@SounDoer：来自 A Sound Effect 对游戏《Call of Duty: WWII》音频总监 Dave Swenson 的采访，有关声音录制、设计和整合方面的幕后制作细节。
Creating Call of Duty WWII’s Authentic Sound – an in-depth interview with Dave Swenson
- At Sledgehammer Games our goal is to have a very high dynamic range game. For that to work, you need all of your assets in the game to be high dynamic range assets.
- We made the decision early on that we wouldn’t use anything that was used previously. We went out and recorded everything new for this game. Everything you hear in Call of Duty: WWII was purposefully recorded for this game. It was all new recordings by our team at Sledgehammer Games.
- On Advanced Warfare, we found that we were struggling to get the Foley recorded in the studio to sound as open and “in the environment” as we wanted it to sound. Eventually we experimented with going out and doing our Foley recording on location. This technique ended up giving us the exact sound we were looking for. If we needed footsteps in the forest, we’d go to the Redwood forest near our studio and record footsteps. If we needed sounds in a bunker, we’d go and find a bunker and record our sounds there. The natural reverberations of the various locations and how the clothing and props reacted in the actual environments sounded better and more natural to us.
- When you hear an explosion in the game, you hear the rocks ripping and cracking and flying through the air and you hear the sand and debris sprinkling down. We wanted the players to feel like they were in the environment and so that is where we put our focus.
- Our implementation relies on a robust scripting language. It requires our sound designers to be highly technical, to be almost like audio programmers.
When we hire sound designers, we understand that we use a proprietary system and a proprietary language and no one is going to have experience with it. We know that’s something we can teach. Therefore, when interviewing, we first and foremost look for someone who is a great sound designer; who has a talent for recording and designing. Then we look for candidates who have a desire to be technical. As long as they have the interest, we can make them very technical with some on-the-job training. Ultimately, we need the whole team to be expert sound designers and also expert technical sound designers and implementers.
- Don Veca (also a Dead Space alumni) had this idea to make a language for the zombies. I’m not sure how many fans figured this out but the zombies actually have their own language that they stick to. They’re Germans, but they’re not speaking German because they’re dead and they’re zombies. So, Don created this language that he called “Zom-Deutsche,” and it’s made from actual German dialogue — the writers would write dialogue for the zombies in German. Don then wrote a program (all of our sound designers being very technical and able to script and program) that would swap syllables around and scrambled the syllables of the language up just enough to have it not be clear German, but it still had the feeling of being German.
SounDoer– Focus On Sound Design