Nothing ruins a good game faster than annoying music or inferior sound effects. Our Audio Track is a day long conference on Thursday 12 July 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.
Key members of Frontier’s audio programming team demonstrate how to create a bespoke VMS to mitigate an excessive voice count that’s draining CPU time and memory resources - leading to a cluttered mix that’s hard to tame. For the uninitiated, development of such systems can be a significant time sink and middleware isn’t necessarily the answer. Over the last five years, Frontier has developed bespoke technology to overcome some of those third party shortcomings.
This talk will provide an overview of that development across a number of titles including forthcoming Jurassic World Evolution. A brief critique of previous implementations will provide an historical perspective and reveal lessons learned and key insights into choices made. An outline of the latest system's functionality and implementation will show how programming best practices such as generic systems, code reuse and separation of concerns can greatly help VMS development at your studio.
Using examples from her work on such prestigious productions as The Last of Us, Uncharted 4, God of War 4 and Fable 3, Shannon Potter explores the art of story-telling sound citing favourite examples of narrative and mood support including ambience and character sound design. She’ll also discuss best practice process to ensure both in-house and outsource audio teams best set themselves up for success in achieving a holistic, cohesive and deeply integrated aural gameplay experience.
Focussing on the practical audio design work from conception through prototyping to in-game integration, Philip will reveal how the audio team at DICE developed the sounds of the ‘heroes’ whilst needing to unify the sonics of all Star Wars eras into one holistic soundscape. He will detail examples which show the direction, emotional target, creative design and technical implementation for their sound design.
Multi bafta-nominated composers Olivier Derivière (Get Even, Remember Me, Assassins Creed IV: Black Flag – Freedom Cry) and James Hannigan (Red Alert 3, Dead Space 3, Harry Potter) discuss the state-of-the-art in music for videogames.
The early days of videogame music promised much - a new form of music – perhaps even a new art form. Integrating music composition deeply with gameplay was an exciting new world of creative opportunity. So where did all the truly inventive ideas go? Is linear music plus a few standardised interactive techniques overlaid really the zenith of game music design?
Game Music Connect co-founder, James Hannigan, was an acclaimed early innovator and proselytizer of interactive music composition whose extraordinary journey from the nascent days of highly flexible midi music to unbridled ‘quad-A’ linear orchestral scores furnishes him with a unique, historic and thoughtful perspective on the role, function and placement of music in games.
Meanwhile, creating music for Get Even provided radical composer Olivier Derivière an apparently highly rare opportunity for a deep and early involvement with developer The Farm 51. They trusted him to realise a unique vision for an intricate integration of music and sound design from the get-go which led to a recent Bafta nomination. But with the proliferation of today's middleware tools why is such an approach so rare?
In keeping with Develop Conference tradition, John Broomhall is joined by a panel of esteemed colleagues and friends 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.
Horizon Zero Dawn is critically acclaimed for its sound, dialogue and music score. However, at its inception, this open world project presented a paradigm shift for Guerrilla Games, noted for the rather more linear Killzone series. Using some key examples from the production, Audio Lead Bastian Seelbach will recount a story of dramatic changes in complexity and scale, explaining the audio team’s problem-solving approaches to tackling and overcoming challenges that open game environments introduce, while trying to find the voice of this brand new world called Horizon Zero Dawn.
Batman: Arkham VR is a story driven VR experience where the player becomes the BATMAN. This talk is NOT about HRTF, inter-aural delay or sound propagation. This talk is about telling the story with audio in a VR experience, using it to maintain player immersion and how sound is used to support VR gameplay.
I’ve felt a big passion here at Develop!
It’s great for inspiration and just to keep up to date. Coming down to Develop you can see a lot of people at the top of their field talking about their wok and sharing insights.
There’s a pretty good social element to Develop. A lot of the opportunities that come from being here are speaking to other developers that are doing exactly the same thing as you. And there are some good parties – it’s very much a pleasurable work experience!
There are many ways you can be part of Develop:Brighton 2018 - including speaking in the conference, taking a booth in the Expo or becoming a sponsor.Find out more