Creative vision - The vision for creating the assets for the Full Sail video game "Uranus Attacks", was to create otherworldly sounds that immerses the players into extra-terrestrial warfare. After looking at the soundless demo, I recognized I needed wide/open-air planet ambience sounds. Looking at the spaceship, I was inspired by the nostalgic look to it and wanted to make sounds that were strong but still had the old school "War of the Worlds (Black and White film)" feel to them. The laser and spaceship engine sounds worked out after some experimentation; although, I was unsure how to make those nostalgic sounds. The process for making the alien roars and snarls were also born out of expectant experimentation.

Wwise Implementation Video

Creative Process – Processed in Pro Tools and implemented in Wwise Planet Ambience: Knowing that I would need to loop a continuous and consistent noise to represent an ambience of each planet, I chose to record my air-conditioner air return vent and the motor sound from the inside of my refrigerator and freezer. I layered each one with sounds from Native Instruments’ Reaktor: Monark and heavy compression and EQ with different adjustments and mixes to make the sounds for the two planets. Input from student peers and the teacher was very encouraging in the process of deciding the final sounds.

Kraktoh

D'Kuk

  • The Barnaby and Fanoon space creatures: Both assets needed to be made with sounds from real animals. We used the “Sound Ideas” website to find organic recordings of different animals – picked a rhino, camel, and buffalo. We also had to use our own sounds recorded at home – I recorded myself saying/whispering “hi-yaah” inside of a salad bowel. I layered and processed those sounds though various EQ and EFX such as Reaktor: Guitar Rig. Input from the teacher and peers gave me good insight as to what versions/mixes would work best.

Barnaby

Fnoon

Space Ship

Laser

  • The space ship engine and laser vaporizer: I used two different approaches for these assets the spaceship engine also incorporated the sound of a rhino layered with sounds from Monark and processed through rhythmic sequencer (Reaktor: Swirl) with heavy EQ and compression to build the seamless loop that resulted. The Laser vaporizer was a little more “simple” as a I layered various tweaked sounds from a raw recording of my toaster, Reaktor:Monark, and Guitar Rig. Input from peers helped me confirm my strongest version from the sound set.

Teleport In

Teleport Out

  • Teleport in & Teleport out: I knew wanted a computerized sounding theme. At some point I went into my main studio room and fired up my computer and noticed a really cool transformer/robot like sound it made as it fired up. I went got my handheld recorder and captured that sound. I processed and layered in them with sounds from Monark and processed them through Guitar Rig. Student and teacher input moved me to do some heavy low-cut to clean the sounds up.

Reflection – This class helped me grow my understanding of video game audio implementation as to where I could fit on a team and the various processes I would need to be familiar with such as implementation and team review. The main challenge I had was figuring out where to start/vision. The challenge was simply overcome by creating and experimenting. Once the sounds started to come together, it was easy to adjust and or get rid of things that did not match the theme or body of assets. The overarching lesson or thought I took from this experience is the “lightbulb” of the actualized possibility of expanding my recording studio clientele into video game industry.

Rag-Tag-to-a-Bull

  • The Music: I initially chose two EDM songs and one Mexican Mariachi piece from “Sound Ideas”. After reading the instructor’s review and subsequent consideration, I went with the Mariachi piece called Rag-Tag-to-a-Bull by Kelly Richmond. As the instructor Marc Pinsky pointed out, it was an unusual but very interesting song that worked given the “shooter” context of the game. It was serious as, it is the type of music you would hear in a cowboy movie during a showdown but it was versatile enough for comic relief if if the game producer wanted to include it.  Either way the piece somehow works.

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