The first online school for learning how to create professional audio for video games has just announced that it is accepting applications for its first course from July to August 2012.
The application deadline of Friday June 29, 2012 is rapidly approaching and is limited to ten students, so make sure to have a look at the details on their application page at: http://School.VideoGameAudio.com/apply
- Learn how to make a professional demo reel in Audiokinetic’s Wwise and become more employable in the industry
- Work at your own pace through the course material with assistance from the instructor, Leonard J. Paul
- Course consists of videos, reading assignments, mini-projects and short tests that can be done at your own pace
- Suited for anyone with a strong audio background wishing to expand their knowledge and skills in the game audio industry
- 8 weeks of instructional materials at 10+ hours per week for $225 CAD which includes the $25 application fee
- No additional costs to purchase required books or other materials
- One top project from each class will chosen to receive 50% off the cost of the course and will be featured on the site
“It’s the first really solid and accessible game audio learning solution to be available worldwide, which will help any and everyone who wish to express themselves through this discipline.” – Francisco, student involved in the beta of the course
The blog contains some fascinating insights on the hiring agents perspective , and is a valuable read for those trying to break into the industry, check out the except below;
We kept a central person to review all incoming applicants. That would be me. I’d scrap a bunch of incoming applicants because I could tell by reading the cover letter and resume that a person did not have the stuff. I will talk more about that later. If someone piqued my interest, I would pass their cover letter, resume, and demo materials along to the rest of the audio team. I’d get feedback and then decide if we wanted to proceed with the candidate to the next step.
The next step would be some kind of test. Previously, we had sent out a written test that had a bunch of questions on it. Stuff like, what do you consider to be the three most important areas of sounds in an open world game? What do you think would be difficult about working on audio in an open world game? And if you had to design a beam weapon, how would you put it together both creatively and technically? And a bunch of other riddles and puzzles and noodle-ticklers that usually had no specific correct answer but plenty of potential incorrect or awkward answers.
Gary Rydstrom is one of the special guests at VIEW Conference 2012, the 13th international computer graphics conference to be held at TorinoIncontra, Turin, Italy (16 – 19 Oct).
At Lucasfilm’s Skywalker Sound, Gary Rydstrom has sound designed and mixed many films, including “Terminator 2,” “Jurassic Park,” “A River Runs Through It,” “Toy Story,” “Quiz Show,” “Titanic,” “Saving Private Ryan,” “Punch-Drunk Love,” “Finding Nemo,” and “War Horse.”
He has won seven Academy Awards for Sound and Sound Editing, and Career Achievement Awards from both the Cinema Audio Society and Motion Picture Sound Editors. For Pixar Animation Studios, he directed two shorts, the Oscar-nominated “Lifted,” and “Toy Story Toons: Hawaiian Vacation”.
For Studio Ghibli, he directed the English dub for “Tales From Earthsea” and “The Secret World of Arrietty.” Gary is a graduate of the School of Cinema at the University of Southern California.
More info at the official website.
I guess you already heard of Iris, the most recent creation of the masterminds at iZotope. A spectral processing tool created specially for dealing with recorded material, being able to extract, combine and process all kinds of sounds based on visual representations of frequency, amplitude and time.
At this stage of the game, when we’ve clearly surpassed the limits of what we thought possible in terms of creating and manipulating sound digitally, it’s hard to find new tools that really worth to be purchased. Personally, I try to really question the need for a new tool before getting into it. Not only from the economic aspect, but from the sound palette already available to us, since more options also mean more things to have in mind when creating, and that’s not always great. It’s important to be simplistic in terms of the techniques, so you can be always focused on what’s really important: the emotion. With Iris, since it began to be announced, I was preparing for a pretty cool tool and that’s what I got.
I’d define it as pure magic. It’s something dedicated to the beauty of sculpting sound visually, being able not only to see the elements of field recordings and sound effects, but also being able to extract, isolate, combine, manipulate and control sonic material. Some musicians could find great value in this type of tool, but those deeply interested in sound design will completely love it. I’d say that I haven’t known anything like this before. I’ve been a true lover of the magic of iZotope RX spectral processing and before trying that piece of software, I worked with different kinds of noise removal tools, but the RX engine really impressed me. Every part of that application is a wonder, and their users will understand when I talk about being amazed with the spectral extraction tools specifically. These magical tools, capable of extracting material were very useful at the moment.
When the Iris rumor started, I immediately thought: if they make a synth based on RX, would be a complete success. And indeed it was. Although the market already offers a good variety of synths and samplers, some of these also based on spectral analysis and so on, there wasn’t something like Iris available. There has been similar tools like MetaSynth, PhotoSounder or Alchemy, which have shown immense potential using spectral/re-synthesis techniques. But Iris is totally fresh, new, it’s something that did not exist before, and although it has similarities to the aforementioned and other products on the market, is not comparable.
Perhaps for a more traditional musician purposes Iris would be just another tool of the bunch, but for someone dedicated to process field recordings, design sound effects or do any kind of sample-based sound works, this is a gift. It’s really fun to see and listen to how Iris revolutionizes the way you work. Why? Because its visual approach to sound combined with the performance options, not previously found elsewhere, at least on the things I’ve used. And not only talking about the sonogram, but also the way layers are combined, how you can process them and the particular expression you get from the instrument. Actually there videos you can find on the web, its descriptions and even appearance of the instrument itself does not tell one bit of what I feel with it. Just spend some minutes processing field recordings, and you realize how exciting it really is.
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