well designed footstep and movement sounds should engage the player, giving them feedback about pacing and control while complimenting the game aesthetic.
Why are movement sounds important?
- They’re everywhere!
- Player Feedback
- Realism
- Immersion
- Cadence (pacing)
- Character Interaction
- Gameplay (multiplayer)
- Iconic Sound
Why do we need Foley & SFX, why not record at source?
- On set the sound recordists main objective is to capture dialogue.
- So the sound of props, clothing, footsteps are not a priority.
- Therefore these sounds are diminished within the recording.
- Foley can redress this imbalance and in cases enhance realism.
- Clothing Moves
- Footsteps
- Set Specifics
Each element is added in stages and synchronized with the picture
Well done Foley blends to such a degree that it sounds natural alongside the images
The main two ways movement sounds are created for games are:
- Waveform (samples triggered)
- Procedural (generated at runtime)
Waveform:
- By far the most used method for triggering audio during gameplay
- Similar to film foley for recording techniques
- Simple to implement
- Avoids repetition at a fundamental level
- Sounds can evolve in real-time
- Higher level of detail (In the future the detail might get so complex that sample based sounds might become too inefficient)
Asset List:
Every asset you create should be detailed on your asset list
Use it as a Checklist and to assist your workflow
Main Categories:
- Filename
- Type (Music, Sound Effect etc)
- Description
- Does the sound loop?
- Is the asset spoken?
- Checklist
Footsteps:
Footstep and player movement sounds when used well ground the character in it’s environment.
They work hand in hand with ambience to further the sense of immersion. Quite often subtle in the mix they are there to reinforce the surroundings.
Why are movement sounds important?
- They’re everywhere!
- Player Feedback
- Realism
- Immersion
- Cadence (pacing)
- Character Interaction
- Gameplay (multiplayer)
- Iconic Sound
Tuesday, 13 September 2016
Week 2 Notes
Modes of Listening:
- Causal Listening : Consists of listening to a sound in order to gather information about its cause (or source)
- Semantic Listening - Refers to a code or a language to interpret a message, for example spoken language, Morse code etc.
- Reduced Listening: It focuses on the traits of the sound itself, independent of its cause and of its meaning
Spectromorphology:
Is the perceived sonic footprint of a sound spectrum as it manifests in time. A descriptive spectromorphological analysis of sound is sometimes used in the analysis of electroacoustic music, especially acousmatic music.
Spectrogram example:
Wednesday, 7 September 2016
Week 1 Task
Post a short blog analyzing an aspect of the sound of a game you have played.
The game I'd like to make a short analysis on from the audio perspective is Spelunky. Because of a high variety of visual feedback, Spelunky is relatively rich in audio elements. Mechanics such as jumping, whip whipping, bomb throwing, diamond collecting or going through the exit doors all have a different informational aural feedback. See video #1.
When the player does something good in the game, such as collecting gold, killing an enemy, or getting extra health, the game generates a high pitch sound effect which gives them the sense of reward. What's interesting is that diamonds, just like gold, increase player score, but because they are much more valuable, the sound effect is slightly longer making it more pleasing to the ear. Compare the beginning of video #1 where the player collects gold with 1:49 of video #2 where the player collects a diamond.
On the other hand - when a player makes a mistake (such as when they die), the short low pitch sound effect, which isn't enjoyable at all, sends a clear message that it's game over (the fact that the background music stops playing reinforces that effect). See 0:20 of video #1.
Happy and energetic background music brings a driving element into the game, keeping the player engaged in completing levels even when they have to start over again (unless they heard the song 3000 times like I did in which case they have most likely switched it off).
While cave levels (which are the easiest) contain energetic music, the mood changes considerably with jungle levels where the music becomes more serious letting the player know that it's time to concentrate because gameplay is getting more difficult. Compare the cave levels music (beginning of video #1) with jungle levels music (6:17 of video #1).
What I find particularly interesting is the use of incidental music to let the player know that in 30 seconds a deadly ghost will fly into the game. The effect is straightforward yet in my eyes very effective: the background music simply slows down (see 17:10 of video #3). This creates the feeling of urgency and inevitability for the player - if they don't soon find the exit door they'll be in trouble. After 30 seconds the player then hears a non-diegetic sound effect informing them that, despite not seeing it yet, the ghost has entered the level and is flying towards them.
Attempt an all-inclusive definition of Game Audio.
To me game audio is simply an aural way of enhancing player aesthetics. Considering that there's a connection between part of the brain which receives aural feedback and one that triggers emotions, in-game audio elements can make an enormous impact on players. Studies have shown that music has the ability to release dopamine which makes us feel good. It can also do the opposite and make us feel upset or annoyed. This is why game audio can make or break a game regardless whether the game has good gameplay and graphics (imagine the Witcher 3 with a Benny Hill theme tune playing in the background).
Video #1
Video #2
Video #3
The game I'd like to make a short analysis on from the audio perspective is Spelunky. Because of a high variety of visual feedback, Spelunky is relatively rich in audio elements. Mechanics such as jumping, whip whipping, bomb throwing, diamond collecting or going through the exit doors all have a different informational aural feedback. See video #1.
When the player does something good in the game, such as collecting gold, killing an enemy, or getting extra health, the game generates a high pitch sound effect which gives them the sense of reward. What's interesting is that diamonds, just like gold, increase player score, but because they are much more valuable, the sound effect is slightly longer making it more pleasing to the ear. Compare the beginning of video #1 where the player collects gold with 1:49 of video #2 where the player collects a diamond.
On the other hand - when a player makes a mistake (such as when they die), the short low pitch sound effect, which isn't enjoyable at all, sends a clear message that it's game over (the fact that the background music stops playing reinforces that effect). See 0:20 of video #1.
Happy and energetic background music brings a driving element into the game, keeping the player engaged in completing levels even when they have to start over again (unless they heard the song 3000 times like I did in which case they have most likely switched it off).
While cave levels (which are the easiest) contain energetic music, the mood changes considerably with jungle levels where the music becomes more serious letting the player know that it's time to concentrate because gameplay is getting more difficult. Compare the cave levels music (beginning of video #1) with jungle levels music (6:17 of video #1).
What I find particularly interesting is the use of incidental music to let the player know that in 30 seconds a deadly ghost will fly into the game. The effect is straightforward yet in my eyes very effective: the background music simply slows down (see 17:10 of video #3). This creates the feeling of urgency and inevitability for the player - if they don't soon find the exit door they'll be in trouble. After 30 seconds the player then hears a non-diegetic sound effect informing them that, despite not seeing it yet, the ghost has entered the level and is flying towards them.
Attempt an all-inclusive definition of Game Audio.
To me game audio is simply an aural way of enhancing player aesthetics. Considering that there's a connection between part of the brain which receives aural feedback and one that triggers emotions, in-game audio elements can make an enormous impact on players. Studies have shown that music has the ability to release dopamine which makes us feel good. It can also do the opposite and make us feel upset or annoyed. This is why game audio can make or break a game regardless whether the game has good gameplay and graphics (imagine the Witcher 3 with a Benny Hill theme tune playing in the background).
Video #1
Video #2
Video #3
Tuesday, 6 September 2016
Week 1 Notes
Semester 1 brief:
Create a sound library for a computer game project and implement it within a game.
- Sound library (30%)
- Asset list (20%)
- Middleware implementation (50%)
Game Audio includes:
- FX (footsteps, motion, nature, ambience, UI,…)
- Music
- Dialogue
Game Audio can have the following functions:
- Incidental
- Driving
- Supportive
- Misleading
- Gestural
- UI Feedback
- Mood Setting (comedic, dark, serious, …)
- Informational
Game Audio is a catalyst for Immersion: When it does its job right, you don’t even notice it!
Create a sound library for a computer game project and implement it within a game.
- Sound library (30%)
- Asset list (20%)
- Middleware implementation (50%)
Game Audio includes:
- FX (footsteps, motion, nature, ambience, UI,…)
- Music
- Dialogue
Game Audio can have the following functions:
- Incidental
- Driving
- Supportive
- Misleading
- Gestural
- UI Feedback
- Mood Setting (comedic, dark, serious, …)
- Informational
Game Audio is a catalyst for Immersion: When it does its job right, you don’t even notice it!
Types of Game Audio
Diegetic
Sound whose source is visible on the screen or whose source is implied to be present by the action of the game/film:
- Voices of characters
- Sounds made by objects in the story
- Music represented as coming from instruments in the story space (for example, music coming from car radios in GTA and bands / gramophones playing music in Bioshock and Grim Fandango)
Non-Diegetic
Sound whose source is neither visible on the screen nor has been implied to be present in the action:
- Narrator's commentary
- Sound effects added for dramatic effect
- Mood music
- Non-diegetic sound is represented as coming from the a source outside story space (for example, narration and music in Thomas Was Alone and Bastion)
Some Roles in Game Audio
- Sound Designer
- Technical Sound Designer
- Sound Recordist
- Sound Editor
- Sound Librarian
- Audio Programmer
- Audio Dialogue Specialist / Director
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