ok, not audio/video or film, but videogames

Posted: Thu Mar 13, 2003 4:36 am

Does anybody here know anything about the whole videogame audio production/post production process?

I'm thinking of moving from film sound re-recording to videogame audio producing, and I know there are basic differences, like the size of the files is limited, and so are the number of tracks availible, that there is dynamic mixing going on on the fly, the existence of the short looping Bg's (my un-favourite thingy), no timeline (no sync Very Happy

), etc...

but I was hoping someone here would know more than just the basic differences, and would have info on the different stages, tech specs, etc...

Thanks

Hugo de la Cerda
Re-recording mixer

Posted: Thu Mar 13, 2003 9:43 am

This interests me also. I have been doing some sound effects and music for a friend of mine that writes video games. The newest project, which will be available online, needs to be kept even smaller, as per size limitations. So Mp3s for soundtrack are not acceptable, hence his request for Midi.

I assume the technicalities come in with what engine they are writing for, as far as sync I am also curious. In the past I've cut the effect really close, so there is no silence between the effect, as to make it easier to sync up. A lot of the work I've done in the past has been done in flash, which gives you the ability to drag sounds along a timeline for better sync.

Dimlight I am very interested in movie sound effects and the such. How the hell do you create a good wind sound? That has always baffled me.

Posted: Thu Mar 13, 2003 3:45 pm

Quote:

How the hell do you create a good wind sound? That has always baffled me.

We use our house libraries, not the commercial kind, but we've actually gone to the outside world (I know it's unbelievable :p ) and recorded most of our stuff. (I think the server has something like 4 TeraBytes worth of SFX)
As for wind, some of our best stuff was recorded in alberta canada during a storm, but we also have tons of other more normal winds.
For artificial sounding winds (they are good sweeteners) we use synth generated sounds from the same library, I think the come from Junos or some weird old synths like that.
In the final mix for "Tornado Warning" (a low budget movie) the track count for winds alone was something like 20-26 tracks in protools for specific wooshes, whistling sounds and Sub track rumbly windy sounds, Plus 16 BG ambience wind tracks. So in reality it is more the amount of different quality sounds than just a great sounding wind by itself. and of course it's the magic of the mix, 'cause Music doesn't like winds for some reason Rolling Eyes

Hope it helps, I know it's not much, but it's my .0001 cents

Hugo de la Cerda
Re-recording mixer

Posted: Fri Mar 14, 2003 12:43 pm

Ok. When recording wind, do you need some sort of special mic, or windscreen arrangement?

Posted: Fri Mar 14, 2003 6:12 pm

Quote:

When recording wind, do you need some sort of special mic, or windscreen arrangement?

Well if you think about what makes the actual sound of wind, it's not the actual wind, but what the wind is hitting, so AFAIK, the best sounds are recorded with a normal shotgun mic, no windscreen or anything, inside a cabin with air leaks that make those beautiful wind sounds.

Hugo de la Cerda
Re-recording mixer

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