The team at ArenaNet has posted up a document chronicling their latest field (recording) trip to an inactive nuclear power plant.
The five members of our team met at 5 a.m. to make the 2+ hour drive down to Satsop, Washington, an area about 30 miles west of the state capital Olympia. We arranged to spend the entire day recording sounds at the Satsop Business Park, the site of a nuclear power plant that was never completed.
ArenaNet – Audio Team Field Recording Trip
They’ve also added a video for the visually-oriented:
Coming soon to a GuildWars 2 near you!
Game Informer has published several videos about the sound of “Transformers: Fall of Cybertron”.
When we decided upon Transformers as a cover story, I started asking around the office looking for ideas for our video coverage. Without a second of hesitation, Game Informer’s own Jeff Cork demanded to learn how the team at High Moon Studios recreates the iconic sounds of the transformations. We are happy to say that we captured the process on video along with many other glimpses inside the creation of audio for Transformers: Fall of Cybertron. Three separate videos each capture an element of the audio work being done for the game, from the fun of foley sound capturing, to working with the inimitable voice of Optimus Prime, Peter Cullen.
Did you miss the live chat with Ann Kroeber today?
Rejoice! There is a recording available.
A huge round of thanks goes out to Ann for taking the time to chat with us, and thanks to everyone who participated in the chat. Note: If the webinar does not seem to be playing back correctly when you click on the link, try refreshing the page.
Update: Ann also sent along a few comments, post webinar, that she’d like me to share with you.
This is just a reminder that we have a live chat/webinar coming up on Saturday with this month’s featured sound designer, Ann Kroeber.
The chat will take place at 11AM (U.S. Pacific Time) and is, like everything we organize on this site, completely free. It will be a moderated discussion that will give you the opportunity to interact directly with Ann. If you have a webcam and microphone, have them ready. If you have a particularly interesting question, we’ll give you the opportunity to come on cam for the rest of the group so you and Ann can discuss in real time (have your headphones ready to prevent feedback loops though). [note: Skype will not be required for this, AnyMeeting has updated their client, allowing us to have multiple video/audio streams simultaneously.]
You can register for the live chat here…so sign up now! ;)
The webinar will also be recorded and available for viewing afterwards if you are unable to attend.
The time is slipping, the clock is ticking, got crust in my ears cuz’ the wax is dripping….wait, what?
Meant as a witty sound-related rhyme, with the most crucial aspect being the passage of time, the previous sentence has everything to do with the latest Game Audio Podcast. It’s often said that one can “make time” for anything of importance, but I still haven’t found the secret recipe to create something that at times seems non-existent. As it is, all the more relevant that you’re stuck reading these ramblings in expectation of the delivery of some actual information.
Two podcasts have dropped recently which represent very different circles of game audio.
Game Audio Podcast #11 – Sound Design Challenge Review bw/ Graham Gatheral Interview
We look back at Dynamic Interfernce Game Audio Challenge. Damian & Shaun compare notes on the various entries and Anton tries to keep them on point. We segway into some game & book reviews. Also the audio version of Damian’s interview with Graham Gatheral. Which was previously published in transcribed form on designingsound.org
Game Audio Podcast #12 – Bastonion Times bw/ Darren Korb Interview
Anton seeks out Darren Korb to talk about his work on the awesome Bastion, book-ended by Damian zooming in super crunch…
Which brings us right back around to the unending flexibility of the concept of time. So, if you are one of those people who can “make time” or “find time” or “set aside time” for a good ol’ fashioned round up of game audio conversation, your ears will be met with fascinating insight into the use of procedural and synthesis techniques for game audio and how they contribute to a more dynamic audio experience in addition to a deep-dive on aesthetics, composition, and the unique role of dialog in Bastion. If you listen closely, you might even find the secret to this whole time dilemma.
Until next time!