Driving crazy with Game implementations

This post is part of a series called One Year in Sound by sound designer Carlo Ascrizzi.

After ambiences, footsteps, loops, bunch of recordings and implementations, deeper new techniques are waiting for you.

You will explore the pure technical side of Wwise for a good understanding on how this tool works. Then you have the chance to experiment about FPS (First Person Shooting) and boarding sports game (skateboard and snowboard) in-class implementations, practicing a lot in Wwise. You deal with many parameters and functions, including event sequences, RTPC, switch groups, soundcaster sessions, 3D positioning, soundbanks and so on.

More focus is given to ambiences and dialogues. Indeed as final assignments for this term you have to work on two projects: immersive environment implementation and dynamic dialogue implementation. So here we are again with new field recordings!

For the ambience implementation you are asked to recreate a city environment that changes according to the position of the game player. Your original recordings include several layers and different kind of traffic (e.g. light, medium and hard traffic), car horns, car bys, rain loops and city tones. At least 50% of the assets should include your own recorded material. After a complex implementation, you will have an evolving ambience in which you can alternate day time and night time, raining days, busy traffic and 3d positioned horns or car bys.

wwise-session2

The second main project is only about dialogue, one of the hardest components to implement. First of all you need your original commentary dialogues for a racing game. So book your ADR room and cast your voice talent!

You should record, edit and process your assets list before to move to the implementations side. You need to implement 120 Raw files, edited as they are heard from the commentator booth point view, as well as 120 processed files, heard from the Stadium PA speakers point of view. You need several takes for the same dialogue line and randomness using the stitching techniques. So basically you have to switch between different intonations and variations for the same line… grrr… that’s a lot!

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Carlo Ascrizzi

Contributor at sounDesign
Freelance sound design and music artist Carlo Ascrizzi creates original sonic contents for film, animations, multimedia and beyond. From brand commissions to experimental collaborations, his work has reached international multimedia arts festivals, film award nominations and digital arts magazines. An all-round creative, tireless traveller, Carlo is also the author of SounDesign's beloved series One Year In Sound.

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