Hello 你好
I think we have to start 我想我们得开始了
And welcome and good morning everyone 欢迎大家早上好
My name is Philip Eriksson 我叫菲利普·埃里克森
and I work as a sound designer at EA DICE in Stockholm 我在斯德哥尔摩的EA DICE做声音设计师
..where I've been for like four years worked on both battlefront titles and battlefield 我在那里工作了差不多四年 做过《战地》和《前线》
And during this talk I will talk about.. 在这次讲座中 我将讨论……
..sounds for the heroes of Star Wars Battlefront II 《星球大战前线II》中英雄们的音效
And these are the topics that we'll cover during this presentation 这些是我们将在本次讲座中介绍的主题
I will talk about the sound design direction that we had for this game 我将谈谈这个游戏的声音设计方向
And I will go through some challenges that we had during this production 我会讲述一些我们在这个制作过程中遇到的挑战
I would show a lot of examples both video and sound 我会展示很多视频和声音的例子
And I will go into detail showing you the system that I made to create the sounds played in the game 我将详细介绍我做的用来创建游戏声音的系统
But first let's look at some real gameplay video 但是首先让我们看一些实际游戏视频
stuff contains a lot of different abilities, heroes and action 包含很多不同的能力、英雄和动作
Enjoy~ 请欣赏~
Yeah 是啊
Thank you 谢谢
So the sound design direction that we had for this game was.. 所以我们为这个游戏的声音设计方向是…
we wanted to try to get this far away from the game sounding gamey 我们想尽量让这个游戏听起来不那么“游戏”
and let it sound more real and believable, immersive 让它听起来更真实可信 更沉浸
and really put you in a galaxy far far away 真的让你置身于一个遥远的星系
It was the most.. 那是最……
..of course the most important thing is to stay true to the star wars universe 当然 最重要的是忠实于星球大战的宇宙
and make the game sound like the movies 让游戏听起来像电影
And we wanted to support the stories 我们想支撑这些故事
and create feelings and enhance the characteristics of the heroes and the villains 创造情感 增强英雄与反派的特色
and 而且
It was very important for us that.. 对我们来说非常重要的是
it sounded like the sounds were actually created in the world 让这些声音听起来好像是在游戏世界里创造出来的
interacting with materials, the different environments and the characters 与不同材质、不同的环境和特征有相互作用
like the newer Star Wars movies for example Rogue One 比如最新的《星球大战》电影《侠盗一号》
And this made the sound scape feel a bit more realistic and a bit grittier 这让声音场景感觉更真实 更粗粝
Although we have to same time strive to make a very clean and dynamic mix 虽然我们必须同时努力做出非常干净和动态的混音
and readable for the player 也能让玩家容易辨认
So challenges that we had 我们面临的挑战如此之多
One of the big ones was mixed eras 其中最大的一个是不同年代的混合
We didn't only have the original trilogy, the prequel trilogy and the sequel trilogy 我们不仅有原三部曲、前传三部曲和后传三部曲
we also have stuff from the cartoons 我们也有卡通片里的东西
And you can say that we also created a new era with the single player story, with Iden 你也可以说 我们在单人游戏模式里也创造了一个新时代 通过主角Iden
And we wanted these to sound different from each other 我们希望这些年代听起来彼此不同
and make their individual contrast stand out 使它们各自的对比突出
while still treating them with the same philosophy to make them fit into the shared sound scape 同时仍然用相同的概念来处理它们 使它们融入到共享的声音场景中
In order to handle all the abilities and the scope for this project 为了能处理这个项目里的所有技能和范围
we needed to create smart solutions that would help us deliver fast but still maintain high quality 我们需要创建智能解决方案 以帮助我们快速交付 但仍然保持高质量
So we created some versatile systems that could handle many different types of ability sounds 所以我们创建了一些通用的系统 可以处理许多不同类型的技能声音
And these sounds they shared strategies 这些声音会共用一些设计策略
and.. 并且…
The system made it a lot easier to iterate 这个系统也使得迭代更容易
and you could do both general changes through all abilities as well as individual tweaks per sound 你可以对所有技能进行全局更改 也可以对每种声音单独调整
This really helps both the design process 这确实有助于设计过程
and maintaining the sounds throughout the project and the mixing stage 以及在整个项目开发和混音阶段对音效进行维护
We also wanted to focus a great deal on the gameplay feedback 我们还想把重点放在游戏反馈上
We created a mix that was less compressed and clean 我们创建了一个更少压缩而且更干净的混音
and a lot more readable 可理解性也更强
..with clear distance feedback and directionality on other important gameplay indications ..具有明确的距离反馈 以及其他重要游戏参数的指向性
So as I said that the mix was less compressed 正如我说过的 混音被压缩得更少了
and it left more space for each sound 并为每个声音留出更多的空间
and it was easier to give the power to a sound where it was needed 那么在需要的地方给予某个声音力量就更容易
We also made a distant content for all the abilities 我们也对所有的技能都做了不同距离上的素材
and they are affected by the environments where they are created as well 它们也会受到所在环境的影响
where the sounds are created 即声音产生的地方
And we also do a thing where the enemy sounds are higher in priority and louder than your friendly sounds 我们还会做的是 让敌人的声音比友好的声音优先级更高 更响
We also really tried to focus on making different perspectives 我们还试图制作(技能在)不同视角上的差异
So for example when you are being affected by an ability 例如 当你被某项技能影响时
it was something that was important 这也是很重要的 从《原力觉醒》中的各种场景中可以清楚地看出其能力
And also, dealing and taking damage so you got feedback from that 还有 制造伤害和收到伤害(的差异) 这样你就能从中得到反馈
We also in the sound design wanted to create clear characteristics between the heroes and the villains 我们也想在声音设计上创造出主人公与反派之间鲜明的特征差异
as well as an individual character's own sound signature 以及每个角色自己的签名式音效
so that you could easily spot enemies 这样你就可以轻易地发现敌人
One thing that is very hard when working with star wars is the lack of variation 在做星球大战时 有一点非常困难 那就是缺乏变化
and also the gameplay abilities being different from the reference in the movie 而且游戏中的技能与电影中的参考不同
And 而且
we always try to take the reference from the movies 我们总是试图从电影中得到参考
and try to expand, find elements and recreate sounds and add variation in perspective 试着扩展 发现元素 重现声音 增加视角的变化
but still keep the character on the reference sound, but just making it fit the gameplay basically 但是仍然保持角色与参考声音一致 基本上只是使它更适用于游戏
Sometimes there was no reference or very vague reference in the films 有时电影中没有参考或只有非常模糊的参考
thus we needed to use the same recipes to make them fit into the Star Wars universe 因此 我们需要使用相同的“食谱”来使它们适应星球大战的宇宙
Lucas Film they also wanted to approve some of our sounds 卢卡斯电影公司 他们也想审核我们的一些声音
and something that was very important to them was that 对他们来说很重要的一点是
the force sound didn't sound too magical, too techie or too similar to Marvel 原力的声音听起来不要太魔幻 太科技或者太像漫威
And we tried to use the same principles as Ben Burtt, Matthew Wood and David Acord to get the same feeling 我们试着用和本·伯特、马修·伍德和大卫·阿科德一样的准则来获得同样的声音感觉。
And the direction from Lucas Film was often less is more, the more believable it was, the better they thought it was 而卢卡斯电影的一贯方向往往是“少即是多” 即可信度越高 他们认为越好
The game as well sometimes the abilities had very little visual feedback 这个游戏里的技能有时也很少有视觉反馈
and visual representation of an ability could just be an animation with the hand being lifted up in the air 一个技能的视觉表现可能只是一只手举在空中的动画
like Darth Vader's Force Choke for example 比如达斯·维达的原力锁喉
But it's still.. The sounds still needed to provide a diffuse but yet expected sound 但是还是……这些声音仍然需要提供不明确但又满足期望的声音
So let's move on to the examples 那么让我们接着看几个例子
and I'll give three examples 我将给出三个例子
I would start with Kylo Ren and his ability Force Freeze 我先说一下凯洛·伦和他的“原力冻结”能力
For this example I used almost exclusive the sound effects from the movie stems 对于这个示例 我几乎只使用电影分轨中的音效
And it's from the sequel trilogy 这是来自续集三部曲的
Next up is Darth Maul from the prequel trilogy and his ability Force Push 接下来是来自前传三部曲的达斯·摩尔和他的技能 原力推动
..which had a clear reference but I needed to make a hybrid with new sounds ..这个是有明确参考的 但我需要把它和新的声音结合
And last but not least, Luke Skywalker and Force Repulse 最后但并非最不重要 卢克·天行者和他的原力反斥
And these have never been shown in any movies so I have to come up with a completely new sound 而且这个技能在电影里从来没有出现过 所以我必须想出一个全新的声音
but it still needed to sound original trilogy 但它仍然需要听起来像原三部曲的感觉
I would show you a few scenes from the Force Awakens 我会给你们展示一些《原力觉醒》的场景
with Kylo Ren's Force Freeze 凯洛·伦的原力冻结
So yeah, Kylo Ren, and his ability Force Freeze 是的 凯洛·伦和他的原力冻结
which surprisingly freeze the opponents for a duration of time 可以突然冻结对手一段时间
which made this a looping ability that could differ in time 这就让它成为循环类的技能 会随着时间变化
And as you saw this ability had very clear reference from various scenes from the Force Awakens 如你所见 这个技能和《原力觉醒》中的很多场景都有明显的关联
and then I could base my sound almost entirely on the sounds from the movie stems 然后我可以几乎完全基于电影Stem分轨来制作这个技能音效
and the sounds that Lucas or Skywalker sound provided me with 以及Skywalker Sound给我的声音
Just a gentle massage to make them fit better into the game 只做些轻微处理 使它们更好地融入游戏
and some added elements for different perspectives 以及一些用于不同视角的附加元素
and other variation 和其他变化
So 所以
When I started working on a new hero for this game.. 当我开始为这个游戏制作一个新英雄时
I always just wrote down a few words as sound design direction for myself ..mainly 我总是只写下几句话作为声音设计指导 主要是给自己用的
And for this character I think Kylo Ren is of course evil but he's still afraid as well 对于这个角色 我认为凯洛·伦当然是邪恶的 但他仍有恐惧
The sounds that David Acord made for him, for the movie 大卫·阿科德为他做的电影配音
they have a musicaI tone to them 含有音乐性的音色
They sound modern but also very distorted 它们听起来很现代 但也非常扭曲
So I started with extracting the sounds from the movie stems 所以我开始从电影分轨中提取声音
and I was quickly able to just make a loop out of the sounds 我很快就能从这些声音中做出一个Loop
And I decided to split this looping sound into a noise layer and a tonal layer 我决定把这个Loop分成噪声层和音调层
And I will play you an example and then I will tell you why I did this 我会给你们举个例子 然后告诉你们我为什么这么做
So the first sound you will hear is the reference from the film and then my split loops 所以你听到的第一个声音是来自电影的参考 然后是我拆分的Loop
So why did I do this 我为什么要这么做
Since I split the loops, I could play them in two different samplers 因为我拆分了Loop 所以我可以在两个不同的采样器中播放它们
And I could have set them in time from each other, 我可以设置它们之间的时差
I could also apply different randomization like LFOs and the pitch and the amplitude 我还可以应用不同的随机化 比如LFO、音高和振幅
And just make a lot more randomization with quite short loops 用很短的Loop进行更多的随机化
And I could also route the tonal bassy layer into the subwoofer, or the LFE channel 我还可以将带音调的低音层 路由到低音扬声器或LFE通道
without making the crisp noise layer unclear 而不使明亮的噪声层变得不清楚
After this I needed to find some more variation for these sounds that I had extracted 之后 我需要为我提取的这些声音找到更多的变体
But I of course wanted them to have the exact same feeling as the rest of the sounds 但我当然也希望它们拥有和其他声音完全一样的感觉
And especially for the affected perspective I needed to add some sounds 尤其是对于受击的视角 我需要添加一些声音
So I started searching and I found this boomy cannon sounds 于是我开始寻找声音 让我发现这个轰鸣的大炮声
..that had the same kind of totality and very nice tone to it 具有同样的整体性 还带有很棒的音调
And I also did some sound effects recordings myself 我也自己录了一些音效录音
I bought this huge party balloon 我买了这个巨大的派对气球
and 然后
I took my LS100 Olympus recorder, a hand recorder 我用我的LS100奥林巴斯录音机 一个手持录音机
And I just pushed the membranes straight into the balloon and ripped it away 我把麦头直接按进气球再扯开
and this made a really nice ripping sound 这会发出非常好的撕裂声
And I just added some distortion and that alone sounded quite a lot like Kylo Ren 我再只要添加一些失真 听起来就很像Kylo Ren
I will play those two examples as well 我也会播放这两个例子
And after this I basically just categorize the sounds that I had for the different perspectives and different things that I needed to provide 在这之后 我基本上只是把我听到的声音归类到不同的视角 以及我需要提供的其他不同方面
for Kylo Ren's close perspective, the distant perspective and also when you are being affected by the ability 对于Kylo Ren来说 包括近距离视角 远距离视角 以及你被他的技能攻击时的视角
and this is how it all sounds 这就是整体听起来的样子
I'll play the single sound first and I'll combine variation 我先播放单个音效 然后再结合变体
And now let's look at it in game because it doesn't matter if it sounds good as a single sound 现在让我们在游戏中看看 因为它单独听起来好不好并不重要
It needs to be in the mix and it needs to fit there 它要在混音里也合适
So 所以
the next example is Darth Maul 下一个例子是达斯·摩尔
And I would start with showing a clip from The Phantom Menace 我先展示一段来自《幽灵的威胁》的片段
So yeah. Darth Maul from the prequel trilogy 那么 这就是前传三部曲中的达斯·摩尔
and 而且
and this ability Force Push had a clear reference as you saw 正如你所看到的 这个原力推动技能有一个明确的参考
during the fight with Obi-Wan Kenobi 在与欧比万·克诺比的战斗中
But I wasn't really able to use this sound for the game 但是我不能真的在游戏中使用这个声音
because the gameplay ability was quite different 因为游戏里的技能非常不同
So I needed to make a hybrid that hopefully works equally well 因此 我需要做出一种音效混合体 而且效果要同样的好
And again I started with the sound design direction 我再次从声音设计方向开始
And to me this character is angry, fast, silent 对我来说 这个角色是愤怒的 迅速的 沉默的
He doesn't speak a lot 他话不多
He's furious and lethal 他愤怒而致命
So I took the reference sound and sort of analyzed it 所以我拿来参考素材 并分析了它
and I found out that it's a soft kind of explosion with a lot of flanger on it 我发现它是一种柔和的爆炸声 并带有很多Flanger效果
And I wanted my sound to also keep that character of course 我希望我的声音也能保持这种个性
but I wanted it to sound a bit more 2018 但我想听起来更像是新时代的制作
and a lot more punchier 同时也更有打击感
So what I did is, I created some new explosions with flanger on them 所以我做的是 我做了一些带有Flanger效果的新的爆炸音效
And I will play the reference sound then my new explosions 我会先播放参考声音 然后是我的新爆炸声
And to be honest when I started making this sound 说实话 当我开始做这类声音的时候
I had a bit of struggle to find the way and really know what I wanted to create 我费了很大劲才找到方法 并且真正知道我想要做的是什么
So 所以
At DICE, in my studio I always have an SM58 microphone just lying on my table 在DICE 我的工作室 我总是有一个SM58麦克风放在我的桌子上
So I can always grab it and just make sounds with my mouth and stuff 所以我就能随时拿起它 用嘴巴什么的发出声音
And so what I did it was that I booted up the game 所以我就启动了游戏
and just performed sound with my voice 只用我自己的声音来配音表演
And this is very silly but it helps 这听起来很傻 但是很有帮助
and it makes just your thoughts or your sound if you have in your head 它能将你脑海里的声音提取出来
..you can get it into Pro Tools or whatever in a very sort of fast way ..你可以迅速地将它导入Pro Tools还是别的什么工作站
and then you can start taking it apart and replacing it with other sounds 然后你可以把它拆开 换成其他声音
I would play the recording that I did 接下来我会播放我当时的录音
and you will hear that it's actually not that far from the final result 你会听到 其实离最终结果没差多少
Very silly 很傻
So after this 所以之后
I started thinking about what kind of sounds that I could use to replace this 我开始考虑用什么样的声音来代替这个
and some evil sounds I wanted to create 我想创造一些邪恶的声音
And one of the most evil sounding things I think is feedback 我认为 听起来最邪恶的声音之一就是回授声
Sounds super scary 听起来非常可怕
So I recorded some feedback basically in my room and 所以我在自己的房间里录制了一些回授
then I also wanted to add some more sort of "prequelly" tone to it 然后我还想添加一些“前传”的味道
So I got some synth sound that Ben Minto have made 所以我拿来一些Ben Minto做的合成器音色
and added some raw power to it and the prequel character that I wanted 给它添加了一些生猛的力量 和我想要的“前传”的特色
And this sound is basically very simple 这个声音基本上很简单
It's the flanged explosions, the feedback and the synth sound and nothing too fancy 就是加镶边的爆炸声、回授声和合成器声 没有什么太花哨的
No fancy plugins and anything 没有花哨的插件和任何东西
And this could easily have been done by Ben Burtt very early 在Ben Burtt那个时代就能做到这一点
And 接下来
I will play you the feedback recording and then some of the synth and then those two combined, so 我会给你播放回授的录音 然后是合成器音色 然后是两者结合 那么..
This is probably very nice for your hangover as well 这也许对你的宿醉有好处
Yep. And.. 嗯 然后..
Now let's listen to the whole sound with the flanged explosion as well and the distant variation 现在让我们来听一下带有Flanger的整个爆炸声 以及不同距离上的变体
Now let's look at it in game again 现在让我们在游戏中再看一遍
And my next example is Luke Skywalker 我的下一个例子是卢克·天行者
And since this ability doesn't exist in any movie 而且因为他的这个技能在电影中并不存在
I would start with showing a clip from the game as well 我也会从展示游戏片段开始
So Luke Skywalker and the Force Repulse 卢克·天行者和原力反斥
And as I said 正如我所说的
no reference at all from anywhere 没有任何参考资料
So I have to come up with a completely new sound 所以我必须想出一个全新的声音
But it's still needed to sound very much like Star Wars, Luke Skywalker 但是听起来还是要很像《星球大战》里的卢克·天行者
and just expand the universe in our respectful way 以尊重的态度扩展星战宇宙
And my sound design direction for this guy was powerful, trustful, dominant, natural and humane 我对这家伙的声音设计方向是强大、信任、主导、自然和人道
I started with doing some sound effect recordings for this ability 我开始为这个能力做一些音效录音
And I wanted to record some earthy tones 我想录制一些泥土的味道
some sort of air sounds and the force from the ground 某种空气的声音 和来自地面的力量
Because this ability basically has a short sharp where the ground starts rumbling or like an earthquake 因为基本上这个技能具有一个短的音头 然后地面开始隆隆作响 像地震一样
and then after that you have the Force Repulse explosion 然后是原力反斥的爆炸
And for that I recorded some Slinky 为此 我录了一些Slinky(塑料弹簧玩具)
And I will play a few of the sounds that I found 我会播放一些我发现的声音
Found a baby alligator sounds that I pitched down a lot which sounded quite cool 我找到一只鳄鱼宝宝的声音 做了很多降调处理 听起来很酷
and then some of these slinky stuff as well 还有这些Slinky的音效
And I also used my balloon for this, for some air crackles 我也用到了我的气球 做了一些空气爆裂声
So yeah, let's listen 那么我们来听听吧
So that was my start 这就是我的开始
And I have to create a lot of the content for this ability because 我必须为这个技能创建很多内容 因为
I had the charge up *part that sort of Force from the ground, a sound as a separate oneshot 我要把蓄力部分 就是原力从地面升起的部分 作为一个单独的Oneshot
and then that Force explosion as one 然后原力的爆炸是另一块
And I needed to create first the close and different distant perspectives for these sounds 我首先需要为这些声音创建近、远距离的视角素材
And also the required modular in game 以及游戏中有需求的模块
So, for example if you were outside you got the debris effect and stuff like that 例如 如果你在室外 你会得到Debris碎片效果之类的东西
if you were inside you didn't get that 如果你在室内 就没有
..so I needed to provide the sound that fit with VFX and visuals in the game 所以我需要提供适合游戏中视效的声音
So I would just play all the content that I made for this ability 接下来我会播放我为该技能制作的所有内容
with the earthquakey stuff and the Force Repulse explosion 带有地震感的那部分 以及原力反斥的爆炸部分
Let's look that in game again 让我们在游戏中再看看
So 那么
I'll do a quick conclusion on just the sound design part but then I will talk about the system so 我将对声音设计部分做一个快速总结 然后我将讨论系统部分
It's not done yet 所以还没完
Sound design direction I think really helped making the sounds 我认为制定声音设计方向确实有助于音效创作
especially in an early state how the sound designed 特别是在声音设计的前期阶段
Just to find the right path 这样能找到正确的道路
And it feels like it's always good to think and search with an emotional direction in mind 而且你会感觉 在头脑中用情绪化的方向指导思考和资源寻找总是好的
The movie stems and the sound assets that we received from Skywalker sound were extremely helpful 从电影分轨以及我们从Skywalker Sound那里获得的声音资源非常有用
Even though we had to add a lot of sounds and change them 即使我们还是要对它们进行添加和改变
It provided us with our very good guide 它为我们提供了很好的向导
and also with a solid base 还有坚实的基础
You need sound effect recordings to try to find and record what is actually needed for a specific ability 你需要进行音效录音 来试着发现和获得某个特定技能的实际需求
..and tailored for a specific ability ..并为特定的技能量身定制
It's always nicer to record something that sounds Star Wars or sounds correct for the ability 录下一些听起来像是《星球大战》或者听起来适合这个技能的东西总是比较好的
..than trying to shape something into sound sounding correctly ...而不是试图把什么东西塑造成正确的声音
Less is more 少即是多
The more in-world and the more natural the sounds, the better they fit the soundscape felt like 声音越真实 越自然 就越能适合声景
The basic sound design technique that we used made it feel like we were.. 我们使用的声音设计技术很基础 这使得我们感觉就像…
..just an extension of the creators of Star Wars from the beginning ...只是在对《星球大战》的最初设计进行延伸
And the vocalization sound design really helped 而且拟音声音设计真的很有帮助
I will definitely use it in the future as well 以后我一定还会用的
So let's move on to the systems 让我们继续讨论系统
So for this project our general philosophy was to make a master patches 因此 对于这个项目 我们的整体哲学是制作多个通用Patch(模块连线设计)
So we made master patches for explosions, blasters, star fighters, hero abilities 所以我们为爆炸、爆破、星际战斗机、英雄技能都制作了通用Patch
..all the big categories 所有大分类
And 还有
we have a lot of sounds to make for this game 为了这款游戏 我们需要做很多声音
so we needed to create a solid shared systems to be able to handle the large amount of sounds 所以我们需要创建一个可靠的共享系统 以便能够处理大量的声音
And for the last battlefront game we made a lot more unique solutions but we couldn't really do it up this time 在上个Battlefront游戏中 我们做了很多单独的解决方案 但是这次我们没法这么做
And this also helped to keeping consistency 这也有助于保持一致性
So the sounds were more consistent and also between different sound designers 如此依赖 声音更加一致 而且在不同的声音设计者之间也是如此
..since we all have to work on different parts of the game ...因为我们都必须在游戏的不同部分上工作
Also these shared systems 还有 这些共享系统
A lot of sounds they share sounds as well 它们也分享很多的声音素材
..so it wouldn't really make sense to redo that logic for each sound and tweak it every time 所以 为每个声音重做逻辑、重新调整是没有意义的
And this also helped the mixing process because we could do general changes to the whole category of sounds 这也有助于混音过程 因为我们可以对整个声音类别进行全局性的更改
..or otherwise just go in and tweak individual sounds very fast 否则就要对每个声音进行单独调整
And 而且
we had a thing called a sound patch configuration 我们有一个叫做Sound Patch配置的东西
..so each sound had some patch configuration 所以每个声音都有一些配置
..which inherits properties of parameters and values from the master patch 可以从主Patch继承参数和值的属性
But it lets you switch out the sound assets that are used 但是它允许你替换所使用的声音资源
..even the ones that are shared actually 甚至是那些共享的
And you could enable and disabled various layers 还可以启用和禁用各种层
and you could tweak chosen properties from the master patch 你还可以在主Patch中调整选中的属性
but still maintain the foundation of it 但仍然保持着它的基本结构
So this is the master patch for hero abilities 所以这是英雄技能的主Patch
and I would just quickly go through and I'll tell you what this red boxes are 我会快速过一遍 告诉你这些红盒子是什么
and then we will zoom in and go into detail what they could be used for 然后我们将深入并详细讨论它们可以用来做什么
So this is sfx layer, an addon one shot layer for the main force element 这是sfx层 是附加在核心原力元素之上的一个Oneshot层
And this is the main force element, also one shot 这个是核心原力元素 也是Oneshot
And this is the loop sfx layer, an addon layer to the main loop part 这个是Loop SFX层 是主Loop部分的附加层
And this is the main loop part 这是主Loop部分
This box handles reflections.. 这个盒子处理反射
and this ab..(I've said that so many times) 这个ab.(我已经说过很多次了)
A debris element 这是Debris元素
So 那么
Let's zoom in on this box 让我们放大这个盒子
And just a quickly first explanation what it is that you're looking at 首先快速解释一下你看到的是什么
So these boxes are here 这些盒子在这里
We get a bunch of values from the game 我们从游戏中获得了一些参数
triggers and stuff 触发器什么的
We do logic, processing maths to modulate the amplitude and the pitch 我们做逻辑、数学处理来调节音高和振幅
And then we summed it up into the sampler or sound player basically 然后我们把它Sum进采样器/声音播放器
And the math and logic that we have before it 而我们之前做的运算和逻辑
..will make the sampler play the sound in a certain way 会使采样器以某种方式播放声音
So 那么
this layer I generally just added to give some gameplay feedback 这个层 我通常只是用来给出一些游戏反馈
and in this example I used it for the Force Choke ability 在这个例子中 我把它用在原力窒息技能上
..so when Darth Vader catches someone in his grip, then I play an oneshot sound 所以 当达斯·维德达抓住某人时 我就播放一个Oneshot
And it could sound like this 听起来就像这样
Let's move on 让我们继续
the fourth main element 第四个主要元素
And this consists of three samplers 这包括三个采样器
One force close, one force tail, one force distant 一个近距离原力 一个原力尾巴 一个远距离原力
and.. 并且…
The tail one is for the looping abilities if I wanted to play stop sound or a deactivate sound or something like that 尾巴是用在循环型技能上的 用来在当循环停止时播放
And I didn't need to have a distant one that one 这个我就不需要远距离版本的了
because I felt like I could instead just fade out the loop on distance 因为我觉得我只需对Loop做淡出
I will play you an example from Force Lightning that starts with a force close 我将用“原力闪电"给你们作为演示 它是以近距离原力开始的
And then the tail sound, or the stop/deactivate 然后是声音尾巴 即停止音效
And a distant variation 还有一个远距离的变体
Cool 酷
So the loop sfx layer 接下来 Loop SFX层
This was in need because I could just add an element but keep the main loop quite.. as a foundation 需要它是因为 我可以只添加一个元素 但保持主Loop不变 仍作为核心基础
I could also do stuff like fading over time 我也可以做一些事情 比如随着时间淡化
pitching over time, increase the pitch for example 随着时间变调 增加音高 打个比方
which I did for the Force Choke ability as well 我对原力窒息就是这么做的
so if you are caught in a grip 所以如果你被抓住了
I will slowly fade in the loop ..with the bone crackling 我会慢慢淡入Loop…伴随着骨头的碎裂声
And also increase the pitch slightly so that it becomes a bit nastier 并且稍微增加音高 这样声音就会变得更恶心
and it could sound like this 听起来就像这样
And the next layer is the main loop layer 下一层是主Loop层
and it consists of two samplers 它由两个采样器组成
and they could fade in and out of each other seamlessly 它们可以无缝地淡入淡出
..depending if you are running towards the sound or away from the sound 取决于你是朝声音跑还是远离声音
And the example that I replay here is an ability called Dark Aura 我在这里播放的例子是一个叫做黑暗光环的能力
And I will start with a close one 我先放一个近距离的
And then the distant 然后是远距离
Let's move on to the reflections 让我们接着看反射部分
A very important layer because this really makes it sound like it's coming from the world 这是一个非常重要的层 因为这真的使它听起来像是来自游戏世界
..that the sound is being created and reverberating through the environment 声音是在其中被创造出来 并在环境中回响
And these sounds were all shared amongst all the ability sounds 这些声音在所有的技能声音间被分享
but I have the possibility to turn it off if I didn't need it 但是如果我不需要 我可以把它关掉
And we had five different area types for this game 这个游戏我们有五种不同的区域类型
field 战场
forest 森林
canyon/urban 峡谷/城市
indoor small and indoor large 室内小 和 室内大
and I will play two samples for each area type 我将为每个区域类型播放两个示例
The debris 碎片部分
These sounds were also shared amongst all the ability sounds, same as the reflection 这些声音也在所有技能声音间共享 与反射相同
so I can turn it off if I didn't need it 所以我可以关掉它 如果我不需要它
And we had a lot of difference debris sounds for different materials 对于不同的材料 我们有很多不同的碎片声
but I will just play three of them: rock, snow and vegetation 但是我只播放其中的三个：岩石、雪地和植被
Something that was also good with both these layers were that.. 这两层都很好的地方是…
..I could play them for example on the start sound ..我可以在起始音上播放它们
I could also play them on the deactivate or the tail sound 我还可以在尾声中播放它们
so I could use this for different abilities 我可以把它用于不同的技能
So let's move on to the processing or the DSP 那么让我们接着看DSP部分
This box handles the LFE filtering 此框处理LFE滤波
and this was a new approach for us 这对我们来说是个新方法
In previous titles we have always had specific sample playing for the LFE 在以前的作品中 我们一直是把特定的采样输出给LFE播放
but this was a bit more costly 但是这么做会多耗些资源
you needed a specific sampler for the LFE 你需要给LFE一个特定的采样器
And it could also cause phase cancelation and stuff like that 它还可能导致相位抵消 诸如此类
so we tried this approach for this game and I think it worked out really well 所以我们在这个游戏中尝试了这种方法 我认为这个方法效果非常好
We could also for example ADSR the LFE send 例如 我们也可以对LFE的发送量做ADSR包络
so that we didn't rumble too long in the LFE to keep it clean 这样就不会让声音在LFE里轰鸣太久 而让它保持干净
This part is the distant filtering 这部分是距离滤波器
And this just helps gluing the close sound to the distant sound 这有助于将近处的声音与远处的声音贴合在一起
and also then after a while, further distance making the distant sound even more distant 再过一会儿 更远距离的声音听起来会更加遥远
This part is a slapback delay 这部分是Slapback Delay
that we do with the raycasts 我们用射线系统来实现的
so we have full raycasts on the player 玩家身上会有完整的射线系统
and so these raycast calculate the slapback or the delay time 因此这些射线会计算slapback即延迟时间
And this really helps gluing the noisy reflection layer to the more tonal force layer 这很有助于将噪音类的反射层贴合到带音调的原力层上
so I just route the force one shot for example through this 所以我只要将原力的Oneshot路由进来
And this is of course depending on the environment you're standing in, you will get a different slapback in quad 当然 这取决于你所处的环境 在四周得到不同的slapback
And this part is Flanger 这部分是Flanger
and these are mainly used for the looping abilities so.. 这些主要用于循环型技能
angular velocity when you move your character 移动角色时的角速度
I add a slight flanging effect just to make it get some variation 我添加一个轻微Flanger效果只是为了让它有一些变化
and also it sounds a bit more Star Wars so 而且听起来更像是《星球大战》
And these are the outputs 这些就是输出
The LFE outputs in the top 顶部的是LFE输出
the object output placed where the sound is created 在创建声音的地方放置的对象输出
and last, the flat slapback in the *quad 最后 是单独的Slapback输出
And as you see I didn't show you the whole patch actually 正如你看到的 我并没有给你看整个Patch
so there's a big block over here that I need to go through 所以这边有一大块我要讲的
..before we are done ...在我们结束之前
And this is also extremely important 这也是非常重要的
It's the cam shake and the pad rumble or the sound driven cam shake and pad rumble 是镜头震动和手柄震动 具体上是由声音驱动的镜头震动和手柄震动
so I could shake the camera and add pad rumble to my abilities 这样我就可以给我的技能增加镜头和手柄震动
And this really helps making them powerful 这确实有助于使它们变得更有力
And I could also with this one 我也可以用它..
do it on the start sound, on the stop sound 在音头处或音尾处去做
I could also do a slight camera shake throughout the looping ability for example 例如 我还可以在循环型的技能上做轻微的镜头抖动
And just to make it a bit more clear what I meant with sound patch configuration so 更清楚地说明 我说的Sound Patch配置的指的是
we looked at the master patch 所以我们查看了主Patch
And then I take all these values and parameters and shared sounds and stuff 然后我把所有这些值和参数 以及共享的声音等等
And the sound patch configuration inherits those things in this view that you see 在这个视图中 Sound Patch配置继承了这些内容
So the sound patch configuration 这就是Sound Patch配置
And I could configure chosen parameters 我可以配置选择的参数
and these sound patch configuration have their sound slots 这些Sound Patch配置也有自己的声音插槽
so I can just switch out the sounds even the shared assets if I just wanted to change one of those 所以 如果我想改变其中一个 我可以换声音 甚至是共享的声音资产
I could enable and disable various layers 我可以启用和禁用各种层
and this also made it a bit more optimized 这也使它性能上更加优化
And this was also where I could start or stop various layers from each other.. 我也可以从一个层开始或停止到另一个层
..offset from each other I could do that cam shake per sound 制造时差 我可以
And since I can't go into too much detail I would just show you a picture of how it looks 既然我不能讲太详细 我只能给你们展示一下它的样子
And if you are interested in more you can look at the GDC Vault 如果你想了解更多 你可以查看GDC Vault
and Martin Loxton from Frostbite Audio had a presentation about it 来自Frostbite Audio的Martin Loxton做了一个关于它的演示
And the presentation is called Smart Sound Design Using Modularity and Data Inheritance 这个演示叫做“使用模块化和数据继承的智能声音设计”
So I will show you a few clips of how the area types work in the game 所以我将向您展示一些关于游戏中区域类型如何工作的剪辑
and the materials as well 还有材质是如何工作的
And another video with how we handle the distant processing 还有一个视频 介绍我们如何控制距离变量的处理
and also if the sound is created indoor and you're outdoor for example 还有 举例 如果声音是在室内产生的 而你是在室外 这种情况
So let's summarize 让我们总结一下
For this game we had a lot more heros 这款游戏里我们增加了很多英雄
you can see it's more than twice as many 你可以看到 数量是原来的两倍多
And up to make around a hundred and eighty wave files with around five to ten variations 最多要制作大约180个Wav文件 带有5到10个变体
so there was a lot to create 所以要做很多东西
And we wouldn't have been able to do this 我们不可能做到这一点
..without the sound patch configuration and shared systems ..如果没有Sound Patch配置和共享系统
We also focused a lot more on the gameplay feedback 我们还更加关注游戏反馈
and added content for distant sounds for the abilities 为技能添加不同距离的声音变体
and the affected perspective as well as dealing and taking damage 以及受击视角 和伤害输出方/受击方
And we took one further step in making it even more in world 我们又向前迈进了一步 让音效变得更加真实
and with the debris and the reflections and the raycast driven delay 利用Debris、反射和由射线系统驱动的延迟效果
And the mix was a lot less compressed as I said 正如我所说 最后混音的压缩程度要(比之前)小得多
And more focus and a lot more readable for the player 为玩家提供更多的专注力和可读性
and this was a big improvement from Star Wars Battlefront 这也是从前作《星球大战前线》的巨大改进
The first one 也就是第一款《前线》游戏
Questions you have? 你们有什么问题吗？
Thank you 谢谢
(So let me get started. I have a few) （让我开始吧 我有几个）
Nice 好啊
(Let's see) （让我看看）
(Maybe somebody has a question already right?) （也许有人已经有问题了 对吧？）
(Hey. Great presentation and great sounding game. I enjoyed it a lot. Playing) （嘿 很棒的演示 游戏听起来也很棒 我很喜欢玩）
(For the indoor and outdoor are you marking this up manually or you're detecting this procedurely?) （对于室内和室外 你是手动标记还是程序检测？）
Yeah we are marking it manually with areas 我们是手动标记的 对室内外区域来说
(Alright so now I got it) （好的 现在我想起来了）
(You mentioned that there was very little visual feedback for your abilities) （你提到这些技能几乎没什么视觉反馈）
(And Lucas didn't want it to be magical) Yeah （卢卡斯影业不希望它是魔幻类的）是的
(How did you do that with the gameplay guys and you to make sure that it was still readable?) （你是如何和游戏设计师做到的 以确保技能仍然是可辨识的？）
(..because I imagine it was especially hard for the game designers to make sure that..) （…因为我想游戏设计者肯定难以保证..）
(..even though there's nothing visual there that the mechanic was clear) （…即使没有视觉上的特效 技能的机制也能很清楚地表达）
Yeah 是啊
That's a hard question actually 这实际上是个很难的问题
(I'm familiar with it)Yeah （我很熟悉这个问题）是的
I'm not really sure actually 实际上我并不确定
I collaborated with the game designers a lot so.. 我和游戏设计师合作了很多 所以…
sometimes maybe they didn't actually need to have a super visual VFX for anything 有时 他们可能实际上不需要什么特别炫目的视效
because the sound could provide that 因为声音就可以表现这点
and with that sound you could easily know where it came from and stuff like that 而且通过声音 你可以很容易地知道它来自哪个方向 诸如此类
and.. 并且…
I think also Lucas Film probably wanted the vfx and the visuals to be quite sort of down to earth and simple as well in a way 我认为卢卡斯电影公司可能也希望vfx和视觉效果在某种程度上更平实、更简明
Of course there are really sort of magical looking things as well 当然其中也有一些看起来很魔幻的东西
But yeah I think it was just a combination 但我认为这就是一种组合
So if we could do it with just the sound and the animation, it worked 所以 如果我们只需要音效加动画 那它就可用
(Was it something that you gameplay test a lot and you iterate on it *like I do?) Yeah yeah absolutely （这是不是需要你经常在游戏中测试它 并且迭代？我就是这样的）是的 必须的
We created a lot of abilities that we sort of scrapped as well 有很多我们制作的技能音效 都被废弃了
and just have to start over 就必须重新开始
So it was..We replaced things a lot and just finding the right path 是的 我们做了很多替换 只为找到了正确的道路
(And then a question about the actual relationship with the gameplay guys and the visual guys) （然后是关于你和游戏设计师和视觉设计师之间的关系的问题）
(because you mentioned that the sound was driving the camera shake..) （因为你提到镜头抖动是声音驱动的）
(..which from a perspective of making it really work sounds like a great idea) （…如果能让它真正起作用 这听起来是个好主意）
(But it can also imagine that some of the people in the design team or possibly on the visual side..) （但是也可以想象 设计团队中的一些人 或者是视觉方面的人）
(..might have a bit of a problem with the sound team being responsible for the actual camera) （..可能会质疑 由声音团队负责镜头运动）
(So how did you handle that they have some control over it after you guys or did you just..) （那你们是怎么办的 是在你们之后 他们再进行控制 还是..）
No it was just me basically but of course I also showed them what I did and.. 不 基本上只有我一个人 当然我也向他们展示了我做了什么 还有…
And they also do some cam shake actually 他们也会做一些镜头抖动
but this was more for like the actual moment where the sound is the biggest 但我这个更多的是用在 当声音起决定性作用时
But it's very hard with cam shake especially 但是 做镜头抖动尤其困难
because some people don't like it at all 因为有些人压根不喜欢它
And of course it can prevent very fast gameplay 当然 它也可能阻碍快节奏的游戏
but it really does make a difference for the feel of the ability 但它确实会影响玩家对技能的感觉
So we just found the right path and not too much but.. 所以我们找到了正确的路线 不是太多 而是…
but we didn't over do it either, so.. 但是我们也没做得过分 所以……
(Was that only for multiplayer? Or was it also for the single player?) （镜头抖动只是给多人游戏设计的吗？还是对单人游戏也是这样？）
Also for the single player, for sure 对于单人游戏也是如此
(And you mention that..) （你之前提到..）
(..you couldn't have the unique solutions that you could on the previous project) （……你不能像上一个项目那样 (每个技能)有单独的解决方案）
(Was that simply because of the scope increase, and the same amount of time? Or was it..) （这是否只是因为范围扩大 而开发时间不变？或者是…）
Yeah we had a lot less time and we have to create a lot more sounds 是的 这次我们的时间少了很多 而我们还要创造更多的声音
And we tried to make shared system for the first one as well but.. 我们试图为第一作建立共享系统 但是…
..after a while it was like we had a lot of new gameplay features and stuff like that so.. 一段时间后 我们加入了很多新的游戏特性等等
so we just had to make it 我们必须赶上进度
so we made a lot more sound patches with specific logic in them 所以我们做了很多带有特定逻辑的声音Patch
But this time it was like ok so we have at least stuff to base on 但是这次情况还好 因为我们至少有东西做为基础
like that first Star Wars game 也就是第一款《星球大战》游戏
so we could make those systems shared and just improve on those 所以我们可以让这些系统共享 并改进它们
so that we can use them more easily for different kinds of sounds 这样我们就可以更容易地将它们用于不同的声音
(Cool, thanks) （酷 谢谢）
Thank you 谢谢你
(Hi, thank you so much for the talk and like..) （你好 非常感谢你的讲座）
(Great talk, great sonic examples as well) （很棒的演讲 很棒的音效例子）
(I have a curiousity about the close and distant perspective specifically) （我对不同距离上的视角特别感兴趣）
(..in terms of the asset creation) （…我指在资源制作方面）
Yeah 好的
(So this process) （所以这个过程）
(Is it more about finding different sounds to work from?) （是否更多地是要寻找不同的声音来用？）
(..or is it more of a processing thing that you do within your DAW?) （…还是说更多的是在DAW中做的处理工作？）
(..or is it a mix of two or..) （还是两者的结合？）
It's a mix of course 当然是一个结合
but for example the explosions like a real explosion will sound different depending on how far you are from it 但是例如像爆炸声 听起来会根据你离它多远而不同
So I always tried to completely change those sounds for example 所以我总是尽可能完全换掉那些声音
But also tried to just with the pluggins and stuff 但是也尝试着只使用插件等等来处理
Modulate or like a create the sort of a real world behavior for.. 调制或类似于……创建某种真实世界的行为
I mean some of these sounds are quite strange 我的意思是说 这些声音有的是很奇怪的
and there are no recording of these in distance 也不存在不同距离上的真实录音
So I have to make something that worked 所以我必须自己来做
But yeah we do try to change a lot sounds so that they sound distant 但是 我们确实通过替换很多声音 来使它们听起来有距离感
(Thank you) （谢谢）
(For the filtering LFE technique) (对于LFE滤波技术)
(Was it really just using the filter as a crossover..) （是不是真的只是用滤波器作为一个分频器？）
(or was there any additional massaging processing to optimize the effect?) （还是有其他的处理来优化效果？）
It was a crossover 滤波器是作为分频器使用的
So yeah 所以 是的
And then we do some.. 然后我们做一些……
We don't send the full sound into the LFE 我们不会把完整的声音传给LFE
We can just send like a little bump of it so we can do it like the attack 我们只要输入冲撞的那部分 这样我们就可以用LFE做音头(Attack)
We don't have to rumble it all through the subwoofer 我们不必把所有低频部分都走低音炮
(Terrific, thank you) （太好了 谢谢你）
(Hi so I have a.. Thank you for the talk I have a couple of questions) （你好 谢谢你的讲座 我有几个问题）
(Additionally to the different samples for the different perspectives) （另外问下 针对不同视角的不同采样）
(Did you add some real-time processing to the sounds like do you still have..) （你是否会为声音添加一些实时处理？）
(Do you add reverb in real time or is it just like the..) Yeah （你会实时添加混响还是..）
Yeah we do add reverb 是的 我们是要添加混响的
but depending on the area that you're in and then also.. 但是取决于你所在的区域
..the stuff that I showed with the DSP processing 还有我刚展示的用DSP处理的内容
like the filtering and slapbacks and stuff like that 像滤波、Slapback延迟之类的东西
(OK) Yeah （好）是的
(And did you have variations for..) （你们有没有做这方面的变体）
(...like when you're playing a certain hero..) （…比如当你控制某个英雄时..）
(..and when you are against certain hero..) （和当你对抗某个英雄时）
(..or is it exactly the same sounds in both cases?) （……还是两种情况下的声音完全一样？）
What do you mean exactly? 你到底什么意思？
(Like..) （像…）
(Is there a difference in the sounds you play when you are against a certain hero when you play it?) （当你和某个英雄对抗时 声音上有什么不同吗？）
(..or is it exactly the same?) （…还是完全一样？）
It's the same but.. 是一样的 但是……
but when you are in third person like you have the camera you know, you are the character 但是当你身处第三人称时 你就在摄像机的位置 你就是那个角色
Then I play a certain sound or you most often.. 然后我播放某个声音
You get the close perspective all the time of course 当然 你听到的总是最近视角的音效变体
But if your enemy or friendly and the hero runs around 但是如果你的敌人或友军的英雄四处奔跑
you will get a different sound all the time so.. 你会一直听到不同的声音 所以…
(Guess that the perspective makes it work for..) Yeah, exactly （我猜是视角变化让它达到效果）是的 没错
(And so some sounds are really long, with pretty long tail) （所以有些声音很长 尾巴很长）
(..especially like Luke Skywalker you can hear the echo in the distance) （尤其像卢克·天行者 你可以听到远处的回声）
(So what happens to that kind of stuff when you have the full mix) （所以当你全部混音后 这类声音会发生什么）
(..and everybody is like firing and etc.) （如果每个人都在开枪的话）
Yeah I mean you can't do it for every sound but it glues the mix together as well 是的 我的意思是你不能对每一个声音都这样做(长音尾) 但是它也有助于把混音粘合在一起
..and makes it just have a sort of depth to it ..并且使它有某种深度
But 但是
that was a quite specific case that was very long 那是一个相当特殊的情况 (卢克的技能音效)确实很长
And it was a very powerful ability and I wanted it to sound big so 因为这是一个非常强大的技能 我希望它听起来很大
then I made it big 所以我就把它做得很大
(Ha ha ha ha ha) But we do sometimes as well （哈哈哈哈哈）但是我们有时也这样做
..like if you have a tail in the sound we can make the release time shorter 如果你的声音有长尾巴 我们会缩短Release时间
..or like you make the tail shorter for example when you're indoors ...或者把音尾变短 比方说当你在室内时
so that you can add the indoor reflections on that instead of having the thunder tail you know 这样你就可以添加室内反射 替换掉之前的音尾
(But is it something that you would drop? For example if you have too many person firing and some explosions) （那么这类音效你会完全丢弃吗？例如 当有太多的开火和爆炸时）
(..so maybe you don't want to hear the tail that time?) （…那么也许你就不想听到音尾了？）
Yeah I mean our HDR system does that for us basically 是的 我的意思是 基本上我们的HDR系统会为我们这样做
and also some scoping 还有一些距离上的动态分配
(Ok and last one) （好的 最后一问）
(So you work in your custom audio engine one hundred percent in it or do you..? )Yeah （所以你是百分之百使用自定义音频引擎吗？还是..）是的
(Ok so there is no Wwise or anything..) No （好的 所以没有用Wwise或其他什么中间件）没用
(OK thank you) Thank you （好的 谢谢）谢谢
(Hello. Thank you very much for the talk) （你好 非常感谢你的讲座)
(I'm wondering because there're so many, you know, very natural locations （我想知道 因为游戏里有很多 你知道的 非常自然的场景）
(..like you're on Hoth and there's the snow covered canyon) （就像你在霍斯星球 那里有雪覆盖的峡谷）
(or you're on Endor and there's all this foliage) （或者你在恩多星球 那里有很多树叶）
(What kind of recording was done to make those locations seem like there are real) （为了让那些地方看起来像是真的 你做了什么样的录音）
(Was there a lot of like, field recording done or..?) （是不是有很多实地录音？）
Yeah absolutely. A lot 是的 必须的 有很多
I always have my recorder with me 我总是随身带着录音机
And I know that Ben Minto he went to Iceland for example recorded the real mud pits for the first game 比方说 我知道本·明托去了冰岛 他录制了第一作里的泥坑
and also snow and stuff for Hoth 还有雪什么的 用于霍斯星球
So we tried to go to the real locations 所以我们试着去现实里的地方
We also went to the Redwood Forest 我们还去了红杉林
But we also tried to base it on what Ben Burtt and these other fantastic sound designers made 但我们也试图以本·伯特和其他出色的声音设计师的作品为基础
So we take their recordings and then we might change them you know 所以我们拿来他们的录音 然后我们可以改变它们 你懂的
..and put in new content so that it sounds a bit fresher maybe ...并加入新的内容 这样听起来可能更有新鲜感
But yeah a lot of field recording 但是没错 很多现场录音
(Cool thank you) （太好了 谢谢）
(Two more questions) （还有两个问题）
(First what was your memory budget?) （首先 你的内存预算是多少？）
(And how did you meet that using the swapping out sounds?) （以及 你是怎么切换声音来满足这个预算的？）
(..like how dynamic was the loading and unloading?) （…装载和卸载的动态性有多高？）
So the memory budget. I can't remember 内存预算 我不记得了
It was big enough 反正足够大了
(Ha ha ha ha ha ha) （哈哈哈哈哈哈）
(And second question how big was your sound team?) （第二个问题是你的声音团队有多大？）
(like both sound designers, audio programmers) （算上声音设计师和音频程序员）
(seems like maybe the sound designers here were doing a lot of like programming ) （好像这里的声音设计人员也做了很多编程）
Yeah we were.. 是的 我们是…
I think we picked like twelve people from DICE 我想我们从DICE中挑了十二个人
but then we collaborated with Motive and Criterion as well 但是之后我们也与Motive和Criterion合作
And so I'm thinking total.. Rosa how many were we? Like twenty five-ish? 所以我想总共有.. 罗莎 我们有多少人？25个？
Yeah 是的
Rosa is from Criterion (Hi~) Rosa来自Criterion（嗨~）
(Cool thank you) （太好了 谢谢）
(Hey excellent sounding stuff) （嘿 游戏很好听）
(I had a question about the dynamic mix) （我有一个关于动态混音的问题）
(I didn't see any nodes in your master patch) （在你的主Patch里 我没有看到任何*动态混音的*节点）
(It's sort of alluded to the HDR system or the mixing and I would imagine) （好像是在HDR系统或混音里有暗指 我想）
(..with all the force powers in the low end, the clutter of the mix has some challenges) （…鉴于所有的原力都有低频内容 整体的混音会有一些挑战）
(So how did you address that kind of dynamically in the mix) （那么 你如何在混音中动态地处理这类问题）
Yeah 是啊
So we do it with the HDR 所以 我们是用HDR来做
We set the loudness or the priority of it in the output 我们在输出中设置响度或优先级
So there are no nodes for it basically 所以*Patch里*基本上没有节点
We definitely need the HDR to figure this out 我们绝对需要通过HDR来完成这一点
And also in the game mode heroes versus villains, there are a lot of sounds playing all the time 而且在游戏里 英雄对反派 总是有很多声音在播放
And they are of course quite huge as well because you are all heroes 这些声音当然也都相当庞大 因为他们都是英雄
So yeah it was a tough one 所以 是的 这是一个难题
(Gotcha) But it helped a lot with the HDR system that I can tell you （明白了）但是我只能说 HDR系统对此帮助很大
(Thanks) （谢谢）
Hey 嘿
(So for every power how many baked variations of every sounds would you make for one perspective) （所以 对于每种技能的每个视角 你会做几个渲染好的声音变体）
I think.. Yeah 我想.. 是啊
As I said in the conclusion I think I made around five to ten variations of every sound 正如我在结论中所说 我想我对每个声音都做了五到十种变化
But then of course there were cases where I had a lot more sounds 但是当然也有一些情况 我会做更多的声音
Or I just found a lot more variations that I could create so.. 或者我就是发现了更多可以做的变体
Some sounds probably have.. I don't know.. twenty-five even 有些声音甚至可能有.. 我不知道 ..25个
So it could vary a lot 因此 这个数字可能的变化很大
but that's sort of that ballpark how many variations so that you don't get much repetition 但是大概就这个范围 这样就不会有太多重复感
(And as for one power how much time would you spend making just one power, a day, two days?) （那你会花多少时间做一种技能？ 一天 两天？）
I think like a day or something 我想大概一天
Sometimes I have to redo and of course I iterated on it but.. 有时我必须重做一遍 当然 我迭代了一遍 但是…
Yeah I would say maybe a day (Alright) 是的 可以说大概要一天（好的）
Or half a day sometimes when it was quick 或者有时快了 就半天
And a lot longer sometimes but yeah 但有时会长很多 但..
(Reverb related questions) (与混响有关的问题)
(So for reverb are you guys programmatically sorta generating reverb zones or you're hand tuning those?) （所以对于混响 你们是在程序上生成混响区域 还是手动调的？）
And.. 并且…
(How many reverbs are you running?) （你们同时运行了多少混响？）
We are hand tuning all the areas 所有的区域都是我们手工调整的
..and then we can set an IR, a reverb to that specific area 然后我们可以设置一个IR混响 到某个特定区域
And we can.. I think we can have three IRs playing at the same time 我们可以…我想我们可以同时开三个IR混响
..but that's of course extremely costly (Right) 但那当然非常耗资源（对）
And also they can't be too long because that.. 而且混响时间也不能太长 因为…
I did that once and I had a crash and people were angry 我曾经这样做过 然后就崩溃了 大家很生气
It sounded very good but 但听起来很不错
Yeah, thank you so much for coming 好的 非常感谢各位