Sound Research WIKINDX
Sound Research WIKINDX |
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Boyd, A. (2003). When worlds collide: Sound and music in films and games. Gamasutra, Retrieved September 6, 2004, from http://www.gamasutra.co ... /20030204/boyd_01.shtml Added by: Mark Grimshaw-Aagaard (11/03/2006, 11:23) |
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| Resource type: Web Article BibTeX citation key: Boyd2003 Email resource to friend View all bibliographic details  |
Categories: Sound Design Creators: Boyd Collection: Gamasutra |
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| Notes |
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Game audio designer for LOTR Two Towers. 4pp. Added by: Mark Grimshaw-Aagaard |
| Quotes |
| Despite having all the film's sound FX "found it more effective to create our own." Added by: Mark Grimshaw-Aagaard |
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A tension exists in game audio that's not in film -- "desire to minimize repetitive sounds versus the limitations of the delivery mechanism." Limitations of RAM and CPU and nonlinear nature of game (audio) creates unknown number and combinations of events requiring audio. Added by: Mark Grimshaw-Aagaard |
| "If a sound designer working on a film wants every footstep, door slam, gunshot and telephone ring to be completely unique, it's simply a matter of creating the right number of instances of each sound and laying them into the soundtrack ... In a game, of course, it would be unfeasible to attempt to make every instance of a sound unique, if for no other reason than it would require too much RAM to store all the possible variations. But even assuming infinite system resources, there remains the runtime problem inherent in the interactive world of a game. It isn't possible to make every gunshot sound unique if you don't know how many gunshot sounds are needed!" Added by: Mark Grimshaw-Aagaard |