AES New York 2009
Game Audio Session Details
Friday, October 9, 9:00 am — 11:30 amG1 - Education in Game Audio in Three Parts
Co-chairs:
Steve Horowitz, Nick-Digital, The Code International Inc. - New York, NY, USA
Steve Martz, THX Ltd. - San Francisco, CA, USA
Panelists:
Alexander Brandon, Heatwave Interactive - Austin, TX, USA
Stephen Harwood, Okiron Music - New York, NY, USA
Sam Howard-Spink, New York University Steinhardt - New York, NY, USA
Paul Lipson, Pyramind Inc. and Game Audio Network Guild - San Francisco, CA, USA
Ufuk Onen, Bilkent University and Sis Productions - Ankara, Turkey
Tom Salta, Persist Music - Norwalk, CT, USA
Richard Stevens, Leeds Metropolitan University - Leeds, UK
Michael Sweet, Berklee College of Music - Boston, MA, USA
Mike Worth, Game Music Inc. and IGDA - Philadelphia, PA, USA
Abstract:
Part 1: Game Production 101
So you want a career in game audio but don't know where to start? This tutorial provides an introduction to the state of the art in games and interactive media. We will outline the basic components of game creation for those seeking employment in the industry. Topics covered include music, sound effects, voice-over recording, and implementation. We will discuss the parallels to film/tv/animation style productions but focus on the uniqueness of game development. The panel will also touch on fundamental concepts such as: formats, game styles, adaptive scoring, and much more.
Part 2: Meet the Team
The audio team is responsible for all aspects of game audio design and implementation. This workshop will introduce the departments of the team and discuss the roles they play in producing the final product. It includes a comprehensive description of the tasks they perform in audio design, content creation, technology development, and implementation of the audio assets. Whether you want to be an audio programmer, composer, sound designer, sound engineer, or team manager, this workshop will help you choose the right job for you.
Part 3: State of the Union
You already know that you want a career in game audio. You even know which position is best for you. The big question is how do you get the training and experience necessary to land that first job? This workshop will present the latest work of the IASIG (Interactive Audio Special Interest Group) and others to develop standardized school curriculum for games and interactive audio. Programs are springing up all over the world, and this panel will provide the big overview of what training is available now and what is coming in the future. From single overview classes, associate degree programs to a full four year university study we will preview the skill sets and templates that are desired and the recommended path for getting that position on the audio team.
Friday, October 9, 4:30 pm — 5:30 pm
G2 - Leveling Up Game Audio Implementations
Chair:
Scott Selfon, Microsoft Corporation - Redmond, WA, USA
Panelists:
Dave Fraser, Heavy Melody
Scott Gershin
Abstract:
How does a sound implementer solve the conundrum of delivering 40+ hours of interactive, dynamic, non-repetitive game audio that fits into a download, portable, or disc-based title? How can we devise and abide by reference level standards in an environment where mixing is occurring in real time? How do we get real-time DSP effects out of our gear and into the game, so the player hears what we hear? This panel of IESD members (Interactive Entertainment Sound Developers, a professional branch of the Game Audio Network Guild) will discuss these challenges, as well as other aesthetic and procedural considerations faced by sound designers, programmers, and audio directors in developing and delivering an overall sound design vision within the technical and logistical constraints of interactive media.
Saturday, October 10, 2:00 pm — 3:00 pm
G3 - The Art and Business of Game Music
Chair:
Tom Salta
Panelists:
Paul Lipson
Abstract:
Composer Tom Salta, who has spoken internationally on the subject of video game music and is known for his engaging and informative presentations, along with a panel of distinguished game audio composers, will discuss a myriad of creative and business issues facing the modern composer for video games. Tom is the regional director for the Game Audio Network Guild. G.A.N.G. is the largest organization in the world for game audio professionals, with members in over thirty countries. Topics to include the differences between composing music for games vs. film, TV, and other “linear” media, technical parameters of scoring games, types of Implementation (layered, triggered, etc.), and live demonstration of adaptive music using F-MOD. Effective techniques for pitching to clients, layering live and fake orchestras, working with reference music, etc.
Saturday, October 10, 3:00 pm — 4:00 pm
G4 - Portable Surround Sound by Headphones—Main Research and Suitable Practice
Chair:
Florian M. Koenig, Ultrasone AG & Florian König Enterprises GmbH
Panelists:
Juha Backman, Nokia Corporation - Helsinki, Finland
Steffan Diedrichsen, Apple, Inc.
Robert Schulein
Abstract:
Consumer exposure to surround sound systems and the increasing availability or complex music, games, and entertainment products are ushering in a new generation spatializing advanced head-related reproduction of sound. The complete process of 3-D sound recording and reproduction of sound needs to be coordinated between developers and (game) creators of this equipment. This workshop will explain a variety of established methods in 2.0 binaural or more channel surround sound implications for consumer headphones and their interfaces. Synthesized dynamic binaural pannings or experiences with surround processing in mobiles will also be discussed. Further key points are: 3-D production techniques, manual binaural user control, perspectives in head tracking—just for realistic front/back auditory events with variable distance perceptions or ALL individuals?
Sunday, October 11, 9:00 am — 10:30 am
G5 - Sounds from the Third Dimension! 3-D Simulation Techniques in Game Development
Chair:
Scott Selfon, Microsoft Corporation - Redmond, WA, USA
Abstract:
High fidelity, non-repetitive sound effects, and ambience are only the beginning of a compelling in-game sound experience. Titles are increasingly exploring sophisticated real-time sound manipulation to enhance both realism and immersion. This talk will explore these aspects as they relate to the "virtual world" of the game's universe—dynamic simulation of position, distance, interaction with game geometry, and environmental reverberation techniques will be discussed. This talk will additionally cover simulation challenges and aesthetic considerations particular to interactive gameplay.
Sunday, October 11, 2:30 pm — 3:30 pm
G6 - Implementing Sound and Music for Games Using the Unreal 3 Engine
Chair:
Richard Stevens
Abstract:
This tutorial will explore and demonstrate the principles of audio for games and illustrate their technical implementation within the Unreal 3 engine. Through a live demonstration within the Unreal games engine itself the following aspects of games audio will be explored and demonstrated. The implications and challenges of interactivity with reference to memory, repetition and variation. Potential solutions to these issues through use of sample rates, randomization, wavetable synthesis, filtering, concatenation and layering for variation within sound cues, together with an illustration of sound propagation and attenuation over distance conventions within games. The tutorial will also cover the challenges of interactivity for music in games including simple musical transitions, aligned transitions, and generative musical techniques.
Sunday, October 11, 3:30 pm — 4:30 pm
G7 - VO for Videogames: Process and Pipeline
Chair:
Morla Gorrondona
Panelists:
Chip Beaman
Alexander Brandon
David Chan
Greg deBeer
Abstract:
The Game Audio Network Guild (G.A.N.G.) is the largest organization in the world for game audio professionals, with members in over thirty countries, and the GANG Voice Actor Coalition (GVAC) is the Guild’s newest pro-only branch. GVAC members and co-chairs will present a panel discussion about voice acting and dialog production in video games. This exclusive panel features some of the biggest name in modern VO, and will feature lively discussion on both creative and business best practices in the video game industry. Topics include running a successful recording session, technical considerations, recorded examples, reels, casting, union considerations, on-the-gig issues, scripts, interactive vs. linear, getting the best performances out of an actor, budget, and planning, etc.
Monday, October 12, 9:00 am — 11:00 am
G8 - Interactive Speech for Games
Chair:
Steve Martz, THX Ltd. - San Francisco, CA, USA
Panelists:
Hope Dippel, SCEA
Dieter Piltz, Blue Castle Games - Vancouver, BC, Canada
Abstract:
Sports games present one of the greatest challenges in game audio—creating realistic play-by-play and color analysis from a virtual sports announcer. Seamless transitions and accurate descriptions are required for a believable experience in an adaptive environment. This workshop will cover topics pertaining to the compilation and realization of interactive speech in games. We will begin with asset creation— scripting, dialog recording, and working with celebrity voice talent. Then we will cover the implementation process—editing, mastering, phrase-stitching, asset management, and speech systems. Panelists will discuss their methods and experiences in the creation of interactive speech content for sport game titles.
Monday, October 12, 1:30 pm — 2:30 pm
G9 - Interactive Music Techniques for Games
Chair:
Scott Selfon, Microsoft Corporation - Redmond, WA, USA
Abstract:
With music for current console and PC games consisting primarily of prerecorded music tracks, how does a composer or audio programmer construct a believably interactive score that reflects and emphasizes the state of the game? This tutorial will quantify some of the techniques in use by games today to construct dynamic and interactive musical scores, delivering musically believable and appropriate scores from finite recorded materials. Additionally, the talk asks and attempts to answer the question of whether and how real-time generated music (via MIDI or other similar protocols) can be a viable technique for presenting compelling game music.
Monday, October 12, 4:00 pm — 5:30 pm
G10 - Techniques of Audio Localization for Games
Chair:
Fabio Minazzi, Binari Sonori Srl
Panelists:
Hope Dippel, Sony Computer Entertainment America
Francesco Zambon, Binari Sonori Srl
Abstract:
The production of game soundtracks shares many technologies and techniques with the production of audio for other media. At the same time, videogames are software products, with nonlinear and dynamic behaviors, and these features of the media affect the way audio is produced and localized. This session deals with the full cycle of the dialog production for videogames and is divided into two parts: part 1 describes the original language soundtrack production; part 2 is devoted to soundtrack localization with special attention to the differences between the dubbing of a film and the localization of game-audio.
