Unit 58- Sound in interactive Media

Battle Field Bad Company 2 has an amazing audio sound as it produces that effect of a natural war environment. Random sounds are presented consistently through the use of clear brighter sound that gives the impression of closeness and dim muted sound that invokes distance. As each individual action effects the players audio also, such as a close explosion causing a discordant deafening in the hearing for a brief moment. Vocals in the form of talking/shouting is used to make the you fell that war is humanised and not just mechanical. The game’s audio gives off an impression of every sound and movement coming into reality. For example tank track sound is represented, using a real tank to grasp the clanking noise gives an atmosphere of reality forcing the gamer to be apart of the action.

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Not only but Battlefield’s audio is processed ‘in 32-bit IEEE floating point (at 48kHz) in order to maintain the highest fidelity possible in the final audio stream’ since is it delivered to the platform’s underlying audio driver. Real weapons were used in order to create the game’s audio, capturing the real noise from the object/action emphasise the detail of each individual sound.

DICE (Electronic Arts Digital Illusions Creative entertainment AB) found challenging within Battlefield Bad Company 2 was creating audio for multiplayer, as they faced ‘repetition and the patterns of iconic sounds are completely devastating to a believable sound scape’ due to testing multiple gunfires. Audio Director Stefan Strandberg was saying what must be thought of carefully when contributing multiplayer audio to Battlefield Bad Company 2. ‘A gun shot might sound good when you design it and play it back in its own, but together with 50 other weapons and fired thousands and thousands of times you have to start thinking about all guns at the same time, and be very careful to treat them as individuals’.

The use of weapons sounds was expanded to see what sound effects, echoes and sound levels would be presented, through recording within different environments such as ‘urban, forests, canyons, open fields and indoor areas’. Up to roughly 80 microphones was used within recordings, the great thing about this is that using so many microphones means that every corner, angle and radius of sounds can be captured for a more clear yet dull effect. For example as gunfire happens inside an opened spaced building, echo sound waves projecting to the player and other players within its radius, therefore cameras are microphones are places all around the area, some close and some a distance away.

For the creation of environmental audio, frostbite engine was used to ‘control the camera and the gamepad rumble for the player’. As buildings were about to collapse they played a ‘setup of tormented building sounds’ along with sightly shaking the camera in sync with the audio climax. For a further more realistic effect and experience for the player, the rumble of collapsing buildings were increased to enhance the destruction upon the landscape. Once all of this comes together the sound and camera, joint with the rumble, players subconsciously believe the destructive atmosphere and automatically react.

http://www.frostbite.com/

Website that helped me gather information:

http://designingsound.org/2010/03/battlefield-bad-company-2-exclusive-interview-with-audio-director-stefan-strandberg/

Collapsing building audio:

Example of the audio:

 

 

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Amnesia: The Dark Descent a well known horror game that presents multiple life like interactive sound effects along with thrilling background music. For example the way you can hear the character’s distorted breathing and hyperventilation’s because of desperate situation being confronted by monsters within the infested castle. Music Audio composed by Mikko Tarmia forms a real life atmosphere through the use of sounds effects, as fiction is brought to reality. Close to going as insane because of being surrounded by the darkness or being approached by monsters, the music turns dark and depressing, hearing great sound elements like moaning wind, non-linear sounds (violin and organ) and sometimes groaning of nearby monsters. However Tapio Liukkonen (kaamos sound) had made some recordings of  none euphonious sound effects for monsters, contraptions and actions. Amnesia’s sound purpose is to strike fear into the player as the adaptive sounds tempo starts to slightly speed up, hearing distance wind and echoes, knowing that danger approaches. The special thing about this game’s sound is that it creates an imagery because of the dynamic of hearing-before-seeing that strikes fear into players hearts, giving them thoughts, what’s coming, how close is it and get ready to hide or run.

‘Kaamos Sound uses multi-microphone techniques indoors on the foley stage to capture ingenious perspectives for sound design. The studio records in any season in real environments such as swamps, cities, forests, halls, rain storms, underwater, snow covered landscapes, highways, vehicles and so much more’.

Websites that helped me gather information:

http://www.kaamossound.com/

https://thesounddesignprocess.wordpress.com/2012/06/06/amnesia-the-dark-descent/

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