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Holy Foley!
Clint showed us this in creative audio the other day which is very useful for my sound design for Project Kowhai the game that We’re making in Studio.
Also this article has some pretty useful tips for starting to record Foley.
https://www.premiumbeat.com/blog/recording-foley-and-sound-effects-the-fundamentals/
Sound Sound Sound
Over the last few weeks since my last blog all I’ve been doing is creating the remaining Foley effects for the project and mixing and implementing audio into the build. Nothing exciting just polishing. The assessment version of the game will be up by Monday.
Foley if Folly
Was looking up Foley techniques and found this very handy resource for creating different sounds
http://www.epicsound.com/sfx/
Prototype Sounds of NZ
This week I added the prototype sounds to the first of our game demos. I finished the first prototype of the forest music soundtrack. I lowered the volume compared to the forest ambiance to make it subtle. There should be music but it shouldn’t be overpowering. In there is no music in nature but this music helps build the atmosphere.
I’ve started to collect field recordings for the second prototype. I’ve cut together some grass and mud footsteps and edit together some whistling wind samples.
I just bought a midi keyboard which I’ve spent hours figuring out and playing with. I’ve started the second soundtrack.
Songs Like Autumn
I’ve been working on the first demo soundtrack for our game. I listened to a few ‘autumn themed’ music tracks and found them to be nice and calm and soothing. However, the feeling of this game is supposed to be more tense as if your’e on edge and you don’t know what to do. Sort of eery. This is because of the situation you find yourself in. Your’e lost in the wilderness, the music definitely wouldn’t convey that your’e lost if it was happy and calming.
I also listened to some game tracks for inspiration and to get feeling for different game atmospheres like these.
In other news, I gave mark a backpack opening sound and a stomach rumbling sound and he implemented them into his mechanics.
Dynamic Ambient Music
Okay, figured out the dynamic ambient noises, I simplified the code a little to make it work for multiple trigger boxes. Basically, If you enter an area, it’ll fade in it’s music. When you leave, it’ll fade out it’s music. This means that each trigger box needs not fade out anything. Except in certain situations.
Okay so I’ve been thinking about the feel of the game and I think it’ll be great to come up with a few ambient sound tracks rather than no music. It’ll add to the atmosphere and I’d argue it would immerse the player more by giving them a sense of the situation. I was talking with Kavita about the feel of the game and we agreed on a sort of ambient tense feeling sound track as if you were lost and you don’t know what to do. This would contrast with some magnificent, beautiful music when showing off some of the landscapes in certain scenes. I think it would give a great effect for the player to stand back and appreciate the natural landscapes of New Zealand.
I’ve also still got to record audio but I may resort to the internet to prototype our game audio.
Footsteps In Different Places
I’ve figured out how to have material dependent footstep sounds in Unreal Engine! The only problem I see is that the terrain only has one physics material associated with it. There is a way though that you can make the terrain painter associate different physics materials. I’ll see if I can get Nathan Newland to figure that out because that’s more his field. however, if I can finish this other thing quickly, then I’ll see if I can help him out.
The other thing I overlooked is the dynamic ambient sounds, so soundtracks that change based on your location. I only tested it out with two areas and the way that it fades between the tracks is by fading out one track and fading in the other when you move into the different areas. I need to test this with three or more areas and figure out a way to fade in from any other track...
