#SounDoer# 采访游戏《Quantum Break》音频总监 Richard Lapington

@SounDoer:来自 The Sound Architect 的文章,采访了音频总监 Richard Lapington 有关游戏《Quantum Break》的音频设计,以及一些视频演示实例。
Quantum Break Interview With Richard Lapington
  1. Richard Lapington,学业背景 Degree in Jazz Music / Diploma in Audio Engineering / Master in New Media 。
  2. We had people from different time-zones, so everyone wasn’t available at the same time. We had quite a few guidelines. Because everybody was working on the same Wwise projects, we had very strict rules about what people can do in a project and how the things were named. #全球各地不同时区的同事们在同一个 Wwise 工程中协作
  3. Jack’s Time Abilities 声音设计
    It took a few years to get it to feel right. Originally we were looking at references from films. The first reference we used was from the film Constantine with Keanu Reeves. It has a few sequences where time freezes and we actually stole a lot from that. Particularly that high-frequency glassy sounds, our original ‘stutter’ design had lots of that. #从电影中寻找参考
    When we originally started designing stutters, there were few things we wanted to avoid. One of them was this underwater thing. Even though going underwater was used frequently as example for the ‘different world’ we were trying to create. However at that time the game visual world looked quite blue in stutter, so when we added the ’underwater filter’ to the sound it felt like you were actually under the water. #避免做出“在水中”的效果
    A bigger challenge was trying to describe what feeling we wanted from a Stutter of Jacks time abilities. “Violence” was one of our keywords. “Unpredictability” was another. We knew everything had to feel over the top, “hyper-real”. However, the stutter and time sounds we wanted ended up being more about what we didn’t want. For example, we didn’t want reverb i.e. no locatable sounds in the stutter world, so you should never be able to feel the space. When you were in the ‘normal’ world, we actually tried to emphasize the reverb to make the space feel really full, to create a contrast.
  4. 声音如何对动画产生影响并同步
    Main character movement sounds were relatively simple. We have an automatic footstep tracking system, that, like in any other game, detects data. We can detect floor material types, player’s speed and velocity, what weapon he is carrying and other things. Basically, we trigger every character sound from the footsteps, we just have many parameters going into the system.
    Then there are custom in-game animations, which are special animations that take away player’s control for a while, like ducking under something. You aren’t actually in control of that, you push the stick forward and game will play an animation. When the animation starts, it just plays a ready-made synced sound.
    For objects, there are several different types we dealt with. We have physics controlled objects, which are not really animated at all, they run through our physics system. For different animated breaking things we just create specific assets, and for big animations, where each part is animated we synced different sounds with different events. We have a tool called Timeline Editor, where we can sync sound directly to an animated scene. First we create a game capture video with sync points, and then we design sounds for that animation and render them to the sync points. The timeline editor would follow the audio clock, so animation always stays in sync with the sound.
  5. Dynamic Music 系统
    We were specifically thinking: music is an art form in time, and QB is a game about time, so we want the music to reflect the game. That a was very conscious decision: we can break this music and use it do demonstrate time manipulation in the game. The music is composed in a very specific way to fit in our system. The combat music is not written in 4/4, it is very polyrhythmic. If it was 4/4, player would expect some kind of a rhythmic resolution. Also there is no melody as such in the dynamic sections, so there is no harmonic resolution, and we can ‘break’ the music quite easily without it feeling wrong. The music is split into 2 stems: percussion and tonal elements. We can manipulate them differently. When the player presses a button we drop the rhythmic element, because we want to break the timing, and we time-stretch or manipulate with tonal parts in real-time by using different effects. We had a special way of applying effects for each time power, plus there’s also some randomisation to spice things up. What’s cool about that system is that it always sounds different, depending on where you are in the music. It sounds kind of composed. It’s not completely generative, but it is manipulated very heavily. On top of all that, the music has all the usual things as well – we have a combat intensity system and stingers for enemy kills and other events.
  6. 这是一个好问题:Do you think that now sound designers need to specialise on something, or is it better to be generalist?
    It depends on what you want to do and where the work is. I think it is very important to know everything you can, even if you are a specialist – it informs you how your speciality fits to everything else. I’ve done a lot of interviews with sound designers, and I’m always interested in their general sound knowledge. I think if you go to the game sound field, you need to know a lot just about sound in general. If you are just starting, it’s better to be generalist. Lots of people who have not worked in big companies like Remedy don’t actually know what (sorry if it sounds a bit patronising) the sound designer job is. Only 30-40% of it is actually designing sounds. The rest of the time you are chasing up environment artists for stuff, or you work with animators, game designers and programmers on different features. I think what I’m trying to say is when you start out you need to know not only how audio works but also how games work and how audio can serve the bigger picture. I think specialisation comes after. Once you’ve been in a company for a while, you tend to specialise in something. But unless you are looking for a very specific job and have lots of experience in that field, I wouldn’t specialise too much.
Quantum Break Stutter Non Stutter Comparison
Quantum Break VFX Proto
Quantum Break Combat With Music Soloed
Quantum Break Time Travel
Quantum Break Time Is Power
SounDoer– Focus On Sound Design