Nothing ruins a good game faster than annoying music or inferior sound effects. Our Audio Track, curated by John Broomhall, is for anyone involved in sound or music and video games. Audio professionals can expect to be inspired by the latest techniques and trends, plus hear from peers and experts who will share their own experiences and knowledge on all things sound related.
The award winning audio team at Supermassive Games present a detailed look at how their complex procedural foley systems have developed to bring a cinematic sound to their games. For their narrative cinematic games, characters are key and Foley is vital to making characters believable, connecting them to the environment, adding emotion and uniqueness while being robust enough to handle a wide variety of movements in the varied mocap performances.
3D audio provides the player with a new dimension for listening, increased localisation, and unparalleled sonic immersion. It is one of the leading features that separates the current generation’s gaming experience to previous generations.
However, the shift away from traditional channel-based rendering requires the addition of 3D Audio objects and Ambisonic tooling to developers’ workflows. For 3D Audio to be effective, it is important to understand what is happening throughout the audio chain and how to exploit these new tools.
This talk will give you a bottom-up understanding of what 3D audio is, from state-of-the-art research to implementation.
Focussing on the practical application of tooling within general audio mixing and specifically within a game environment, we will discuss how to combine approaches to achieve a desired effect.
Finally, we will share some of our best practices and tips for the use of 3D audio on the PS5.
Respected UK-based developer Creative Assembly retains a seven-strong team to handle casting, recording, directing and post-production of voice talent. In this session, Principal Dialogue Engineer, Will Tidman, will outline their processes for getting creatively inspired dialogue into noted title Total War: Warhammer.
He'll discuss the use of game design mechanics, performance characterization and audio processing techniques to create the voices required whilst remaining true to Warhammer lore and forging a distinct identity for each faction – plus maintaining variety and individual identity within a faction where there are multiple characters of the same type.
Using real-world case studies, he’ll talk through the full pipeline from initial design ideas to collaboration with the design team, and R&D, casting, recording, post production and implementation.
The multi-award nominated Foley team from Molinare come together to discuss their work and how to 'think in Foley'. Underscoring the importance and value of bespoke foley, they will share expert insights as they demonstrate some artistic performance techniques to help you understand how to create believable, subtle and nuanced results when tackling such foundational foley areas as footsteps, cloth and equipment yourself.
Take a close look at the best (and worst) UE4-based technical audio systems from The Ascent; a 4 player multi-platform, online co-op, twin-stick RPG shooter set in a lush open-world cyberpunk city. Representing the Sweet Justice Sound team, Environmental Audio Lead, Joe Thom and Senior Technical Sound Designer, John Tennant give a tour of the Unreal Engine 4 blueprint systems that pulled the audio together for this remarkably data-driven game. Covering topics like gameplay tag-based weapons logic, data-driven civilian walla, 100% customizable player foley system, Ak Component optimization schemes (ones that failed and ones that worked!), server/client replication hacks and whatever else they can fit in! It’s an all-you-can-eat technical audio buffet so Joe and John invite you to bring your spoon and learn the same lessons they learned but without all the pain. See what worked and what didn’t - what they found surprisingly hard and what was surprisingly easy.
Marvel’s Guardians of the Galaxy is a high-profile, high-stakes, premium-quality videogame music project. Entrusted with creating an original score for the beloved franchise was renowned composer, Richard Jacques. In a candid session, he, along with Senior Audio Director Steve Szczepkowski (Eidos Montreal via video link), will discuss takeaways and carry-overs to the ‘new normal’ drawn from working together on a AAA game score whilst based on different sides of the planet during a worldwide health crisis. They’ll discuss the nuts and bolts of collaborative music design, effective scheduling, composer team requirements, remote recording during lockdown and delivery, management, implementation, and testing of vast amounts of music assets, as well as exploring the character and tenets of audio director/lead audio/composer relationships that lead to successful outcomes throughout project and pandemic pressures.
This session tells the story behind the sound design of Hazelight’s intriguing and entertaining title, It Takes Two - and in particular, the challenges of audio for split screen gameplay. Anne-Sophie and Philip will discuss the iterations they experienced whilst experimenting and applying solutions in order to achieve a compelling high quality audio experience. They will explain how they learned to manage spatialized sounds in relation to each player’s screen space, maintain mix clarity across different gameplay types, and create a strong sense of immersion within the context of a split screen game - as well as outlining how continuous collaboration between the creative designers and technical designers was vital to successfully pushing the limits of the genre and setting new standards.
In keeping with Develop Conference tradition, our panel of game audio experts limber up for an inclusive town hall style discussion with conference delegates about the current state-of-the-art of music, sound and dialogue for games and what the future holds for game audio business, technology and creativity.
Host: Richard Jacques, Composer
There’s something creative about Brighton, so it’s the perfect place to have the conference.
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Dr Mata Haggis-Burridge
Develop is a very important place – it’s one of the few developer focussed conferences we have in Europe and that makes it very valuable.
I really like Develop, I really like the intimacy of it and I love the location.. there’s a good diversity of talks going on so there hasn’t been a time when there’s nothing I want to see.
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I absolutely love coming to Develop, it’s a brilliant, brilliant conference – you just know you’re guaranteed to meet everyone.
Jo Twist, OBE
If you really want to have a good interface with the British game developer community then this is the place to come.
A lot of the opportunities that come from being here are speaking to other developers who are doing exactly the same thing as you. And there are some good parties – it’s very much a pleasurable work experience!
Building games is hard and it’s taxing physically, mentally and emotionally. So being around a community that understands that is great – there’s a comraderie here.
Develop:Brighton is especially unique - it’s by the seaside and there’s a lovely relaxed tone that goes with that.The talks are cool, the networking is cool and having the opportunity to catch up with people – that’s always the excitement for me!
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