#SounDoer# Sweet Justice 声音设计师 Samuel Justice 采访

@SounDoer:来自 A Sound Effect 的文章,采访了 Sweet Justice 工作室的联合创始人/声音设计师 Samuel Justice,有关 Cinematics 声音外包制作方面的经验与建议。
How to create outstanding audio for cinematics – a Q&A with Samuel Justice
  1. Cinematic/Trailer 项目工作流程
    We have an internal process “template” that we follow when speaking to clients for the first time, this allows us to make sure we get as much information as possible to help us understand the project from the get go. Every studio likes to work differently and in their own way and they need us to understand their workflow to every last detail.
    Using DAW templates the studio are wanting us to use
    Creating temp audio to make sure we understand the style and tone
    Collaborative delivery methods (Dropbox, Box etc) or a studio being totally comfortable in allowing us to go away and use our own methods to create
  2. The most important part is fully understanding exactly what the client is after with the project and the sound they want to achieve. Understanding the title thoroughly and making sure all lines of communication are set early on. Not establishing these “rules” can make things much harder down the line.
  3. 关于使用 Licensed Music
    举例 Battlefield 1 的 Intro Cinematic,音乐用的是 Margo Bingham 的 Dream a little Dream of me。因为没法及时拿到音乐分轨,所以使用了 ADX TRAX PRO 工具临时将人声和器乐部分分离,以便更好地把控与音效的整体混音。
  4. 与视频剪辑的协作
    When asked we will help feedback on a video edit and help steer it in a direction that would make the audio stand out just as well as the visual components.
  5. 关于如何让声音在合适的时机出彩,提到了 Tim Nielsen 的一篇文章 The Art of Economy
    It sums it up nicely – a lot of the focus is achieved by stripping back and muting unnecessary sound effects, taking away as much as possible to really get that laser focus on the specific moment.
    The end goal is to make sure that the client/teams vision is realised not only visually but through the use of sound as well, the mix process is the most important part of that step. You have to be prepared to “kill your darlings” to support the vision. No matter how great you think a design might sound, if it doesn’t work with the piece, it has to go.
  6. 混音策略与工具
    根据项目需求来决定使用 PT HD、Nuendo 还是 Reaper 等工具。
    Making sure the mix translates onto a variety of listening setups (phones, laptops, tv’s etc) is very important these days so we’ll make sure to focus on that at one point during the mix process. 混音时需要考虑不同播放终端的影响。
    Understanding the technology that the pieces are being played back on is also important – as all game engines will playback the audio through their own systems which contain built in DACs (digital-to-analog converter). Audio teams will also master the entire output of the title which normally involves at least some EQ and some of compression/brick wall limiting, making sure we’re aware of these and understanding how our work will sound through a mastering setup that we might not have directly to hand for reference is very important.
  7. Project discussions usually begin very early on, there’s been a few projects that we’ve been in talks with developers 2-3 years prior for us getting pulled in – that’s where we’ll establish the best lines of communication and expectations around communication. We do make sure we’re available to the client 24/7, at the very least via email/skype/slack – the nature of the business and how tumultuous projects can be requires us to be accessible at any given moment.
  8. 对于 Trailer 来说,一般主要联系 Video Editor;对于 Game Cinematics 来说,一般主要联系 Game Director 和 Audio Director;对于需要负责音频整合的项目来说,则需要多位联系人。
  9. The mindset you need to establish is that you are an extension of their audio team, the client needs to be able to reach out and talk to you in a language and tone that they would with any other member on the team, expressing what they like and don’t like about the work in a way they feel most comfortable.
  10. One very important mindset is to lose any ego, any tiny tidbit of it – flush it away! If you have an ego you just won’t last long. When you’re in a creative discussion with a team they don’t want to hear about how “great” your work is or how many awards you’ve won – they want you to deliver.
  11. 两种 Game Cinematics:
    Pre-Rendered Cinematics – these are cinematics that are usually outsourced to an external video production house, and visually look quite different from the game itself.
    Game Cutscenes – these can also be offline (pre rendered in the game engine so they are not playing at runtime) but are visually built from game assets and look exactly like the game.
EVE Online – Birth Of The Capsuleer Cinematic
EVE: Valkyrie – Launch Trailer
Storm of Steel – Battlefield 1 Intro
SounDoer– Focus On Sound Design