The game audio community would like to recognize the passing of a friend, innovator, and legend in Jory Prum who passed late last week.
From his parents:
We are deeply heartbroken that our son, Jory Kyle Prum, passed away last night, April 22, 2016. We placed him in God’s hands and he was taken around 9 PM. We were by his side as he took his last peaceful breath and completed a 41 year life that was full of passion, love, music, technology, humor, and generosity. As an international pioneer in video game audio, he touched thousands upon thousands of people around the world. Self-taught, he was a computer genius, as well as a consummate sound designer for film and video. He was unique–a one of a kind–free spirit and Renaissance man that will be missed and kept forever in our hearts.
Leslye & Sam Prum
It’s the most difficult to let go of those who have affected us the most. That we should live without, however loosely connected, makes life feel lesser for their passing. When left with only memories, it is through memories that we keep their spirit alive. Jory left many positive memories during his time and I expect these to continue to resonate for long into the future.
Please feel-free to contribute to the memory of Jory in your own way in response to this. (more…)
I struggled with the idea of posting one of these today. A friend of mine, and to much of the community as well, Jory Prum passed away Friday night. Ultimately, I think it’s important to keep moving forward in life. We’re working on collecting some thoughts about Jory to post later today/tomorrow. For now, here’s something I think he would have appreciated discussing.
Filmmakers love a good close up. The tight framing of an actor, prop or movement…in the right context…can really lend weight to a moment in the narrative. It’s a clear sign to the audience that “this” is important, “this” is something you have to pay attention to. There are two ways this is achieved in the crafting of a visual piece: the hard cut, and the zoom.
We have the same tools available to us in the auditory realm. If we want to highlight a particular sound element, we can strip the others away. If we want the hard cut, we simply cut the sounds out. To replicate a zoom, we can strip those surrounding elements away more slowly…deliberately…to draw the audience in to the experience of that one element.
What would really be interesting though, would be to explore the ways in which we might also replicate the “Dolly/Zoom” effect.
Jerry Berlongieri is an audio director, composer and sound designer currently residing in Cambridge, MA.
“I’ve never really regarded inspiration and distraction as mutually exclusive. I tend to see distraction as a form of inspiration. “
“My advice would be: ‘Don’t avoid it, don’t push it away or see it as the enemy. Steer into the skid and see where it takes you.’
Distraction serves as a mental safeguard, protecting you from obsession. It also serves to remind that creativity is personally expressed through the synthesis of experiences around you.
Isabella Ness is a composer and sound designer from Washington, D.C. dedicated to top-notch storytelling through any type of sonic medium. She brews hot tea and cool assets.
“When I’m in a creative rut, I seek out the work of creators I look up to…”
“… I often draw energy from visual artists, poets, and other musicians. Giving myself even just a few minutes’ break to explore the reasons why I find art enjoyable (turn of phrase, textural choices, color palettes, etc.) is extremely beneficial. It’s easy for me to lose the forest through the trees if I get too caught up in the grind!
Gwen Guo is a sound designer, composer and co-founder of IMBA Interactive, a full-service game audio developer headquartered in Singapore.
“I think for creative work, it’s very important to never feel like you’re an asset-producing factory.”
“The moment you feel that way, it kills the joy of working on a game you initially enjoyed doing audio for. This often happens with games on a tight deadline.
DesigningSound.org is on the lookout for capable News Editors and Contributing Editors for our site.
Andrew “SCNTFC” Rohrmann is a sound designer and composer based in Seattle, WA.
“If you want to make sounds/music inspired by nature? Go hang out in the woods.
But when I’m looking for inspiration beyond that first degree of separation, I’ll look laterally towards other creative fields.“
“By going one step further and deciphering how other artists interpret their own inspirations, you can then turn around and apply those ideas to your own work.
‘What drives Andy Goldsworthy to disassemble/reassemble rocks and trees?’
‘How does Do Ho Suh go about reinterpreting physical spaces?’
Hell, even the inspiration behind the plating and presentation of a nice sushi dish can spark an idea somewhere else.
There’s music in the way a painting is structured (see Kandinsky, W.); identifying what/how/why that is and applying it–however abstractly–to your own work is an endless gold mine of ideas.
But yeah: nature is still badass. Simply listening to the world go by can be the greatest inspiration of all.”
As the year continues, many of these posts will be philosophical in nature. Some will be in contradiction to previous postings. These are not intended as truths or assertions, they’re merely thoughts…ideas. Think of this as stream of consciousness over a wide span…
I’ve talked about how sound is a physical event. This week, I was scanning through a little notebook I’ve kept of these types of ideas over the past 5-7 years, and I came across another little idea that sparked a thought for this week’s post.
“Sound has mass.”
Sound requires a medium to travel through. Most of the time, that’s air…though it can obviously be water, metal pipes, etc. While sound is in these mediums, it has mass…sort of. The feel of that kick drum when piped through a concert’s sound system is a great example. You feel that pressure wave hit you, rattle your chest. Air has mass, and it moves you. Sound is what moves the air. This isn’t really what I wanted to focus on this week. It’s just a necessary tangent for me.
The question that was bouncing around in my head this week, is how can we represent that physicality of sound in a film or game? There’s the clichéd bleeding ears shot, and there’s also this idea of “contact hearing” that I posted about only a few weeks ago. Those are two, and I’m sure there are plenty of others. The realization came that it’s necessary to have appropriate imagery to support the representation of a sound’s physical nature. This means buy in from the director.
Is there a moment in your project where the story could be bolstered by the display of the physical effects of sound? Have you spoken to your director or game designer about how it could, and what sort of visual would be needed to convey it?
Akash Thakkar is a sound designer, composer and TEDx speaker living in Seattle, WA.
“When I was studying at the Berklee College of Music, I was consistently on the edge of failing most of my classes.
Not because of lack of understanding, or even of passion, but simply because I was distracted.”
And that distraction meant I wasn’t creating anything worthwhile.
I Simply Couldn’t Get Anything Done
I had gotten to the point where it was impossible for me to work with any degree of focus. I would have to have something in the background, whether it be music, Netflix, or Youtube. As a result, I would pull all-nighters for assignments that should have just taken me a couple hours.
Many of us work in the exact same way every single day. We play music in the background, we keep a tab with Facebook open, and our phones are always within arms reach. Ironically, we sometimes even tell ourselves that this distraction helps us focus.
Jacob Burgess is a voice actor currently residing in Seattle, WA.
“When [you] get a whole lot of auditions and they’ve got to get out really quickly? Sometimes, it’s no big deal.”
You ask a voiceover artist for a submission, you get a voice over. Our transcript below.
“It’s a weird thing, because distraction happens a lot. Say [you] get a whole lot of auditions: usually, you get a whole lot of auditions, and they’ve got to get out really quickly. Sometimes, it’s no big deal.
Sometimes you’ll get auditions at three [in the afternoon] and they’re due at eight in the morning, and if you’ve already got plans for the evening, there’s a sense of urgency there; there’s no time to get distracted. You’ve just got to find a place to fit it in, to get it done, to get them the best that they can be and get them out the door.