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[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 2,0:00:01.96,0:00:07.10,Default,,0,0,0,,{\fad(200,200)}Hi everyone, and welcome to the Mass Effect Andromeda Audio Retrospective\N{\fad(200,200)\rDefault-L2}大家好 欢迎来到《质量效应：仙女座》音效回顾展{\r}
Dialogue: 2,0:00:07.15,0:00:11.35,Default,,0,0,0,,{\fad(200,200)}Just like to remind everybody to put their phones on silence  \N{\fad(200,200)\rDefault-L2}提醒大家手机保持静音{\r}
Dialogue: 2,0:00:11.50,0:00:14.92,Default,,0,0,0,,{\fad(200,200)}and there should be time after this for questions but if \N{\fad(200,200)\rDefault-L2}之后还有时间问问题{\r}
Dialogue: 2,0:00:15.19,0:00:17.90,Default,,0,0,0,,{\fad(200,200)}we run out of time we can go to the other side\N{\fad(200,200)\rDefault-L2}但是如果我们没时间了 我们可以去另一边{\r}
Dialogue: 2,0:00:18.74,0:00:20.98,Default,,0,0,0,,{\fad(200,200)}So today\N{\fad(200,200)\rDefault-L2}所以今天{\r}
Dialogue: 2,0:00:21.40,0:00:25.25,Default,,0,0,0,,{\fad(200,200)}I'm gonna walk you guys through some of the cool stuff we did for Mass Effect Andromeda, audio-wise\N{\fad(200,200)\rDefault-L2}我要带你们看看我们为《质量效应：仙女座》所做的一些很酷的事情{\r}
Dialogue: 2,0:00:25.80,0:00:27.72,Default,,0,0,0,,{\fad(200,200)}We'll talk about team structure\N{\fad(200,200)\rDefault-L2}我们将讨论团队结构{\r}
Dialogue: 2,0:00:27.72,0:00:28.84,Default,,0,0,0,,{\fad(200,200)}final audio numbers\N{\fad(200,200)\rDefault-L2}最终音频量{\r}
Dialogue: 2,0:00:28.85,0:00:30.31,Default,,0,0,0,,{\fad(200,200)}creating an audio vision\N{\fad(200,200)\rDefault-L2}音频视觉的创造{\r}
Dialogue: 2,0:00:30.31,0:00:32.18,Default,,0,0,0,,{\fad(200,200)}source creation, weapons and combat\N{\fad(200,200)\rDefault-L2}原始素材的创造 包括武器和战斗{\r}
Dialogue: 2,0:00:32.18,0:00:36.38,Default,,0,0,0,,{\fad(200,200)}foley and breathing systems and ambient systems and mixing \N{\fad(200,200)\rDefault-L2}Foley、呼吸系统、环境系统和混音{\r}
Dialogue: 2,0:00:37.12,0:00:39.22,Default,,0,0,0,,{\fad(200,200)}and then I'm gonna show a slide on how..\N{\fad(200,200)\rDefault-L2}然后我将展示一张幻灯片{\r}
Dialogue: 2,0:00:39.71,0:00:42.63,Default,,0,0,0,,{\fad(200,200)}we're using some of those systems in Anthem \N{\fad(200,200)\rDefault-L2}演示我们如何在《Anthem》中使用了这些系统{\r}
Dialogue: 2,0:00:43.85,0:00:44.92,Default,,0,0,0,,{\fad(200,200)}so\N{\fad(200,200)\rDefault-L2}那么{\r}
Dialogue: 2,0:00:45.50,0:00:46.94,Default,,0,0,0,,{\fad(200,200)}Click here\N{\fad(200,200)\rDefault-L2}点击这里{\r}
Dialogue: 2,0:00:47.28,0:00:49.48,Default,,0,0,0,,{\fad(200,200)}Ahh there we go \N{\fad(200,200)\rDefault-L2}啊 好了{\r}
Dialogue: 2,0:00:49.48,0:00:53.55,Default,,0,0,0,,{\fad(200,200)}Who am I? I am Michael Kent. I am the creative audio director at Bioware \N{\fad(200,200)\rDefault-L2}我是谁？我是迈克尔·肯特 我是BioWare的创意音频总监{\r}
Dialogue: 2,0:00:53.55,0:00:57.68,Default,,0,0,0,,{\fad(200,200)}I have fourteen years of experiences making games mainly with Bioware \N{\fad(200,200)\rDefault-L2}我有十四年的制作游戏的经验 主要是在Bioware{\r}
Dialogue: 2,0:00:57.68,0:00:59.07,Default,,0,0,0,,{\fad(200,200)}My first game is Jade Empire \N{\fad(200,200)\rDefault-L2}我的第一款游戏是《Jade Empire》{\r}
Dialogue: 2,0:00:59.07,0:01:04.65,Default,,0,0,0,,{\fad(200,200)}I worked on all four Mass Effect titles and all three dragon age titles and am currently on Anthem \N{\fad(200,200)\rDefault-L2}我曾在所有四款《质量效应》和所有三款《龙腾世纪》上工作 目前正在做《Anthem》{\r}
Dialogue: 2,0:01:05.30,0:01:07.40,Default,,0,0,0,,{\fad(200,200)}I have twenty years of audio experience\N{\fad(200,200)\rDefault-L2}我有二十年的音频经验{\r}
Dialogue: 2,0:01:08.61,0:01:13.25,Default,,0,0,0,,{\fad(200,200)}I started studying digital music technology and systhesis in Vancouver in the late nineties \N{\fad(200,200)\rDefault-L2}90年代末 我开始在温哥华学习数字音乐技术和音频合成{\r}
Dialogue: 2,0:01:13.35,0:01:20.86,Default,,0,0,0,,{\fad(200,200)}That led me to.. I guess it just electronic music production and then that led me to \N{\fad(200,200)\rDefault-L2}这让我…开始了电子音乐制作{\r}
Dialogue: 2,0:01:21.11,0:01:25.65,Default,,0,0,0,,{\fad(200,200)}Vancouver Film School where I studied post production and then ended up in games\N{\fad(200,200)\rDefault-L2}而这又让我在温哥华电影学院学习后期制作 最后进入了游戏行业{\r}
Dialogue: 2,0:01:25.83,0:01:28.97,Default,,0,0,0,,{\fad(200,200)}I have three weeks of Power Point experience\N{\fad(200,200)\rDefault-L2}我有三周的PPT经验{\r}
Dialogue: 2,0:01:30.57,0:01:34.51,Default,,0,0,0,,{\fad(200,200)}I've managed my fourteen years to avoid Power Point like the plague\N{\fad(200,200)\rDefault-L2}我十四年来一直在努力像避开瘟疫一般地避开PPT{\r}
Dialogue: 2,0:01:34.51,0:01:40.12,Default,,0,0,0,,{\fad(200,200)}This is one of my few powerpoints so hopefully this goes well and I can do it again \N{\fad(200,200)\rDefault-L2}这是我为数不多的PPT之一 所以希望这一切顺利 我可以再做一次 {\r}
Dialogue: 2,0:01:40.25,0:01:41.29,Default,,0,0,0,,{\fad(200,200)}So\N{\fad(200,200)\rDefault-L2}那么{\r}
Dialogue: 2,0:01:41.29,0:01:43.92,Default,,0,0,0,,{\fad(200,200)}This is our team. This is the whole team at Bioware\N{\fad(200,200)\rDefault-L2}这是我们的团队 这是Bioware的整个团队{\r}
Dialogue: 2,0:01:44.41,0:01:50.50,Default,,0,0,0,,{\fad(200,200)}So from Mass Effect we had fourteen audio designers and one programmer and one dedicated QA\N{\fad(200,200)\rDefault-L2}对于《质量效应》 我们有14个音频设计师和一个程序员 以及一个专门的QA{\r}
Dialogue: 2,0:01:51.19,0:01:53.36,Default,,0,0,0,,{\fad(200,200)}Obviously there's more people here\N{\fad(200,200)\rDefault-L2}很明显这里不止这么多人{\r}
Dialogue: 2,0:01:53.48,0:01:56.83,Default,,0,0,0,,{\fad(200,200)}Sony music group is here as well \N{\fad(200,200)\rDefault-L2}索尼音乐小组也在这里{\r}
Dialogue: 2,0:01:56.83,0:02:02.09,Default,,0,0,0,,{\fad(200,200)}because we use them on Andromeda to help us work with the composer and also \N{\fad(200,200)\rDefault-L2}因为我们在《仙女座》找他们来帮助我们和作曲家合作{\r}
Dialogue: 2,0:02:02.09,0:02:04.39,Default,,0,0,0,,{\fad(200,200)}integrate the music into our game\N{\fad(200,200)\rDefault-L2}把音乐植入我们的游戏{\r}
Dialogue: 2,0:02:05.98,0:02:06.86,Default,,0,0,0,,{\fad(200,200)}Yeah so\N{\fad(200,200)\rDefault-L2}那么{\r}
Dialogue: 2,0:02:07.70,0:02:09.45,Default,,0,0,0,,{\fad(200,200)}This is our team structure\N{\fad(200,200)\rDefault-L2}这是我们的团队结构{\r}
Dialogue: 2,0:02:10.27,0:02:15.43,Default,,0,0,0,,{\fad(200,200)}We have the idea of "Product Owners" so we have people in charge of the different audio *foot groups\N{\fad(200,200)\rDefault-L2}我们有“产品所有者”的概念 因此我们有专人负责不同的音频分组{\r}
Dialogue: 2,0:02:15.47,0:02:16.77,Default,,0,0,0,,{\fad(200,200)}which are in the middle\N{\fad(200,200)\rDefault-L2}在中间列出{\r}
Dialogue: 2,0:02:16.89,0:02:23.63,Default,,0,0,0,,{\fad(200,200)}then we have team members that work for those product owners with the foot groups \N{\fad(200,200)\rDefault-L2}然后我们有团队成员 为分组的产品所有者工作{\r}
Dialogue: 2,0:02:23.63,0:02:25.18,Default,,0,0,0,,{\fad(200,200)}and then I would provide audio direction \N{\fad(200,200)\rDefault-L2}然后我会提供音频方向{\r}
Dialogue: 2,0:02:25.18,0:02:28.15,Default,,0,0,0,,{\fad(200,200)}and then we had a producer that made sure everything was on time\N{\fad(200,200)\rDefault-L2}然后我们有一个Producer 确保一切都准时完成{\r}
Dialogue: 2,0:02:30.08,0:02:35.95,Default,,0,0,0,,{\fad(200,200)}So for let's look at some final numbers before we jump into some more heavy system stuff\N{\fad(200,200)\rDefault-L2}因此 让我们先看一下最终的数字 然后再进入更复杂的系统中{\r}
Dialogue: 2,0:02:37.58,0:02:41.42,Default,,0,0,0,,{\fad(200,200)}We had 23200 raw sound assets in the game\N{\fad(200,200)\rDefault-L2}我们在游戏中有23200个原始声音资产{\r}
Dialogue: 2,0:02:42.47,0:02:46.90,Default,,0,0,0,,{\fad(200,200)}23300 patches/patch configurations and mixers \N{\fad(200,200)\rDefault-L2}23300个patch/patch配置/mixer{\r}
Dialogue: 2,0:02:48.60,0:02:51.40,Default,,0,0,0,,{\fad(200,200)}31 levels varying in size and complexity\N{\fad(200,200)\rDefault-L2}31个关卡 其尺度和复杂性各不相同{\r}
Dialogue: 2,0:02:51.77,0:02:57.45,Default,,0,0,0,,{\fad(200,200)}69250 lines of dialogue that's just English times that by three for localization\N{\fad(200,200)\rDefault-L2}69250行对话 这只是英语 对于本地化要乘3{\r}
Dialogue: 2,0:02:57.89,0:02:59.61,Default,,0,0,0,,{\fad(200,200)}we also..\N{\fad(200,200)\rDefault-L2}我们也…{\r}
Dialogue: 2,0:02:59.72,0:03:02.60,Default,,0,0,0,,{\fad(200,200)}and that doesn't include combat barks in all that stuff\N{\fad(200,200)\rDefault-L2}这还不包括战斗喊话{\r}
Dialogue: 2,0:03:04.02,0:03:05.47,Default,,0,0,0,,{\fad(200,200)}1300 characters\N{\fad(200,200)\rDefault-L2}1300个字符{\r}
Dialogue: 2,0:03:05.76,0:03:07.44,Default,,0,0,0,,{\fad(200,200)}500 dialogue sessions\N{\fad(200,200)\rDefault-L2}500个对话Session{\r}
Dialogue: 2,0:03:07.65,0:03:09.78,Default,,0,0,0,,{\fad(200,200)}543 minutes of music\N{\fad(200,200)\rDefault-L2}543分钟的音乐{\r}
Dialogue: 2,0:03:10.62,0:03:12.75,Default,,0,0,0,,{\fad(200,200)}So how do we handle games this size?\N{\fad(200,200)\rDefault-L2}那么 我们如何掌控这么大的游戏呢？{\r}
Dialogue: 2,0:03:12.91,0:03:14.25,Default,,0,0,0,,{\fad(200,200)}Where do we start?\N{\fad(200,200)\rDefault-L2}我们从哪里开始？{\r}
Dialogue: 2,0:03:15.45,0:03:19.51,Default,,0,0,0,,{\fad(200,200)}Well we start by hashing out a vision for the game, an audio vision for the game  \N{\fad(200,200)\rDefault-L2}好吧 我们从对游戏的音频视觉进行分析开始{\r}
Dialogue: 2,0:03:19.51,0:03:21.48,Default,,0,0,0,,{\fad(200,200)}we break down what we want to fix from the last games\N{\fad(200,200)\rDefault-L2}我们把前几作要解决的问题做了分解{\r}
Dialogue: 2,0:03:21.48,0:03:23.39,Default,,0,0,0,,{\fad(200,200)}and what we want to add to the new experience\N{\fad(200,200)\rDefault-L2}以及我们想为新的体验增添什么{\r}
Dialogue: 2,0:03:23.39,0:03:25.31,Default,,0,0,0,,{\fad(200,200)}Last games being the trilogy \N{\fad(200,200)\rDefault-L2}“前几作”是指三部曲{\r}
Dialogue: 2,0:03:25.31,0:03:29.80,Default,,0,0,0,,{\fad(200,200)}as well as Dragon Age Inquisition which is our first game in the Frostbite engine\N{\fad(200,200)\rDefault-L2}以及《龙腾世纪》 这是我们在寒霜引擎中的第一个游戏{\r}
Dialogue: 2,0:03:31.21,0:03:32.30,Default,,0,0,0,,{\fad(200,200)}So\N{\fad(200,200)\rDefault-L2}所以{\r}
Dialogue: 2,0:03:32.33,0:03:33.68,Default,,0,0,0,,{\fad(200,200)}we look at our past games\N{\fad(200,200)\rDefault-L2}我们看回过去的游戏{\r}
Dialogue: 2,0:03:33.79,0:03:37.92,Default,,0,0,0,,{\fad(200,200)}and set goals based on things we wanted to achieve and things we felt short on\N{\fad(200,200)\rDefault-L2}根据我们想要达到的 和 我们觉得缺少的来制定目标{\r}
Dialogue: 2,0:03:38.34,0:03:42.08,Default,,0,0,0,,{\fad(200,200)}We sit down with senior leadership of the project and work out how we want the game to feel\N{\fad(200,200)\rDefault-L2}我们与项目的高级领导坐下来 研究我们想要的游戏的感觉{\r}
Dialogue: 2,0:03:42.32,0:03:48.35,Default,,0,0,0,,{\fad(200,200)}We also port over systems that worked and improve on those systems from the last game \N{\fad(200,200)\rDefault-L2}我们还引入了前作中有用的系统 并对其进行了改进{\r}
Dialogue: 2,0:03:48.47,0:03:51.10,Default,,0,0,0,,{\fad(200,200)}So some of the goals we came up with, I'll just show you\N{\fad(200,200)\rDefault-L2}所以我们提出的一些目标 我会展示给你{\r}
Dialogue: 2,0:03:51.22,0:03:55.97,Default,,0,0,0,,{\fad(200,200)}like we wanted to respect the Mass Effect vision from the previous games  \N{\fad(200,200)\rDefault-L2}我们想尊重《质量效应》前作的理念{\r}
Dialogue: 2,0:03:55.97,0:03:58.10,Default,,0,0,0,,{\fad(200,200)}and update it to 2017\N{\fad(200,200)\rDefault-L2}并将其更新到2017年{\r}
Dialogue: 2,0:03:58.20,0:04:02.10,Default,,0,0,0,,{\fad(200,200)}this is very important we want this game to feel like Mass Effect\N{\fad(200,200)\rDefault-L2}这是非常重要的 我们希望新作的感觉就像《质量效应》{\r}
Dialogue: 2,0:04:02.57,0:04:04.12,Default,,0,0,0,,{\fad(200,200)}because it is a Mass Effect game \N{\fad(200,200)\rDefault-L2}因为这就是一作《质量效应》游戏{\r}
Dialogue: 2,0:04:04.12,0:04:07.36,Default,,0,0,0,,{\fad(200,200)}but we want to be brought up to 2017\N{\fad(200,200)\rDefault-L2}但是我们想带它到2017年{\r}
Dialogue: 2,0:04:07.55,0:04:14.30,Default,,0,0,0,,{\fad(200,200)}Grounded sonic experience always ensure that the players always immerse in the Mass Effect world \N{\fad(200,200)\rDefault-L2}扎实的音效体验 我们要确保玩家始终沉浸在质量效应的世界中{\r}
Dialogue: 2,0:04:14.75,0:04:17.00,Default,,0,0,0,,{\fad(200,200)}We did a lot of stuff here with..\N{\fad(200,200)\rDefault-L2}我们在这里做了很多事情……{\r}
Dialogue: 2,0:04:17.35,0:04:21.44,Default,,0,0,0,,{\fad(200,200)}switching out content depending on where you were in the world\N{\fad(200,200)\rDefault-L2}根据你在世界上的位置切换音频内容{\r}
Dialogue: 2,0:04:21.44,0:04:23.07,Default,,0,0,0,,{\fad(200,200)}and this is like weapon contents\N{\fad(200,200)\rDefault-L2}比如 武器内容{\r}
Dialogue: 2,0:04:23.22,0:04:29.50,Default,,0,0,0,,{\fad(200,200)}layers of weapons to create I guess fake IR kind of things \N{\fad(200,200)\rDefault-L2}叠层的武器素材 来制造一种“伪IR混响”的效果{\r}
Dialogue: 2,0:04:29.50,0:04:31.62,Default,,0,0,0,,{\fad(200,200)}and that would switch depending on where you were \N{\fad(200,200)\rDefault-L2}内容的切换取决于你在哪里{\r}
Dialogue: 2,0:04:32.17,0:04:38.25,Default,,0,0,0,,{\fad(200,200)}Fuller sharpened mix. The last three Mass Effect games I found were too dynamic for the living room \N{\fad(200,200)\rDefault-L2}更饱满、更锐利的混音 我发现前三作《质量效应》对客厅来说 动态太高了{\r}
Dialogue: 2,0:04:38.25,0:04:39.62,Default,,0,0,0,,{\fad(200,200)}we would lose a lot of stuff  \N{\fad(200,200)\rDefault-L2}我们会损失很多东西{\r}
Dialogue: 2,0:04:39.62,0:04:42.90,Default,,0,0,0,,{\fad(200,200)}like you get it home, you'd lose a lot of the ambience and stuff \N{\fad(200,200)\rDefault-L2}如果你在家玩 你会失去很多氛围感{\r}
Dialogue: 2,0:04:43.26,0:04:44.71,Default,,0,0,0,,{\fad(200,200)}when you're playing it in your living room \N{\fad(200,200)\rDefault-L2}当你在客厅玩的时候{\r}
Dialogue: 2,0:04:44.71,0:04:47.87,Default,,0,0,0,,{\fad(200,200)}so what we wanted to do is bring the dynamic a little closer together\N{\fad(200,200)\rDefault-L2}所以我们要做的是 让动态更集中一点{\r}
Dialogue: 2,0:04:48.19,0:04:52.02,Default,,0,0,0,,{\fad(200,200)}and get a nice really punchy mix for this game \N{\fad(200,200)\rDefault-L2}为这款游戏做一个很带感的混音{\r}
Dialogue: 2,0:04:53.49,0:04:58.66,Default,,0,0,0,,{\fad(200,200)}Again, avoidance is we don't want distracting noisy mix, we don't want wall to wall sound all the time \N{\fad(200,200)\rDefault-L2}当然 我们要避免让人分心的嘈杂混音 我们不想要连续不断(Wall to Wall)的背景声{\r}
Dialogue: 2,0:04:58.66,0:05:02.46,Default,,0,0,0,,{\fad(200,200)}we still want dynamics but just a little better for the living room \N{\fad(200,200)\rDefault-L2}我们仍然要动态 但是要对客厅做优化{\r}
Dialogue: 2,0:05:02.84,0:05:08.02,Default,,0,0,0,,{\fad(200,200)}Unfocused sound design. Nothing should be in there that doesn't really represent Mass Effect\N{\fad(200,200)\rDefault-L2}（避免之2：）失焦的声音设计 不能代表《质量效应》的声音不该在游戏里出现{\r}
Dialogue: 2,0:05:08.22,0:05:12.45,Default,,0,0,0,,{\fad(200,200)}and static frequencies in ear fatigue this is a big one for us\N{\fad(200,200)\rDefault-L2}（避免之3：）固定频率造成的听觉疲劳 这对我们来说是个大问题{\r}
Dialogue: 2,0:05:13.12,0:05:18.30,Default,,0,0,0,,{\fad(200,200)}Early on we set out to design systems to randomize frequency contents \N{\fad(200,200)\rDefault-L2}在早期 我们打算设计专门的系统来使频率内容随机化{\r}
Dialogue: 2,0:05:18.30,0:05:21.84,Default,,0,0,0,,{\fad(200,200)}as well as we built a lot of assets with a lot more movement \N{\fad(200,200)\rDefault-L2}同时 我们创建了大量的、有变化的声音资产{\r}
Dialogue: 2,0:05:22.85,0:05:24.84,Default,,0,0,0,,{\fad(200,200)}just so\N{\fad(200,200)\rDefault-L2}以使..{\r}
Dialogue: 2,0:05:25.03,0:05:27.75,Default,,0,0,0,,{\fad(200,200)}yeah just not constant frequencies all the time\N{\fad(200,200)\rDefault-L2}不是一直都是固定的频段{\r}
Dialogue: 2,0:05:28.19,0:05:32.72,Default,,0,0,0,,{\fad(200,200)}so we wanted to make sure that your ears weren't getting fatigued \N{\fad(200,200)\rDefault-L2}所以我们想确保你的耳朵没有进入听觉疲劳{\r}
Dialogue: 2,0:05:33.60,0:05:35.70,Default,,0,0,0,,{\fad(200,200)}So source creation\N{\fad(200,200)\rDefault-L2}接下来 源素材创建{\r}
Dialogue: 2,0:05:36.23,0:05:39.74,Default,,0,0,0,,{\fad(200,200)}once we figured out a clear idea of what we want to achieve with the game \N{\fad(200,200)\rDefault-L2}一旦我们清楚地知道我们想让游戏达到什么效果{\r}
Dialogue: 2,0:05:39.88,0:05:43.53,Default,,0,0,0,,{\fad(200,200)}We then set out and build tools and create source for the game \N{\fad(200,200)\rDefault-L2}然后我们就开始构建工具并为游戏创建源素材{\r}
Dialogue: 2,0:05:43.88,0:05:47.02,Default,,0,0,0,,{\fad(200,200)}This is an integral part to the process of Bioware \N{\fad(200,200)\rDefault-L2}这是Bioware出品过程中不可或缺的一部分{\r}
Dialogue: 2,0:05:47.49,0:05:55.37,Default,,0,0,0,,{\fad(200,200)}and the more stuff you built upfront like in regards of source and tools, the easier it is to finish the game \N{\fad(200,200)\rDefault-L2}而且你预先构建的源素材和工具越多 完成游戏的制作就越容易{\r}
Dialogue: 2,0:05:56.35,0:06:01.32,Default,,0,0,0,,{\fad(200,200)}It's also ensures consistency and continuity between such a large sound design team \N{\fad(200,200)\rDefault-L2}它还确保了如此庞大的声音设计团队之间的一致性和连续性{\r}
Dialogue: 2,0:06:01.45,0:06:06.47,Default,,0,0,0,,{\fad(200,200)}So for this game we did fresh weapons shoot with Warner brothers and DICE\N{\fad(200,200)\rDefault-L2}所以为了这款游戏 我们与华纳和DICE合作进行了全新的武器录音{\r}
Dialogue: 2,0:06:07.19,0:06:10.08,Default,,0,0,0,,{\fad(200,200)}whole bunch of field and foley recordings\N{\fad(200,200)\rDefault-L2}一大堆的现场和Foley录音{\r}
Dialogue: 2,0:06:10.08,0:06:14.97,Default,,0,0,0,,{\fad(200,200)}a lot of synthesis: wavetable, granular, modular synthesis palettes \N{\fad(200,200)\rDefault-L2}大量的声音合成：波表、粒子、模块化合成器等等{\r}
Dialogue: 2,0:06:15.17,0:06:21.87,Default,,0,0,0,,{\fad(200,200)}In the end we had a source libraries about 670GB of new and old Mass Effect contents \N{\fad(200,200)\rDefault-L2}最后我们有了一个大约670GB的源素材库 包括新的和旧的《质量效应》内容{\r}
Dialogue: 2,0:06:22.75,0:06:25.05,Default,,0,0,0,,{\fad(200,200)}Yeah it was a big library, I had to manage it\N{\fad(200,200)\rDefault-L2}是的 那是一个很大的库 我必须要管理它{\r}
Dialogue: 2,0:06:25.87,0:06:34.00,Default,,0,0,0,,{\fad(200,200)}we ended up like yeah I just had to have a great folder structure so that everybody could find things easy \N{\fad(200,200)\rDefault-L2}我们最后就是 我做了一个很庞大的文件夹结构 这样每个人都能轻松找到东西{\r}
Dialogue: 2,0:06:34.27,0:06:39.67,Default,,0,0,0,,{\fad(200,200)}But what I'm gonna show you next is a video so I have a video and I'm going to show you \N{\fad(200,200)\rDefault-L2}但是我接下来要给你看的是一个视频{\r}
Dialogue: 2,0:06:41.02,0:06:45.21,Default,,0,0,0,,{\fad(200,200)}three examples of source and then their implementation into game\N{\fad(200,200)\rDefault-L2}展示源素材的三个例子 及其在游戏中的应用{\r}
Dialogue: 2,0:06:45.27,0:06:52.67,Default,,0,0,0,,{\fad(200,200)}So we have an electrostatic recording, it's processed then used in a cutscene\N{\fad(200,200)\rDefault-L2}所以我们有一个静电录音 经过处理的 然后用在一个过场动画中{\r}
Dialogue: 2,0:06:52.67,0:06:57.20,Default,,0,0,0,,{\fad(200,200)}and then I have two examples of modular synthesis and its use in the game\N{\fad(200,200)\rDefault-L2}然后我有两个模块化合成器的例子 以及它在游戏中的应用{\r}
Dialogue: 2,0:09:53.85,0:09:59.40,Default,,0,0,0,,{\fad(200,200)}For Mass Effect Andromeda, we separated source into four different groups \N{\fad(200,200)\rDefault-L2}对于《质量效应：仙女座》 我们将源素材分成四个不同的组{\r}
Dialogue: 2,0:09:59.82,0:10:02.54,Default,,0,0,0,,{\fad(200,200)}Milky way, which is our known quantity \N{\fad(200,200)\rDefault-L2}银河系 这是我们已知的星系{\r}
Dialogue: 2,0:10:02.54,0:10:06.85,Default,,0,0,0,,{\fad(200,200)}We remask and redesign content from the first three games and also added to that palette \N{\fad(200,200)\rDefault-L2}我们重新遮罩和设计前三作游戏的内容 并添加同样的声音色彩{\r}
Dialogue: 2,0:10:07.09,0:10:13.04,Default,,0,0,0,,{\fad(200,200)}From the biotic wobble to the indycar gun tails, we revisit old assets, re-built and polish what we had \N{\fad(200,200)\rDefault-L2}从“生化震荡”到“Indycar” “枪声尾” 我们重新审视旧的资产 重建和抛光已有的内容{\r}
Dialogue: 2,0:10:13.45,0:10:23.49,Default,,0,0,0,,{\fad(200,200)}For the three new races, Kett, Remnant, Angaran, we built style guides based on writing, design style guides as well as..\N{\fad(200,200)\rDefault-L2}对于三个新的种族 Kett, Remnant, Angaran 我们基于剧本、风格设计指导以及…{\r}
Dialogue: 2,0:10:23.79,0:10:26.84,Default,,0,0,0,,{\fad(200,200)}written words and art\N{\fad(200,200)\rDefault-L2}文字与美术{\r}
Dialogue: 2,0:10:27.20,0:10:30.07,Default,,0,0,0,,{\fad(200,200)}So we built our own style guides \N{\fad(200,200)\rDefault-L2}我们建立了自己的风格指导{\r}
Dialogue: 2,0:10:30.07,0:10:32.92,Default,,0,0,0,,{\fad(200,200)}so what we did is we define the race, the three words \N{\fad(200,200)\rDefault-L2}我们所做的就是定义种族：用三个词(Alive鲜活|Industrial工业|Evil邪恶){\r}
Dialogue: 2,0:10:33.26,0:10:35.80,Default,,0,0,0,,{\fad(200,200)}And then we build audio descriptors\N{\fad(200,200)\rDefault-L2}然后我们构建音频描述符{\r}
Dialogue: 2,0:10:35.85,0:10:39.33,Default,,0,0,0,,{\fad(200,200)}We wanted to keep it really simple because we didn't have a large team and\N{\fad(200,200)\rDefault-L2}我们想保持简单 因为我们没有一个庞大的团队{\r}
Dialogue: 2,0:10:39.46,0:10:43.53,Default,,0,0,0,,{\fad(200,200)}when people are making content for each specific race\N{\fad(200,200)\rDefault-L2}当人们为每个特定的种族制作内容时{\r}
Dialogue: 2,0:10:43.53,0:10:46.83,Default,,0,0,0,,{\fad(200,200)}we wanted them to interpret it in their own way to add to that palatte\N{\fad(200,200)\rDefault-L2}我们希望他们用自己的方式来诠释 去填充声音的调色板{\r}
Dialogue: 2,0:10:46.95,0:10:50.78,Default,,0,0,0,,{\fad(200,200)}So for the Kett, we went for a very industrial kind of pulsing vibe\N{\fad(200,200)\rDefault-L2}所以对于Kett来说 我们追求的是一种非常工业化的脉搏氛围{\r}
Dialogue: 2,0:10:51.09,0:10:54.15,Default,,0,0,0,,{\fad(200,200)}We use movie "Alien" for reference \N{\fad(200,200)\rDefault-L2}我们用电影《异型》作为参考{\r}
Dialogue: 2,0:10:55.00,0:10:58.97,Default,,0,0,0,,{\fad(200,200)}Everything was like have to breathe and move and like, pulse \N{\fad(200,200)\rDefault-L2}一切都像是在呼吸和运动 像是脉搏{\r}
Dialogue: 2,0:10:58.97,0:11:04.30,Default,,0,0,0,,{\fad(200,200)}and we used mostly processed real-world sounds for this palette\N{\fad(200,200)\rDefault-L2}我们在这些音色中使用的大部分都是经过处理的真实世界的声音{\r}
Dialogue: 2,0:11:04.56,0:11:08.00,Default,,0,0,0,,{\fad(200,200)}A little bit of little bit of synthesis, but mostly, real world sounds\N{\fad(200,200)\rDefault-L2}有点合成音色 但大部分是真实世界的声音{\r}
Dialogue: 2,0:11:08.00,0:11:12.83,Default,,0,0,0,,{\fad(200,200)}For the Remnant though, we went for the creepy and serious, robot vibe  \N{\fad(200,200)\rDefault-L2}不过 对于Remnant 我们选择了令人毛骨悚然、严肃的机器氛围{\r}
Dialogue: 2,0:11:12.83,0:11:14.52,Default,,0,0,0,,{\fad(200,200)}We wanted them sound different than the Kett\N{\fad(200,200)\rDefault-L2}我们想让他们听起来和Kett不同{\r}
Dialogue: 2,0:11:14.52,0:11:17.60,Default,,0,0,0,,{\fad(200,200)}so we used a lot of wavetable synthesis for this\N{\fad(200,200)\rDefault-L2}所以我们用了很多波表合成{\r}
Dialogue: 2,0:11:17.82,0:11:22.94,Default,,0,0,0,,{\fad(200,200)}We used the module called Waldorf *NW1 wavetable module\N{\fad(200,200)\rDefault-L2}我们使用了Waldorf NW1波表合成模块{\r}
Dialogue: 2,0:11:23.25,0:11:26.37,Default,,0,0,0,,{\fad(200,200)}it's a pretty cool module, it's a modular synth if you're into that\N{\fad(200,200)\rDefault-L2}它是一个非常酷的模块 它是一个模块合成器 如果你喜欢的话{\r}
Dialogue: 2,0:11:27.07,0:11:32.10,Default,,0,0,0,,{\fad(200,200)}You can record your own voice is into it and then make wavetables out of it and the manipulate it \N{\fad(200,200)\rDefault-L2}你可以把你自己的声音录下来 然后用它做波表 然后处理它{\r}
Dialogue: 2,0:11:32.26,0:11:34.45,Default,,0,0,0,,{\fad(200,200)}So we built a lot of that\N{\fad(200,200)\rDefault-L2}所以我们做了很多这种{\r}
Dialogue: 2,0:11:34.80,0:11:36.00,Default,,0,0,0,,{\fad(200,200)}We also..\N{\fad(200,200)\rDefault-L2}我们也…{\r}
Dialogue: 2,0:11:36.00,0:11:38.65,Default,,0,0,0,,{\fad(200,200)}Yeah we use a lot of Alchemy and Serum for that palette\N{\fad(200,200)\rDefault-L2}是的 我们也用了很多Camel Audio的Alchemy 和 Xfer的Serum{\r}
Dialogue: 2,0:11:39.13,0:11:43.45,Default,,0,0,0,,{\fad(200,200)}but yeah, it was synth-heavy for this palette \N{\fad(200,200)\rDefault-L2}对这个种族的音色来说 合成器用的非常多{\r}
Dialogue: 2,0:11:43.64,0:11:47.65,Default,,0,0,0,,{\fad(200,200)}And then Angaran, we just wanted to be the opposite of the Kett  \N{\fad(200,200)\rDefault-L2}然后是Angaran 我们只想让它和Kett相反{\r}
Dialogue: 2,0:11:47.65,0:11:50.47,Default,,0,0,0,,{\fad(200,200)}so we went as clean natural analog \N{\fad(200,200)\rDefault-L2}所以我们用透明、自然的模拟音色{\r}
Dialogue: 2,0:11:51.94,0:11:56.84,Default,,0,0,0,,{\fad(200,200)}Their worlds were more organic and "naturous" \N{\fad(200,200)\rDefault-L2}他们的世界更加有机和“自然”{\r}
Dialogue: 2,0:11:56.84,0:11:58.37,Default,,0,0,0,,{\fad(200,200)}that's a new word\N{\fad(200,200)\rDefault-L2}这是个新词{\r}
Dialogue: 2,0:12:00.20,0:12:03.19,Default,,0,0,0,,{\fad(200,200)}And yeah, so they're the opposite to the Kett \N{\fad(200,200)\rDefault-L2}是的 所以它们和Kett是相反的{\r}
Dialogue: 2,0:12:03.19,0:12:05.32,Default,,0,0,0,,{\fad(200,200)}so I'm going to show you guys some examples\N{\fad(200,200)\rDefault-L2}所以我要给你们举几个例子{\r}
Dialogue: 2,0:12:05.89,0:12:08.82,Default,,0,0,0,,{\fad(200,200)}I have examples of Kett ambience\N{\fad(200,200)\rDefault-L2}我有Kett环境声的例子{\r}
Dialogue: 2,0:12:08.93,0:12:10.07,Default,,0,0,0,,{\fad(200,200)}Remnant ambience\N{\fad(200,200)\rDefault-L2}Remnant的环境声{\r}
Dialogue: 2,0:12:10.32,0:12:11.72,Default,,0,0,0,,{\fad(200,200)}Angaran weapons\N{\fad(200,200)\rDefault-L2}Angaran的武器声{\r}
Dialogue: 2,0:12:12.19,0:12:14.52,Default,,0,0,0,,{\fad(200,200)}Remnant weapons and then\N{\fad(200,200)\rDefault-L2}Remnant的武器声 然后{\r}
Dialogue: 2,0:12:15.05,0:12:16.66,Default,,0,0,0,,{\fad(200,200)}Kett weapons\N{\fad(200,200)\rDefault-L2}Kett的武器声{\r}
Dialogue: 2,0:12:16.85,0:12:18.14,Default,,0,0,0,,{\fad(200,200)}So I'll show it\N{\fad(200,200)\rDefault-L2}所以我会展示它{\r}
Dialogue: 2,0:15:40.47,0:15:45.37,Default,,0,0,0,,{\fad(200,200)}It's pretty clear that we can hear the wavetable synthesis in the reloads of the Remnant weapons \N{\fad(200,200)\rDefault-L2}很明显 我们可以听到Remnant武器装弹时使用的波表合成音色{\r}
Dialogue: 2,0:15:45.90,0:15:49.13,Default,,0,0,0,,{\fad(200,200)}So we will move on to weapons and combat, let's get that way\N{\fad(200,200)\rDefault-L2}那么 我们要继续介绍武器和战斗{\r}
Dialogue: 2,0:15:49.61,0:15:53.47,Default,,0,0,0,,{\fad(200,200)}First thing to show you guys is a video we made for the weapon shoot we did\N{\fad(200,200)\rDefault-L2}首先要向你们展示的是我们为武器录音拍摄的视频{\r}
Dialogue: 2,0:15:53.50,0:15:55.02,Default,,0,0,0,,{\fad(200,200)}and I'll show it\N{\fad(200,200)\rDefault-L2}我来展示一下{\r}
Dialogue: 2,0:16:03.97,0:16:07.38,Default,,0,0,0,,{\fad(200,200)}My name is Jeremy Voillot, I'm the director of audio for Bioware Edmonton\N{\fad(200,200)\rDefault-L2}我叫Jeremy Voillot 是Bioware Edmonton的音频总监{\r}
Dialogue: 2,0:16:07.38,0:16:09.76,Default,,0,0,0,,{\fad(200,200)}Today we're here to shoot a whole bunch of guns\N{\fad(200,200)\rDefault-L2}今天我们来这里是为了射一堆枪{\r}
Dialogue: 2,0:16:13.15,0:16:16.22,Default,,0,0,0,,{\fad(200,200)}I think we've organized one of the largest weapon shoots for EA \N{\fad(200,200)\rDefault-L2}我想我们为EA组织的这次武器录音属于最大规模之一{\r}
Dialogue: 2,0:16:16.28,0:16:19.35,Default,,0,0,0,,{\fad(200,200)}and we're trying to get a whole bunch of original weapon source for our games\N{\fad(200,200)\rDefault-L2}我们尽可能地为我们的游戏找到一大堆原始的武器资源{\r}
Dialogue: 2,0:16:19.35,0:16:24.88,Default,,0,0,0,,{\fad(200,200)}We're able to put the various layers, as you can see there're different mic positions, distant, close\N{\fad(200,200)\rDefault-L2}我们可以录制不同的层 如你所见 有不同的麦克风位置 远、近{\r}
Dialogue: 2,0:16:24.91,0:16:30.00,Default,,0,0,0,,{\fad(200,200)}and mix them together dynamically in the game to effectively simulate what happens in real life\N{\fad(200,200)\rDefault-L2}然后在游戏中动态地将它们混合在一起 以有效地模拟现实生活中发生的情况{\r}
Dialogue: 2,0:16:30.00,0:16:31.94,Default,,0,0,0,,{\fad(200,200)}but it all starts with our good sources\N{\fad(200,200)\rDefault-L2}但这一切都是从好的声音源开始的{\r}
Dialogue: 2,0:16:36.46,0:16:37.49,Default,,0,0,0,,{\fad(200,200)}Hi I'm Mike Kent\N{\fad(200,200)\rDefault-L2}嗨 我是Mike Kent{\r}
Dialogue: 2,0:16:37.49,0:16:39.85,Default,,0,0,0,,{\fad(200,200)}I'm the lead sound designer at Bioware\N{\fad(200,200)\rDefault-L2}我是Bioware的首席声音设计师{\r}
Dialogue: 2,0:16:40.13,0:16:45.79,Default,,0,0,0,,{\fad(200,200)}What we do here is record environments, gun tails, body, xxx weapons\N{\fad(200,200)\rDefault-L2}我们要做的是录制环境声 枪尾 枪体 xxx{\r}
Dialogue: 2,0:16:45.79,0:16:49.51,Default,,0,0,0,,{\fad(200,200)}So all those elements can be re-assembled in the game\N{\fad(200,200)\rDefault-L2}所以所有这些元素都可以在游戏中重新组合{\r}
Dialogue: 2,0:16:49.51,0:16:51.76,Default,,0,0,0,,{\fad(200,200)}We keep them as seperate layers and what we do is\N{\fad(200,200)\rDefault-L2}我们把它们分开 我们要做的是{\r}
Dialogue: 2,0:16:51.76,0:16:56.09,Default,,0,0,0,,{\fad(200,200)}we create sci-fi elements that'll work with realistic elements \N{\fad(200,200)\rDefault-L2}让我们创造的科幻元素将与现实元素相结合{\r}
Dialogue: 2,0:16:56.09,0:16:58.17,Default,,0,0,0,,{\fad(200,200)}basically we mix them all together and..\N{\fad(200,200)\rDefault-L2}基本上我们把它们混合在一起…{\r}
Dialogue: 2,0:16:58.33,0:17:02.15,Default,,0,0,0,,{\fad(200,200)}what you have is kind of a hybrid between realistic and sci-fi\N{\fad(200,200)\rDefault-L2}你所拥有的就是现实和科幻的混合体{\r}
Dialogue: 2,0:17:02.15,0:17:04.58,Default,,0,0,0,,{\fad(200,200)}We gonna be shooting bullets through the hill \N{\fad(200,200)\rDefault-L2}我们要向山上开枪{\r}
Dialogue: 2,0:17:04.58,0:17:07.26,Default,,0,0,0,,{\fad(200,200)}and the recorders are actually underneath the hill\N{\fad(200,200)\rDefault-L2}录音机就在山下{\r}
Dialogue: 2,0:17:07.26,0:17:09.29,Default,,0,0,0,,{\fad(200,200)}with live rounds going over their heads\N{\fad(200,200)\rDefault-L2}实弹从他们头上飞过{\r}
Dialogue: 2,0:17:11.21,0:17:17.01,Default,,0,0,0,,{\fad(200,200)}We're also recording this in the 192kHz, which gives us a lot of freedom to manipulate them later\N{\fad(200,200)\rDefault-L2}同时我们是用192kHz录制  这给了我们以后处理它们的自由{\r}
Dialogue: 2,0:17:17.18,0:17:22.81,Default,,0,0,0,,{\fad(200,200)}For us, it's just about capturing interesting, dynamic, powerful sound, live \N{\fad(200,200)\rDefault-L2}对于我们来说 这就是关于捕捉有趣、动态、强力的声音 而且是实地捕捉的{\r}
Dialogue: 2,0:17:22.81,0:17:24.44,Default,,0,0,0,,{\fad(200,200)}They're equivalent of audio gold\N{\fad(200,200)\rDefault-L2}它们相当于音频中的黄金{\r}
Dialogue: 2,0:17:24.44,0:17:25.70,Default,,0,0,0,,{\fad(200,200)}we're mining for gold right now\N{\fad(200,200)\rDefault-L2}我们现在正在挖黄金呢{\r}
Dialogue: 2,0:17:33.61,0:17:34.93,Default,,0,0,0,,{\fad(200,200)}That was extremely fun \N{\fad(200,200)\rDefault-L2}当时太有趣了{\r}
Dialogue: 2,0:17:34.93,0:17:36.28,Default,,0,0,0,,{\fad(200,200)}I was one of the recorders\N{\fad(200,200)\rDefault-L2}我是录音师之一{\r}
Dialogue: 2,0:17:37.05,0:17:39.19,Default,,0,0,0,,{\fad(200,200)}under the ridge with the wiz-bys \N{\fad(200,200)\rDefault-L2}在山脊下 录制子弹呼啸声的{\r}
Dialogue: 2,0:17:40.01,0:17:42.17,Default,,0,0,0,,{\fad(200,200)}Yeah it was terrifying, it was super terrifying \N{\fad(200,200)\rDefault-L2}是啊 太可怕了 太可怕了{\r}
Dialogue: 2,0:17:42.17,0:17:43.92,Default,,0,0,0,,{\fad(200,200)}It was safe but it was terrifying  \N{\fad(200,200)\rDefault-L2}虽然很安全 但还是很可怕{\r}
Dialogue: 2,0:17:43.92,0:17:46.45,Default,,0,0,0,,{\fad(200,200)}and I remember after the first round of wiz-bys\N{\fad(200,200)\rDefault-L2}我记得第一轮子弹飞过后{\r}
Dialogue: 2,0:17:46.45,0:17:49.65,Default,,0,0,0,,{\fad(200,200)}Jean-Francois came out from like his little corner and came out and he said: \N{\fad(200,200)\rDefault-L2}Jean-Francois从他的小角落里出来 他说：{\r}
Dialogue: 2,0:17:49.90,0:17:51.22,Default,,0,0,0,,{\fad(200,200)}That's the sound of death\N{\fad(200,200)\rDefault-L2}那是死亡之声！{\r}
Dialogue: 2,0:17:51.58,0:17:52.95,Default,,0,0,0,,{\fad(200,200)}and he just walk back\N{\fad(200,200)\rDefault-L2}然后就走了回去{\r}
Dialogue: 2,0:17:54.72,0:17:56.18,Default,,0,0,0,,{\fad(200,200)}So scary\N{\fad(200,200)\rDefault-L2}太吓人了{\r}
Dialogue: 2,0:17:56.24,0:18:00.58,Default,,0,0,0,,{\fad(200,200)}So we've always taken a hybrid approach to weapon design for Mass Effect  \N{\fad(200,200)\rDefault-L2}所以我们一直采用(现实/科幻)混合方法来设计《质量效应》的武器{\r}
Dialogue: 2,0:18:00.75,0:18:03.17,Default,,0,0,0,,{\fad(200,200)}We've always combined ballistic and sci-fi\N{\fad(200,200)\rDefault-L2}我们总是把弹道声和科幻元素结合起来{\r}
Dialogue: 2,0:18:03.17,0:18:06.80,Default,,0,0,0,,{\fad(200,200)}we found that really grounds the weapons in the world \N{\fad(200,200)\rDefault-L2}我们发现这确实能落实武器的真实感{\r}
Dialogue: 2,0:18:06.97,0:18:11.33,Default,,0,0,0,,{\fad(200,200)}We never wanted to go full sci-fi or full ballistics \N{\fad(200,200)\rDefault-L2}我们从来不想做完全科幻或完全弹道的武器音效{\r}
Dialogue: 2,0:18:11.33,0:18:13.05,Default,,0,0,0,,{\fad(200,200)}we always did a hybrid approach\N{\fad(200,200)\rDefault-L2}我们总是采用混合方法{\r}
Dialogue: 2,0:18:13.92,0:18:17.91,Default,,0,0,0,,{\fad(200,200)}And in combat for Mass Effect we went for a very aggressive mix\N{\fad(200,200)\rDefault-L2}在《质量效应》的战斗中 我们采取了非常侵略性的混音{\r}
Dialogue: 2,0:18:17.91,0:18:19.29,Default,,0,0,0,,{\fad(200,200)}player centred audio mix \N{\fad(200,200)\rDefault-L2}以玩家为中心的混音{\r}
Dialogue: 2,0:18:19.29,0:18:22.79,Default,,0,0,0,,{\fad(200,200)}We wanted the player to know it was going on at all times \N{\fad(200,200)\rDefault-L2}我们想让玩家始终知道游戏在发生什么{\r}
Dialogue: 2,0:18:22.79,0:18:27.13,Default,,0,0,0,,{\fad(200,200)}Challenges for this is combat, I mean it's combat, it's super frantic \N{\fad(200,200)\rDefault-L2}其中的挑战在于战斗音效 我的意思是 这是战斗 这是超级疯狂的{\r}
Dialogue: 2,0:18:27.31,0:18:29.69,Default,,0,0,0,,{\fad(200,200)}it's very messy, it can be a messy experience\N{\fad(200,200)\rDefault-L2}很可能会造成混乱的体验{\r}
Dialogue: 2,0:18:31.00,0:18:37.08,Default,,0,0,0,,{\fad(200,200)}So we have to build systems that would help clean up audio from happening all over the place  \N{\fad(200,200)\rDefault-L2}所以我们必须建立一个系统来帮助清理各处发生的音频{\r}
Dialogue: 2,0:18:37.30,0:18:40.23,Default,,0,0,0,,{\fad(200,200)}We needed to prioritize the player's experience at all times\N{\fad(200,200)\rDefault-L2}我们要总是优先考虑玩家体验{\r}
Dialogue: 2,0:18:42.79,0:18:44.50,Default,,0,0,0,,{\fad(200,200)}so they knew it was going on \N{\fad(200,200)\rDefault-L2}让他们知道正在发生的事情{\r}
Dialogue: 2,0:18:44.76,0:18:48.86,Default,,0,0,0,,{\fad(200,200)}There was lots of tight spaces first, and those broke our systems pretty bad \N{\fad(200,200)\rDefault-L2}首先 有很多狭小的空间 这些空间严重破坏了我们的系统{\r}
Dialogue: 2,0:18:48.86,0:18:52.04,Default,,0,0,0,,{\fad(200,200)}so we had a lot of bugs coming out of that, so we fix a lot of bugs\N{\fad(200,200)\rDefault-L2}所以我们出现了很多bug 然后我们修复了很多bug{\r}
Dialogue: 2,0:18:52.04,0:18:55.22,Default,,0,0,0,,{\fad(200,200)}in tight spaces and lots of unique tonal contents\N{\fad(200,200)\rDefault-L2}在狭窄的空间里 同时我们还有许多独特的Tonal音效{\r}
Dialogue: 2,0:18:55.44,0:18:58.80,Default,,0,0,0,,{\fad(200,200)}so we needed to control that because a lot of weapons have tonal content in it\N{\fad(200,200)\rDefault-L2}所以我们需要进行控制 因为很多武器都有Tonal内容{\r}
Dialogue: 2,0:18:58.80,0:19:01.20,Default,,0,0,0,,{\fad(200,200)}it starts stacking and it just becomes a mess\N{\fad(200,200)\rDefault-L2}它开始堆积 然后变得一团糟{\r}
Dialogue: 2,0:19:02.12,0:19:02.87,Default,,0,0,0,,{\fad(200,200)}so yeah\N{\fad(200,200)\rDefault-L2}所以是的{\r}
Dialogue: 2,0:19:04.90,0:19:05.69,Default,,0,0,0,,{\fad(200,200)}So next\N{\fad(200,200)\rDefault-L2}所以接下来{\r}
Dialogue: 2,0:19:05.69,0:19:07.36,Default,,0,0,0,,{\fad(200,200)}this is our weapons patch\N{\fad(200,200)\rDefault-L2}这是我们的武器Patch{\r}
Dialogue: 2,0:19:07.76,0:19:12.00,Default,,0,0,0,,{\fad(200,200)}So this is an automatic weapons patch \N{\fad(200,200)\rDefault-L2}这是一个自动武器的Patch{\r}
Dialogue: 2,0:19:12.47,0:19:16.96,Default,,0,0,0,,{\fad(200,200)}so just took three photos in Photoshop to take a picture of this \N{\fad(200,200)\rDefault-L2}这是用Photoshop把三张照片拼起来得到的{\r}
Dialogue: 2,0:19:17.98,0:19:19.18,Default,,0,0,0,,{\fad(200,200)}So early on\N{\fad(200,200)\rDefault-L2}那么 一开始时{\r}
Dialogue: 2,0:19:19.18,0:19:24.43,Default,,0,0,0,,{\fad(200,200)}because we work at EA, and we work on Frostbite, we got to work with DICE  \N{\fad(200,200)\rDefault-L2}因为我们在EA工作 我们也在寒霜引擎上开发 所以我们得以和DICE一起工作{\r}
Dialogue: 2,0:19:24.43,0:19:26.65,Default,,0,0,0,,{\fad(200,200)}So we contacted DICE early on \N{\fad(200,200)\rDefault-L2}所以我们很早就联系了DICE{\r}
Dialogue: 2,0:19:26.95,0:19:29.23,Default,,0,0,0,,{\fad(200,200)}and ask them to share their knowledge with weapons designs \N{\fad(200,200)\rDefault-L2}并请求分享他们关于武器设计的知识{\r}
Dialogue: 2,0:19:29.23,0:19:32.28,Default,,0,0,0,,{\fad(200,200)}They sent us a patch over, similar to this  \N{\fad(200,200)\rDefault-L2}他们给我们发了一个Patch 类似于这个{\r}
Dialogue: 2,0:19:32.35,0:19:37.00,Default,,0,0,0,,{\fad(200,200)}But what we did is we looked at it, studied it, deconstructed it \N{\fad(200,200)\rDefault-L2}但我们所做的是观察、研究、解构它{\r}
Dialogue: 2,0:19:37.00,0:19:41.79,Default,,0,0,0,,{\fad(200,200)}re-assembled it from Mass Effect, just the way we wanted to use it\N{\fad(200,200)\rDefault-L2}从《质量效应》前作中重组 按照我们想要的方式{\r}
Dialogue: 2,0:19:42.03,0:19:43.16,Default,,0,0,0,,{\fad(200,200)}and\N{\fad(200,200)\rDefault-L2}还有{\r}
Dialogue: 2,0:19:43.27,0:19:47.26,Default,,0,0,0,,{\fad(200,200)}what this did is there're a lot to hit a higher quality quicker\N{\fad(200,200)\rDefault-L2}这样做是为了更快地达到更高的质量{\r}
Dialogue: 2,0:19:48.45,0:19:51.04,Default,,0,0,0,,{\fad(200,200)}Thanks DICE for your help, you're awesome\N{\fad(200,200)\rDefault-L2}谢谢DICE的帮助 你们太棒了{\r}
Dialogue: 2,0:19:51.27,0:19:55.37,Default,,0,0,0,,{\fad(200,200)}And yeah, so let's break this down so you guys can understand what's going on here\N{\fad(200,200)\rDefault-L2}是的 所以我们把这个分解一下 这样你们就可以理解这里发生了什么{\r}
Dialogue: 2,0:19:55.76,0:19:57.86,Default,,0,0,0,,{\fad(200,200)}So we have.. this is our logic\N{\fad(200,200)\rDefault-L2}所以我们有…这是我们的逻辑{\r}
Dialogue: 2,0:19:58.22,0:20:02.83,Default,,0,0,0,,{\fad(200,200)}So parameters and event inputs coming here\N{\fad(200,200)\rDefault-L2}所以参数和事件输入会出现在这里{\r}
Dialogue: 2,0:20:02.83,0:20:05.25,Default,,0,0,0,,{\fad(200,200)}So basically like stuff like rate of fire\N{\fad(200,200)\rDefault-L2}所以基本上例如 开火速率等{\r}
Dialogue: 2,0:20:05.46,0:20:06.66,Default,,0,0,0,,{\fad(200,200)}out of ammo\N{\fad(200,200)\rDefault-L2}弹药耗尽{\r}
Dialogue: 2,0:20:06.73,0:20:09.37,Default,,0,0,0,,{\fad(200,200)}other fun stuff comes in here \N{\fad(200,200)\rDefault-L2}其他有趣的东西也在里面{\r}
Dialogue: 2,0:20:09.37,0:20:12.49,Default,,0,0,0,,{\fad(200,200)}and that logic feeds into the samplers \N{\fad(200,200)\rDefault-L2}然后这个逻辑输入采样器{\r}
Dialogue: 2,0:20:13.87,0:20:17.37,Default,,0,0,0,,{\fad(200,200)}So all these will squares here are samplers \N{\fad(200,200)\rDefault-L2}这里所有的小方格都是采样器{\r}
Dialogue: 2,0:20:17.37,0:20:19.55,Default,,0,0,0,,{\fad(200,200)}so these are different layers of the gun like Mac: \N{\fad(200,200)\rDefault-L2}所以这些是枪的不同叠层 比如Mac：{\r}
Dialogue: 2,0:20:20.47,0:20:22.72,Default,,0,0,0,,{\fad(200,200)}body, LFE, sci-fi layers \N{\fad(200,200)\rDefault-L2}枪体 LFE 科幻层{\r}
Dialogue: 2,0:20:23.06,0:20:24.24,Default,,0,0,0,,{\fad(200,200)}area types \N{\fad(200,200)\rDefault-L2}区域类型{\r}
Dialogue: 2,0:20:24.89,0:20:25.83,Default,,0,0,0,,{\fad(200,200)}so yeah \N{\fad(200,200)\rDefault-L2}所以是的{\r}
Dialogue: 2,0:20:25.83,0:20:30.20,Default,,0,0,0,,{\fad(200,200)}then logic and parameters feed in this sampler, tell the sampler how to play \N{\fad(200,200)\rDefault-L2}然后逻辑和参数输入这个采样器 告诉采样器如何播放{\r}
Dialogue: 2,0:20:30.48,0:20:32.67,Default,,0,0,0,,{\fad(200,200)}and then we go into the random filtering section\N{\fad(200,200)\rDefault-L2}然后我们进入随机过滤区域{\r}
Dialogue: 2,0:20:33.08,0:20:34.18,Default,,0,0,0,,{\fad(200,200)}so here\N{\fad(200,200)\rDefault-L2}在这里{\r}
Dialogue: 2,0:20:34.37,0:20:37.74,Default,,0,0,0,,{\fad(200,200)}every time a player fires a gun, or an NPC \N{\fad(200,200)\rDefault-L2}每当玩家或NPC开枪{\r}
Dialogue: 2,0:20:37.86,0:20:39.13,Default,,0,0,0,,{\fad(200,200)}we're doing a..\N{\fad(200,200)\rDefault-L2}我们会..{\r}
Dialogue: 2,0:20:39.31,0:20:46.92,Default,,0,0,0,,{\fad(200,200)}we have a notch filter set between 200Hz and 6kHz that kind of like just massage that area and randomly picks frequencies just to..\N{\fad(200,200)\rDefault-L2}我们有一个陷波滤波器 设置在200Hz和6KHz之间 对那个区域随机选择频率进行“按摩”{\r}
Dialogue: 2,0:20:47.40,0:20:49.94,Default,,0,0,0,,{\fad(200,200)}it's clean up the ear fatigue\N{\fad(200,200)\rDefault-L2}它能消除听觉疲劳{\r}
Dialogue: 2,0:20:50.27,0:20:52.22,Default,,0,0,0,,{\fad(200,200)}and then for here \N{\fad(200,200)\rDefault-L2}然后在这里{\r}
Dialogue: 2,0:20:52.22,0:20:55.56,Default,,0,0,0,,{\fad(200,200)}this is the non-player distance mixing \N{\fad(200,200)\rDefault-L2}这是NPC的距离混音{\r}
Dialogue: 2,0:20:56.34,0:21:01.45,Default,,0,0,0,,{\fad(200,200)}I really like shelving EQs, I don't like low pass and high pass filters \N{\fad(200,200)\rDefault-L2}我真的很喜欢搁架式EQ 我不喜欢低通和高通滤波器{\r}
Dialogue: 2,0:21:01.60,0:21:04.64,Default,,0,0,0,,{\fad(200,200)}so we designed our own kind of distance mixing \N{\fad(200,200)\rDefault-L2}所以我们设计了自己的距离混音{\r}
Dialogue: 2,0:21:04.64,0:21:08.53,Default,,0,0,0,,{\fad(200,200)}so over distance as the NPCs walk away from you\N{\fad(200,200)\rDefault-L2}当NPC逐渐远离你的时候{\r}
Dialogue: 2,0:21:08.53,0:21:12.55,Default,,0,0,0,,{\fad(200,200)}we're using shelving EQs and kind of pulling down and creating like a band pass\N{\fad(200,200)\rDefault-L2}我们使用的是搁架式EQ 会产生一个类似带通的效果{\r}
Dialogue: 2,0:21:13.58,0:21:15.75,Default,,0,0,0,,{\fad(200,200)}as people get further away from you \N{\fad(200,200)\rDefault-L2}随着NPC离你越来越远{\r}
Dialogue: 2,0:21:15.75,0:21:19.21,Default,,0,0,0,,{\fad(200,200)}it will create a I find it more natural distance feel\N{\fad(200,200)\rDefault-L2}它会创造一种 我认为更自然的距离感{\r}
Dialogue: 2,0:21:19.72,0:21:21.99,Default,,0,0,0,,{\fad(200,200)}Then we have a parallel delay unit here\N{\fad(200,200)\rDefault-L2}然后 我们这里有一个并行的延迟单元{\r}
Dialogue: 2,0:21:22.35,0:21:25.06,Default,,0,0,0,,{\fad(200,200)}so as characters run away and shooting\N{\fad(200,200)\rDefault-L2}所以当角色逃跑和射击时{\r}
Dialogue: 2,0:21:25.27,0:21:27.79,Default,,0,0,0,,{\fad(200,200)}we add delay into the signal \N{\fad(200,200)\rDefault-L2}我们在信号中加上延迟{\r}
Dialogue: 2,0:21:27.79,0:21:32.05,Default,,0,0,0,,{\fad(200,200)}and then I creates like an echo effect like just to give a nice wash to the ambience \N{\fad(200,200)\rDefault-L2}然后我创造了一个回声效果 给环境声一种洗刷感{\r}
Dialogue: 2,0:21:33.02,0:21:33.91,Default,,0,0,0,,{\fad(200,200)}Combat\N{\fad(200,200)\rDefault-L2}这是战斗系统{\r}
Dialogue: 2,0:21:34.86,0:21:38.39,Default,,0,0,0,,{\fad(200,200)}and then we have our outputs so we have our LFE output\N{\fad(200,200)\rDefault-L2}然后我们有输出 我们有LFE输出{\r}
Dialogue: 2,0:21:38.39,0:21:39.95,Default,,0,0,0,,{\fad(200,200)}player only for power\N{\fad(200,200)\rDefault-L2}因为性能问题 只为玩家角色提供{\r}
Dialogue: 2,0:21:40.06,0:21:42.84,Default,,0,0,0,,{\fad(200,200)}and a player output which is 2D \N{\fad(200,200)\rDefault-L2}以及一个2D的玩家输出{\r}
Dialogue: 2,0:21:42.84,0:21:47.08,Default,,0,0,0,,{\fad(200,200)}so we control the player's gun by just having it stereo \N{\fad(200,200)\rDefault-L2}所以我们对玩家的枪声控制就是使用2D立体声{\r}
Dialogue: 2,0:21:47.49,0:21:49.93,Default,,0,0,0,,{\fad(200,200)}and then we had a non-player output\N{\fad(200,200)\rDefault-L2}然后我们有一个非玩家输出{\r}
Dialogue: 2,0:21:50.33,0:21:52.91,Default,,0,0,0,,{\fad(200,200)}which is 3d, obviously for direction  \N{\fad(200,200)\rDefault-L2}这是3D的 显然是为了定位{\r}
Dialogue: 2,0:21:52.91,0:21:54.89,Default,,0,0,0,,{\fad(200,200)}and we had a late reflections output \N{\fad(200,200)\rDefault-L2}然后我们有后期反射输出{\r}
Dialogue: 2,0:21:54.91,0:22:01.89,Default,,0,0,0,,{\fad(200,200)}so this output basically in our master patch which is the final stage before we output to speakers \N{\fad(200,200)\rDefault-L2}基本上在我们的主Patch中 这是我们输出到扬声器之前的最后一个阶段{\r}
Dialogue: 2,0:22:02.42,0:22:03.63,Default,,0,0,0,,{\fad(200,200)}we have a late reflection \N{\fad(200,200)\rDefault-L2}我们有一个后期反射输出{\r}
Dialogue: 2,0:22:03.63,0:22:09.12,Default,,0,0,0,,{\fad(200,200)}so we built kind of a delay line that could create echo depending on what area type you're in \N{\fad(200,200)\rDefault-L2}所以我们建立了一种延迟处理线 可以根据你所在的区域类型产生回声{\r}
Dialogue: 2,0:22:09.12,0:22:10.13,Default,,0,0,0,,{\fad(200,200)}this also..\N{\fad(200,200)\rDefault-L2}这也…{\r}
Dialogue: 2,0:22:10.14,0:22:12.90,Default,,0,0,0,,{\fad(200,200)}we added this basically the.. sorry\N{\fad(200,200)\rDefault-L2}基本上 我们添加了这个.. 对不起{\r}
Dialogue: 2,0:22:14.43,0:22:17.86,Default,,0,0,0,,{\fad(200,200)}through the sci-fi and the area type sounds into this \N{\fad(200,200)\rDefault-L2}经过科幻层和区域类型的声音会进入这里{\r}
Dialogue: 2,0:22:17.86,0:22:21.54,Default,,0,0,0,,{\fad(200,200)}and then so when you're in different areas, the sci-fi would kind of echo out\N{\fad(200,200)\rDefault-L2}所以当你在不同的地方时 科幻层会有点回响{\r}
Dialogue: 2,0:22:21.54,0:22:24.93,Default,,0,0,0,,{\fad(200,200)}and just kind of help ground the weapon in the space \N{\fad(200,200)\rDefault-L2}这有助于确立武器在空间中的位置感{\r}
Dialogue: 2,0:22:25.70,0:22:27.85,Default,,0,0,0,,{\fad(200,200)}So let's go to more combat systems\N{\fad(200,200)\rDefault-L2}然后我们看看战斗系统的更多内容{\r}
Dialogue: 2,0:22:28.49,0:22:31.65,Default,,0,0,0,,{\fad(200,200)}So area type switching, we use them to switch out content\N{\fad(200,200)\rDefault-L2}区域类型切换 我们使用它们来切换内容{\r}
Dialogue: 2,0:22:31.96,0:22:35.51,Default,,0,0,0,,{\fad(200,200)}we had six different area types, we would switch out content based on these\N{\fad(200,200)\rDefault-L2}我们有六种不同的区域类型 我们将根据这些类型切换内容{\r}
Dialogue: 2,0:22:36.12,0:22:36.96,Default,,0,0,0,,{\fad(200,200)}So\N{\fad(200,200)\rDefault-L2}所以{\r}
Dialogue: 2,0:22:37.26,0:22:42.60,Default,,0,0,0,,{\fad(200,200)}we would switch out like noise layers in the weapon to ground the gun in these spaces \N{\fad(200,200)\rDefault-L2}比如 我们会切换武器Patch的噪声层 以使枪声符合这些不同空间{\r}
Dialogue: 2,0:22:42.60,0:22:45.83,Default,,0,0,0,,{\fad(200,200)}and also IR, ER and reverbs\N{\fad(200,200)\rDefault-L2}可切换的也包括 IR(冲击响应层)、ER(早反射层)和混响层{\r}
Dialogue: 2,0:22:47.44,0:22:50.01,Default,,0,0,0,,{\fad(200,200)}We had early and late reflection system\N{\fad(200,200)\rDefault-L2}我们有早期反射和晚期反射系统{\r}
Dialogue: 2,0:22:50.37,0:22:52.52,Default,,0,0,0,,{\fad(200,200)}this is a series of raycast\N{\fad(200,200)\rDefault-L2}它们是一系列射线{\r}
Dialogue: 2,0:22:53.02,0:22:54.73,Default,,0,0,0,,{\fad(200,200)}and one vertical raycast\N{\fad(200,200)\rDefault-L2}和一条垂直射线{\r}
Dialogue: 2,0:22:54.85,0:22:57.28,Default,,0,0,0,,{\fad(200,200)}that data would then go into our master patch \N{\fad(200,200)\rDefault-L2}然后这些数据会进入我们的主Patch{\r}
Dialogue: 2,0:22:57.28,0:23:01.55,Default,,0,0,0,,{\fad(200,200)}and we had five discreet delay and filter lines \N{\fad(200,200)\rDefault-L2}然后我们有五条独立的延迟和滤波处理线{\r}
Dialogue: 2,0:23:01.83,0:23:03.62,Default,,0,0,0,,{\fad(200,200)}that would be for each speaker\N{\fad(200,200)\rDefault-L2}对应每个扬声器{\r}
Dialogue: 2,0:23:04.13,0:23:05.51,Default,,0,0,0,,{\fad(200,200)}it's kind of how we did that\N{\fad(200,200)\rDefault-L2}我们就是这么做的{\r}
Dialogue: 2,0:23:05.95,0:23:10.08,Default,,0,0,0,,{\fad(200,200)}and then we had to think a relative orientation or field of view mixing \N{\fad(200,200)\rDefault-L2}然后我们要想出一个相对方位或者视觉窗口的混音{\r}
Dialogue: 2,0:23:10.08,0:23:15.20,Default,,0,0,0,,{\fad(200,200)}so anything the player's looking at in front of them, that's all we care about right now and then \N{\fad(200,200)\rDefault-L2}所以在玩家面前的 就是我们现在关注的{\r}
Dialogue: 2,0:23:15.29,0:23:19.60,Default,,0,0,0,,{\fad(200,200)}anything that's around the sides or back, we're filtering and mixing out\N{\fad(200,200)\rDefault-L2}任何在侧面或背面的东西 我们都会做滤波和衰减{\r}
Dialogue: 2,0:23:20.27,0:23:23.49,Default,,0,0,0,,{\fad(200,200)}But sometimes you don't want that sometimes you want a threat level\N{\fad(200,200)\rDefault-L2}但有时你不想那样 有时你想要实现一个“威胁级别”{\r}
Dialogue: 2,0:23:24.12,0:23:29.34,Default,,0,0,0,,{\fad(200,200)}like if something is threatening behind you, you want to make sure you hear that \N{\fad(200,200)\rDefault-L2}就像如果你身后有什么东西在威胁你 你要确保你听到了{\r}
Dialogue: 2,0:23:29.34,0:23:30.25,Default,,0,0,0,,{\fad(200,200)}so we..\N{\fad(200,200)\rDefault-L2}所以我们…{\r}
Dialogue: 2,0:23:30.56,0:23:35.10,Default,,0,0,0,,{\fad(200,200)}this is inherited from Frostbite, "Directional Mixing and Towardsmeness", that's a Swedish term we kept it\N{\fad(200,200)\rDefault-L2}这是从寒霜引擎中继承来的 定向混音“Towardsmeness” 这是个瑞典词 我们保留了下来{\r}
Dialogue: 2,0:23:35.26,0:23:36.25,Default,,0,0,0,,{\fad(200,200)}it's awesome \N{\fad(200,200)\rDefault-L2}太棒了{\r}
Dialogue: 2,0:23:36.80,0:23:41.45,Default,,0,0,0,,{\fad(200,200)}And yeah so if a player or enemy or NPC is shooting at you\N{\fad(200,200)\rDefault-L2}是的 所以如果一个玩家、敌人或NPC向你开枪{\r}
Dialogue: 2,0:23:41.60,0:23:45.08,Default,,0,0,0,,{\fad(200,200)}we turn up the gun, like elements of the gun\N{\fad(200,200)\rDefault-L2}我们会把枪的音量提高 比如枪的一些部件声{\r}
Dialogue: 2,0:23:46.46,0:23:51.72,Default,,0,0,0,,{\fad(200,200)}like Mac, like and then we actually add layers of like terror to the gun \N{\fad(200,200)\rDefault-L2}然后我们在枪上加了一层恐怖音效{\r}
Dialogue: 2,0:23:51.95,0:23:55.63,Default,,0,0,0,,{\fad(200,200)}So yeah, so as they're shooting at you, the gun will sound more scary \N{\fad(200,200)\rDefault-L2}所以当他们朝你开枪的时候 枪声听起来会更可怕{\r}
Dialogue: 2,0:23:55.63,0:23:59.62,Default,,0,0,0,,{\fad(200,200)}If they're looking away from you, we'd mix things down so it's more ambience in the world \N{\fad(200,200)\rDefault-L2}如果他们不朝向你 我们会把武器声拉低 这样世界中的环境声就更明显{\r}
Dialogue: 2,0:23:59.62,0:24:03.43,Default,,0,0,0,,{\fad(200,200)}and that this system would trump this if we wanted it to\N{\fad(200,200)\rDefault-L2}这个系统也能突出这个声音 如果我们想要的话 {\r}
Dialogue: 2,0:24:03.43,0:24:08.36,Default,,0,0,0,,{\fad(200,200)}so if somebody is shooting from behind you, we can play it up in the rears \N{\fad(200,200)\rDefault-L2}如果有人从你后面开枪 我们可以从后面让它播放{\r}
Dialogue: 2,0:24:09.33,0:24:12.16,Default,,0,0,0,,{\fad(200,200)}We had a Quad Explosions system\N{\fad(200,200)\rDefault-L2}我们有Quad爆炸系统{\r}
Dialogue: 2,0:24:12.71,0:24:13.51,Default,,0,0,0,,{\fad(200,200)}so\N{\fad(200,200)\rDefault-L2}所以{\r}
Dialogue: 2,0:24:13.68,0:24:15.21,Default,,0,0,0,,{\fad(200,200)}what this was..\N{\fad(200,200)\rDefault-L2}这是…{\r}
Dialogue: 2,0:24:15.43,0:24:19.14,Default,,0,0,0,,{\fad(200,200)}we had the idea of impact and reflection content \N{\fad(200,200)\rDefault-L2}我们有“冲击”和“反射”内容的概念{\r}
Dialogue: 2,0:24:19.14,0:24:21.99,Default,,0,0,0,,{\fad(200,200)}so the best way to describe this is if you're in a doorway \N{\fad(200,200)\rDefault-L2}所以最好的描述方法是 如果你在门口{\r}
Dialogue: 2,0:24:22.13,0:24:26.10,Default,,0,0,0,,{\fad(200,200)}you have an exterior in front of you, interior behind you  \N{\fad(200,200)\rDefault-L2}你的前面是室外 后面是室内{\r}
Dialogue: 2,0:24:26.10,0:24:31.55,Default,,0,0,0,,{\fad(200,200)}if an explosion happens outside you'd get the exterior noise, and then interior reflection\N{\fad(200,200)\rDefault-L2}如果室外发生爆炸 你会听到室外的噪音 和室内的反射{\r}
Dialogue: 2,0:24:31.58,0:24:34.57,Default,,0,0,0,,{\fad(200,200)}So we are changing content on that and it was head-relative\N{\fad(200,200)\rDefault-L2}所以 我们会实时改变这方面的内容 而且是“头相关”的{\r}
Dialogue: 2,0:24:35.51,0:24:39.37,Default,,0,0,0,,{\fad(200,200)}Activate Mixers - micro state mixing. We did a lot of.. \N{\fad(200,200)\rDefault-L2}主动混音器-微态混音 我们做了很多…{\r}
Dialogue: 2,0:24:39.47,0:24:41.07,Default,,0,0,0,,{\fad(200,200)}we had mixers on biotics\N{\fad(200,200)\rDefault-L2}我们有针对生化技能的混音器{\r}
Dialogue: 2,0:24:41.62,0:24:43.63,Default,,0,0,0,,{\fad(200,200)}and other things like player weapons \N{\fad(200,200)\rDefault-L2}还有其他东西 比如玩家武器{\r}
Dialogue: 2,0:24:43.63,0:24:49.51,Default,,0,0,0,,{\fad(200,200)}these are like pretty harsh static mixers that like if you fired, say a biotic charge or something  \N{\fad(200,200)\rDefault-L2}这些是相当刺激的固定混音器 如果你开火 比如说生化电击之类的{\r}
Dialogue: 2,0:24:49.51,0:24:53.63,Default,,0,0,0,,{\fad(200,200)}it would suck the game out and then everything would come back when you impacted\N{\fad(200,200)\rDefault-L2}它会把游戏“吸”出来 然后当你受到攻击时 一切都会回复原样{\r}
Dialogue: 2,0:24:54.07,0:24:57.84,Default,,0,0,0,,{\fad(200,200)}Linear attenuations for almost everything in combat because this works really well if..\N{\fad(200,200)\rDefault-L2}几乎所有的战斗音效都是线性衰减的{\r}
Dialogue: 2,0:24:57.95,0:25:01.02,Default,,0,0,0,,{\fad(200,200)}we found this work really well with Frostbite HDR\N{\fad(200,200)\rDefault-L2}我们发现这与寒霜引擎的HDR配合得非常好{\r}
Dialogue: 2,0:25:01.02,0:25:05.35,Default,,0,0,0,,{\fad(200,200)}so we had like five different attenuations from small to large \N{\fad(200,200)\rDefault-L2}所以我们有五种不同的衰减 从小到大{\r}
Dialogue: 2,0:25:05.56,0:25:08.19,Default,,0,0,0,,{\fad(200,200)}and yeah that's what we used\N{\fad(200,200)\rDefault-L2}是的 这就是我们使用的{\r}
Dialogue: 2,0:25:08.51,0:25:13.05,Default,,0,0,0,,{\fad(200,200)}Frequency Randomization - ear fatigue. I showed you in the patch there\N{\fad(200,200)\rDefault-L2}频率随机化-听觉疲劳 我给你看了它的Patch{\r}
Dialogue: 2,0:25:13.39,0:25:21.17,Default,,0,0,0,,{\fad(200,200)}Cover Mixing so when you got into cover we would mix the guns differently or the combat experience differently \N{\fad(200,200)\rDefault-L2}掩护混音 当你进入掩护时 我们会以不同的方式混音枪械声和战斗体验{\r}
Dialogue: 2,0:25:21.17,0:25:25.97,Default,,0,0,0,,{\fad(200,200)}and when you came out it was.. we mix everything back up so it was more frantic \N{\fad(200,200)\rDefault-L2}当你从掩体中出来的时候 我们把所有混音都回复原样 这样就更有表现力{\r}
Dialogue: 2,0:25:27.35,0:25:29.41,Default,,0,0,0,,{\fad(200,200)}That's yeah that's our combat system \N{\fad(200,200)\rDefault-L2}是的 那是我们的战斗系统{\r}
Dialogue: 2,0:25:29.41,0:25:32.54,Default,,0,0,0,,{\fad(200,200)}so I now have a video that shows all of this stuff working\N{\fad(200,200)\rDefault-L2}我现在有一个视频展示所有这些东西是如何工作的{\r}
Dialogue: 2,0:25:32.54,0:25:34.79,Default,,0,0,0,,{\fad(200,200)}so you guys can fully understand what's going on\N{\fad(200,200)\rDefault-L2}这样你们就可以完全理解..{\r}
Dialogue: 2,0:25:35.50,0:25:38.20,Default,,0,0,0,,{\fad(200,200)}with the weapons and combat systems, here we go\N{\fad(200,200)\rDefault-L2}武器和作战系统 我们开始了{\r}
Dialogue: 2,0:29:06.37,0:29:08.94,Default,,0,0,0,,{\fad(200,200)}Sorry, forgot to mention that, we did..\N{\fad(200,200)\rDefault-L2}对不起 忘记提了{\r}
Dialogue: 2,0:29:09.31,0:29:15.46,Default,,0,0,0,,{\fad(200,200)}for every boitic throwing, we actually had effect chain in the master patch \N{\fad(200,200)\rDefault-L2}对于每个生化投掷技能 我们都会在主Patch中有效果链{\r}
Dialogue: 2,0:29:15.46,0:29:21.47,Default,,0,0,0,,{\fad(200,200)}that we would frequency shift as well as pitch every sound in the game down  \N{\fad(200,200)\rDefault-L2}我们对游戏中的所有其它声音做变频和变调(降低){\r}
Dialogue: 2,0:29:21.92,0:29:23.10,Default,,0,0,0,,{\fad(200,200)}It was pretty neat\N{\fad(200,200)\rDefault-L2}挺棒的{\r}
Dialogue: 2,0:29:23.22,0:29:26.15,Default,,0,0,0,,{\fad(200,200)}So Procedural Foley and Breathing Systems\N{\fad(200,200)\rDefault-L2}那么 程序化Foley和呼吸系统{\r}
Dialogue: 2,0:29:27.61,0:29:29.62,Default,,0,0,0,,{\fad(200,200)}So we built the procedural foley system\N{\fad(200,200)\rDefault-L2}我们建立了一个“程序化Foley系统”{\r}
Dialogue: 2,0:29:30.02,0:29:35.51,Default,,0,0,0,,{\fad(200,200)}that got us about eighty percent coverage on movement sounds for the game \N{\fad(200,200)\rDefault-L2}它覆盖了游戏中百分之八十左右的动作声音{\r}
Dialogue: 2,0:29:36.77,0:29:40.46,Default,,0,0,0,,{\fad(200,200)}This system was ok, when it worked, it worked amazing  \N{\fad(200,200)\rDefault-L2}这个系统还不错 当它有效时 它的效果很棒{\r}
Dialogue: 2,0:29:40.46,0:29:42.44,Default,,0,0,0,,{\fad(200,200)}but when it broke, broke horribly\N{\fad(200,200)\rDefault-L2}但当它失效时 它的效果将会非常糟糕{\r}
Dialogue: 2,0:29:43.48,0:29:47.19,Default,,0,0,0,,{\fad(200,200)}This is essential for us though to cover all the cinematics\N{\fad(200,200)\rDefault-L2}这个系统要能顾及所有的过场动画 这对我们来说是至关重要的{\r}
Dialogue: 2,0:29:47.19,0:29:49.33,Default,,0,0,0,,{\fad(200,200)}in the game there're over three hundred and fifty cinematic \N{\fad(200,200)\rDefault-L2}因为在游戏里有超过350个过场{\r}
Dialogue: 2,0:29:50.95,0:29:53.82,Default,,0,0,0,,{\fad(200,200)}while we still handtouch all the most important stuff\N{\fad(200,200)\rDefault-L2}同时 我们仍然手动调整所有重要内容{\r}
Dialogue: 2,0:29:55.12,0:30:01.17,Default,,0,0,0,,{\fad(200,200)}We also built a breathing system to respond to player activity  \N{\fad(200,200)\rDefault-L2}我们还建立了呼吸系统来响应玩家的活动{\r}
Dialogue: 2,0:30:01.36,0:30:06.70,Default,,0,0,0,,{\fad(200,200)}This responded to things like exertion levels, jumping, landing and hazards\N{\fad(200,200)\rDefault-L2}这会对活动强度、跳跃、着陆和危险状况作出响应{\r}
Dialogue: 2,0:30:07.66,0:30:10.34,Default,,0,0,0,,{\fad(200,200)}So let's break down the procedural foley system\N{\fad(200,200)\rDefault-L2}那么让我们来分解一下程序化Foley系统{\r}
Dialogue: 2,0:30:10.85,0:30:13.34,Default,,0,0,0,,{\fad(200,200)}Movement was a combination of loops and one shots\N{\fad(200,200)\rDefault-L2}角色的运动是循环和One-Shot的组合{\r}
Dialogue: 2,0:30:13.61,0:30:19.17,Default,,0,0,0,,{\fad(200,200)}basically what we do is use the footstep almost like a side-chain compressor so \N{\fad(200,200)\rDefault-L2}基本上 我们所做的就是使用脚步声做侧链压缩{\r}
Dialogue: 2,0:30:19.34,0:30:23.20,Default,,0,0,0,,{\fad(200,200)}that would you know compress the loop so you get less foley \N{\fad(200,200)\rDefault-L2}这样会随着脚步声 对Foley循环进行压缩 你听到的Foley声就会变小{\r}
Dialogue: 2,0:30:23.20,0:30:26.00,Default,,0,0,0,,{\fad(200,200)}and then when you are coming out of the footstep, you'll hear more foley \N{\fad(200,200)\rDefault-L2}当没有脚步声时 你会听到更多Foley声{\r}
Dialogue: 2,0:30:26.90,0:30:30.76,Default,,0,0,0,,{\fad(200,200)}We would take the speed of the character's hands into account \N{\fad(200,200)\rDefault-L2}我们会将角色手的摆动速度考虑进来{\r}
Dialogue: 2,0:30:30.98,0:30:32.70,Default,,0,0,0,,{\fad(200,200)}this works well in conversations \N{\fad(200,200)\rDefault-L2}这在角色对话时很有效{\r}
Dialogue: 2,0:30:32.70,0:30:35.71,Default,,0,0,0,,{\fad(200,200)}the reason why is a lot of times the conversations are torso up\N{\fad(200,200)\rDefault-L2}这是因为 很多时候对话都是只显示上半身的{\r}
Dialogue: 2,0:30:36.08,0:30:40.01,Default,,0,0,0,,{\fad(200,200)}so a lot of times the animators would just leave the legs moving \N{\fad(200,200)\rDefault-L2}所以很多时候 动画师会让腿保持运动{\r}
Dialogue: 2,0:30:40.01,0:30:42.98,Default,,0,0,0,,{\fad(200,200)}so we couldn't take that data and it would just sound like ants\N{\fad(200,200)\rDefault-L2}所以我们不能利用这些(脚步)数据 那听起来就像蚂蚁一样{\r}
Dialogue: 2,0:30:43.22,0:30:46.27,Default,,0,0,0,,{\fad(200,200)}so we had to shut that off and use the hands\N{\fad(200,200)\rDefault-L2}所以我们必须关掉它 然后用手的摆动{\r}
Dialogue: 2,0:30:46.82,0:30:50.05,Default,,0,0,0,,{\fad(200,200)}And we had 8 different States\N{\fad(200,200)\rDefault-L2}我们有8个不同状态{\r}
Dialogue: 2,0:30:50.26,0:30:52.21,Default,,0,0,0,,{\fad(200,200)}we had walking, sprinting, jogging, wait,\N{\fad(200,200)\rDefault-L2}我们有散步 短跑 慢跑 等待{\r}
Dialogue: 2,0:30:52.21,0:30:54.76,Default,,0,0,0,,{\fad(200,200)}forward and backwards, uphill and downhill\N{\fad(200,200)\rDefault-L2}向前 向后 上坡和下坡{\r}
Dialogue: 2,0:30:55.97,0:30:57.86,Default,,0,0,0,,{\fad(200,200)}We had eight different types of armor \N{\fad(200,200)\rDefault-L2}我们有八种不同类型的装甲{\r}
Dialogue: 2,0:30:57.86,0:31:02.11,Default,,0,0,0,,{\fad(200,200)}we had leather, leather gear heavy, armor, armor heavy, cloth, cloth and leather\N{\fad(200,200)\rDefault-L2}我们有皮革 重皮革 盔甲 重盔甲 布料 布+皮{\r}
Dialogue: 2,0:31:02.11,0:31:04.36,Default,,0,0,0,,{\fad(200,200)}weapons specific and gun specific\N{\fad(200,200)\rDefault-L2}以及特定武器和特定枪械{\r}
Dialogue: 2,0:31:04.65,0:31:08.65,Default,,0,0,0,,{\fad(200,200)}so we can combine these in different ways to make different armors in the game\N{\fad(200,200)\rDefault-L2}所以我们可以用不同的方式组合它们 在游戏中制造不同的盔甲音效{\r}
Dialogue: 2,0:31:10.81,0:31:12.26,Default,,0,0,0,,{\fad(200,200)}A breathing system\N{\fad(200,200)\rDefault-L2}呼吸系统{\r}
Dialogue: 2,0:31:12.68,0:31:21.54,Default,,0,0,0,,{\fad(200,200)}the animations were synced to the breathing system for this, just the resting animations  \N{\fad(200,200)\rDefault-L2}休息状态的动画被同步到呼吸系统{\r}
Dialogue: 2,0:31:21.54,0:31:24.04,Default,,0,0,0,,{\fad(200,200)}so it's so it looked like it was in sync\N{\fad(200,200)\rDefault-L2}所以看起来是同步的{\r}
Dialogue: 2,0:31:24.29,0:31:27.03,Default,,0,0,0,,{\fad(200,200)}We have three states, low exertion to high exertion\N{\fad(200,200)\rDefault-L2}我们有三种运动状态 从低强度到高强度{\r}
Dialogue: 2,0:31:28.51,0:31:35.06,Default,,0,0,0,,{\fad(200,200)}and then we also generated a level of exertion by calculating how fast the character was going and how much they have exerted\N{\fad(200,200)\rDefault-L2}然后我们也通过计算角色的移动速度和出力多少 生成运动强度等级{\r}
Dialogue: 2,0:31:35.43,0:31:39.40,Default,,0,0,0,,{\fad(200,200)}we had different breathing for hot cold and poison hazards\N{\fad(200,200)\rDefault-L2}我们有不同的呼吸对应冷、热和中毒状态{\r}
Dialogue: 2,0:31:40.52,0:31:46.56,Default,,0,0,0,,{\fad(200,200)}And yeah the breathing system and the exertion system worked well together\N{\fad(200,200)\rDefault-L2}是的 呼吸系统和运动强度系统配合得很好{\r}
Dialogue: 2,0:31:46.56,0:31:52.67,Default,,0,0,0,,{\fad(200,200)}the way we got them to sync up is we actually played an inhale after an exertion \N{\fad(200,200)\rDefault-L2}我们让它们同步的方法是 我们在每次用力后播放吸气音效{\r}
Dialogue: 2,0:31:52.67,0:31:54.70,Default,,0,0,0,,{\fad(200,200)}and then it just felt really natural \N{\fad(200,200)\rDefault-L2}这样感觉很自然{\r}
Dialogue: 2,0:31:55.08,0:32:00.43,Default,,0,0,0,,{\fad(200,200)}So now I have a video I'm gonna show you guys some of the procedural foley working in a cutscene \N{\fad(200,200)\rDefault-L2}那么现在我有一个视频 我要给你们展示在一个过场动画中 程序化Foley是如何工作的{\r}
Dialogue: 2,0:32:00.65,0:32:03.89,Default,,0,0,0,,{\fad(200,200)}some edited foley in there but it's mostly procedural \N{\fad(200,200)\rDefault-L2}里面有些编辑过的Foley 但大部分都是程序化的{\r}
Dialogue: 2,0:32:03.97,0:32:08.07,Default,,0,0,0,,{\fad(200,200)}There was a few scenes of that, I left the dialogue in, so we're not just listening to foley\N{\fad(200,200)\rDefault-L2}其中包括几个场景 我把对话留在里面了 所以我们听到的不只有Foley{\r}
Dialogue: 2,0:32:08.11,0:32:11.46,Default,,0,0,0,,{\fad(200,200)}and I'm gonna show you the breathing system with combat\N{\fad(200,200)\rDefault-L2}然后我会向你演示战斗中的呼吸系统{\r}
Dialogue: 2,0:32:11.63,0:32:14.89,Default,,0,0,0,,{\fad(200,200)}foley with three different sets of armor\N{\fad(200,200)\rDefault-L2}有三套不同的盔甲的Foley{\r}
Dialogue: 2,0:32:14.89,0:32:17.20,Default,,0,0,0,,{\fad(200,200)}and then hot and cold hazards\N{\fad(200,200)\rDefault-L2}然后是冷、热环境{\r}
Dialogue: 1,0:32:20.05,0:32:21.82,Default-Box,,0,0,0,,{\fad(200,200)}舵控制 报告 
Dialogue: 1,0:32:22.31,0:32:23.24,Default-Box,,0,0,0,,{\fad(200,200)}我们在漂流
Dialogue: 1,0:32:23.84,0:32:25.69,Default-Box,,0,0,0,,{\fad(200,200)}飞行控制没有反应
Dialogue: 1,0:32:27.55,0:32:29.86,Default-Box,,0,0,0,,{\fad(200,200)}第一要务是解决这些中断问题
Dialogue: 1,0:32:30.44,0:32:34.48,Default-Box,,0,0,0,,{\fad(200,200)}主线能源被切断了！ 我们在用预备能源 上尉！ 它们坚持不了多久！
Dialogue: 1,0:32:37.64,0:32:38.89,Default-Box,,0,0,0,,{\fad(200,200)}我们的位置是？
Dialogue: 1,0:32:39.46,0:32:41.38,Default-Box,,0,0,0,,{\fad(200,200)}未知 我们失去了遥测
Dialogue: 1,0:32:41.66,0:32:43.62,Default-Box,,0,0,0,,{\fad(200,200)}山姆 我们需要在外边插眼
Dialogue: 1,0:32:46.95,0:32:48.15,Default-Box,,0,0,0,,{\fad(200,200)}能腾出点空间吗？
Dialogue: 1,0:32:52.12,0:32:52.87,Default-Box,,0,0,0,,{\fad(200,200)}谢谢
Dialogue: 1,0:32:53.92,0:32:57.40,Default-Box,,0,0,0,,{\fad(200,200)}这到底是什么？
Dialogue: 1,0:33:06.09,0:33:09.35,Default-Box,,0,0,0,,{\fad(200,200)}不知道 但我们的工作是搞清楚
Dialogue: 1,0:33:09.67,0:33:11.62,Default-Box,,0,0,0,,{\fad(200,200)}听起来像你老爸在说话
Dialogue: 1,0:33:12.48,0:33:16.74,Default-Box,,0,0,0,,{\fad(200,200)}他是对的 这里出了点问题 我们得找出原因
Dialogue: 1,0:33:16.96,0:33:18.27,Default-Box,,0,0,0,,{\fad(200,200)}一件一件事情来
Dialogue: 1,0:33:21.67,0:33:22.50,Default-Box,,0,0,0,,{\fad(200,200)}Ryder
Dialogue: 1,0:33:22.61,0:33:23.54,Default-Box,,0,0,0,,{\fad(200,200)}是Fisher
Dialogue: 1,0:33:25.35,0:33:27.90,Default-Box,,0,0,0,,{\fad(200,200)}等等.. 看
Dialogue: 1,0:33:42.03,0:33:43.50,Default-Box,,0,0,0,,{\fad(200,200)}可以 结束了
Dialogue: 1,0:33:43.60,0:33:45.47,Default-Box,,0,0,0,,{\fad(200,200)}Fisher 你还好吗？
Dialogue: 1,0:33:46.82,0:33:49.57,Default-Box,,0,0,0,,{\fad(200,200)}我还能活 以为我已经死了
Dialogue: 1,0:33:49.75,0:33:51.87,Default-Box,,0,0,0,,{\fad(200,200)}对不起 赖德 我知道你想给和平一个机会
Dialogue: 1,0:33:54.09,0:33:56.80,Default-Box,,0,0,0,,{\fad(200,200)}那里开始变得难看了 我想我们没有选择了
Dialogue: 1,0:33:57.95,0:34:03.25,Default-Box,,0,0,0,,{\fad(200,200)}你救了我的命 在坠机中幸免于难 却又被外星人射中
Dialogue: 1,0:34:03.58,0:34:05.19,Default-Box,,0,0,0,,{\fad(200,200)}就知道他们不是友好的那种
Dialogue: 1,0:34:07.55,0:34:09.46,Default-Box,,0,0,0,,{\fad(200,200)}我们还是不知道他们想要什么
Dialogue: 2,0:35:35.27,0:35:36.93,Default,,0,0,0,,{\fad(200,200)}It's little awkward by itself\N{\fad(200,200)\rDefault-L2}单独听起来有点尴尬{\r}
Dialogue: 2,0:35:36.97,0:35:38.66,Default,,0,0,0,,{\fad(200,200)}but in the mix, it's pretty cool\N{\fad(200,200)\rDefault-L2}但在混音中 还是很酷的{\r}
Dialogue: 2,0:35:39.36,0:35:41.79,Default,,0,0,0,,{\fad(200,200)}So we're going to move on to levels and ambience here\N{\fad(200,200)\rDefault-L2}所以我们要在这里继续介绍关卡和环境声{\r}
Dialogue: 2,0:35:42.13,0:35:46.11,Default,,0,0,0,,{\fad(200,200)}so we have two different types of levels in the game \N{\fad(200,200)\rDefault-L2}所以我们在游戏中有两种不同类型的关卡{\r}
Dialogue: 2,0:35:46.11,0:35:48.73,Default,,0,0,0,,{\fad(200,200)}we had open world and linear story-driven \N{\fad(200,200)\rDefault-L2}我们有开放世界的和线性故事驱动的{\r}
Dialogue: 2,0:35:49.15,0:35:51.51,Default,,0,0,0,,{\fad(200,200)}so we have two different approaches to these levels \N{\fad(200,200)\rDefault-L2}所以我们有对应两种不同的设计方法{\r}
Dialogue: 2,0:35:51.60,0:35:54.57,Default,,0,0,0,,{\fad(200,200)}For the open world, a player could be anywhere at any time so we have systems..\N{\fad(200,200)\rDefault-L2}对于开放世界 玩家可以随时出现在任何地方{\r}
Dialogue: 2,0:35:54.71,0:35:56.92,Default,,0,0,0,,{\fad(200,200)}have to be robust to support this\N{\fad(200,200)\rDefault-L2}所以我们的系统必须足够稳健来支持这一点{\r}
Dialogue: 2,0:35:57.64,0:36:01.17,Default,,0,0,0,,{\fad(200,200)}And then for the linear areas we did more hand-scripted approach\N{\fad(200,200)\rDefault-L2}然后对于线性关卡区域 我们做了更多的手动调整{\r}
Dialogue: 2,0:36:03.29,0:36:06.05,Default,,0,0,0,,{\fad(200,200)}So we use a lot quad ambiences for our base\N{\fad(200,200)\rDefault-L2}所以我们使用了很多Quad环境声作为基底{\r}
Dialogue: 2,0:36:07.02,0:36:11.90,Default,,0,0,0,,{\fad(200,200)}We can switch out quad ambiences depending on user created zone \N{\fad(200,200)\rDefault-L2}我们可以根据用户创建的区域切换Quad环境声{\r}
Dialogue: 2,0:36:11.90,0:36:13.72,Default,,0,0,0,,{\fad(200,200)}so like area types, interior/exterior\N{\fad(200,200)\rDefault-L2}比如区域类型 内部/外部{\r}
Dialogue: 2,0:36:13.72,0:36:15.29,Default,,0,0,0,,{\fad(200,200)}urban, forest, canyon\N{\fad(200,200)\rDefault-L2}城市 森林 峡谷{\r}
Dialogue: 2,0:36:15.29,0:36:21.57,Default,,0,0,0,,{\fad(200,200)}or whatever the person implementing chose to switch out the ambience \N{\fad(200,200)\rDefault-L2}或者配置者选择的任何什么来替换环境声{\r}
Dialogue: 2,0:36:21.87,0:36:24.49,Default,,0,0,0,,{\fad(200,200)}And then we had a system called Overlays\N{\fad(200,200)\rDefault-L2}然后 我们有一个叫做“覆盖层”的系统{\r}
Dialogue: 2,0:36:24.49,0:36:28.09,Default,,0,0,0,,{\fad(200,200)}this system working in conjunction with the quad ambiences\N{\fad(200,200)\rDefault-L2}这个系统与Quad环境声配合工作{\r}
Dialogue: 2,0:36:28.09,0:36:30.75,Default,,0,0,0,,{\fad(200,200)}this basically what it did is\N{\fad(200,200)\rDefault-L2}基本上是这样的{\r}
Dialogue: 2,0:36:30.90,0:36:32.20,Default,,0,0,0,,{\fad(200,200)}it has a stereo or mono sound\N{\fad(200,200)\rDefault-L2}有一个立体声或单声道的声音{\r}
Dialogue: 2,0:36:33.01,0:36:36.75,Default,,0,0,0,,{\fad(200,200)}it basically plays off the player's head \N{\fad(200,200)\rDefault-L2}在玩家的头上方播放{\r}
Dialogue: 2,0:36:37.03,0:36:38.78,Default,,0,0,0,,{\fad(200,200)}and then kind of moves around the head\N{\fad(200,200)\rDefault-L2}然后绕着头移动播放{\r}
Dialogue: 2,0:36:40.59,0:36:44.95,Default,,0,0,0,,{\fad(200,200)}We could add filtering and kind of a modulation to that as well \N{\fad(200,200)\rDefault-L2}我们也可以加上滤波和一些调制{\r}
Dialogue: 2,0:36:44.95,0:36:48.41,Default,,0,0,0,,{\fad(200,200)}and we can put things in there like wind, tonal elements, distant, walla\N{\fad(200,200)\rDefault-L2}我们可以把一些东西放在里面 比如风 Tonal元素 距离元素 群杂{\r}
Dialogue: 2,0:36:49.31,0:36:55.55,Default,,0,0,0,,{\fad(200,200)}Big worlds. These are one shot kind of how we play one shots in the game  \N{\fad(200,200)\rDefault-L2}大世界 这是指我们在游戏中播放One-Shot的方式{\r}
Dialogue: 2,0:36:55.55,0:36:58.41,Default,,0,0,0,,{\fad(200,200)}You can randomize position and distance of these\N{\fad(200,200)\rDefault-L2}你可以随机化它们的位置和距离{\r}
Dialogue: 2,0:36:58.41,0:37:00.05,Default,,0,0,0,,{\fad(200,200)}it's head-relative to the player\N{\fad(200,200)\rDefault-L2}它对于玩家是头相关的{\r}
Dialogue: 2,0:37:00.68,0:37:04.07,Default,,0,0,0,,{\fad(200,200)}Procedural locators. This is kind of a big one we developed\N{\fad(200,200)\rDefault-L2}程序化定位声源 这是我们开发的一个大功能{\r}
Dialogue: 2,0:37:04.07,0:37:05.63,Default,,0,0,0,,{\fad(200,200)}Basically what this is\N{\fad(200,200)\rDefault-L2}基本上这个就是{\r}
Dialogue: 2,0:37:06.06,0:37:10.59,Default,,0,0,0,,{\fad(200,200)}it's all procedurally place sound object that snap to objects in a level\N{\fad(200,200)\rDefault-L2}程序化地将声音对象绑定到某个关卡中的一系列物体{\r}
Dialogue: 2,0:37:10.98,0:37:16.07,Default,,0,0,0,,{\fad(200,200)}the system was integral for us getting complete coverage over very large areas of the game\N{\fad(200,200)\rDefault-L2}对于游戏中大范围区域的多个声源绑定 这个系统是不可或缺的{\r}
Dialogue: 2,0:37:16.42,0:37:19.63,Default,,0,0,0,,{\fad(200,200)}So in total there's about three hundred procedure locators\N{\fad(200,200)\rDefault-L2}所以总共有大概三百个程序化定位声源{\r}
Dialogue: 2,0:37:19.63,0:37:23.60,Default,,0,0,0,,{\fad(200,200)}that're things like computer screens and.. like just minor things in the world \N{\fad(200,200)\rDefault-L2}就像(游戏世界中的)电脑屏幕和其它小物件{\r}
Dialogue: 2,0:37:24.30,0:37:25.13,Default,,0,0,0,,{\fad(200,200)}so\N{\fad(200,200)\rDefault-L2}所以{\r}
Dialogue: 2,0:37:25.13,0:37:28.22,Default,,0,0,0,,{\fad(200,200)}there's about three hundred so we attach sound to three hundred of these things\N{\fad(200,200)\rDefault-L2}大约有三百个 所以我们要把声音绑定在这三百个物体上面{\r}
Dialogue: 2,0:37:28.22,0:37:33.11,Default,,0,0,0,,{\fad(200,200)}and then we opened up a level and just to check to see how many procedure locators were placed in a level \N{\fad(200,200)\rDefault-L2}然后我们打开一个关卡 查看在这个关卡中放置了多少程序化定位声源{\r}
Dialogue: 2,0:37:33.11,0:37:37.62,Default,,0,0,0,,{\fad(200,200)}and there's over fifty seven hundred placed objects that we didn't have to touch \N{\fad(200,200)\rDefault-L2}其中有五千七百多个物体我们不用碰{\r}
Dialogue: 2,0:37:37.94,0:37:39.64,Default,,0,0,0,,{\fad(200,200)}we just have to do the three hundred \N{\fad(200,200)\rDefault-L2}我们只需要做那三百个{\r}
Dialogue: 2,0:37:39.82,0:37:44.72,Default,,0,0,0,,{\fad(200,200)}We did have a way of cleaning this stuff out we had a max count and also\N{\fad(200,200)\rDefault-L2}我们有办法清理这些东西 我们有一个最大实例数{\r}
Dialogue: 2,0:37:45.39,0:37:48.92,Default,,0,0,0,,{\fad(200,200)}..we took into the account how far the player was from one of these things \N{\fad(200,200)\rDefault-L2} 而且我们会考虑到玩家离这些东西有多远{\r}
Dialogue: 2,0:37:48.92,0:37:51.39,Default,,0,0,0,,{\fad(200,200)}so I think max count was between three and nine\N{\fad(200,200)\rDefault-L2}所以我想其最大实例数在3到9之间{\r}
Dialogue: 2,0:37:52.49,0:37:54.86,Default,,0,0,0,,{\fad(200,200)}But yeah so this is the test level \N{\fad(200,200)\rDefault-L2}这是测试关卡{\r}
Dialogue: 2,0:37:55.32,0:38:00.02,Default,,0,0,0,,{\fad(200,200)}where we can test out all our kind of logic for ambience systems  \N{\fad(200,200)\rDefault-L2}在这里我们可以测试出环境系统的所有逻辑{\r}
Dialogue: 2,0:38:00.02,0:38:02.26,Default,,0,0,0,,{\fad(200,200)}so these are buildings you would see in the game\N{\fad(200,200)\rDefault-L2}你会在实际游戏中看到这些建筑{\r}
Dialogue: 2,0:38:02.68,0:38:10.25,Default,,0,0,0,,{\fad(200,200)}these would contain logic for interior/exterior transitions as well as the procedural locators \N{\fad(200,200)\rDefault-L2}这些建筑会包含室内/外过渡逻辑 以及程序化定位声源{\r}
Dialogue: 2,0:38:10.63,0:38:12.28,Default,,0,0,0,,{\fad(200,200)}So if I pull these away\N{\fad(200,200)\rDefault-L2}所以如果我把这些建筑拿走{\r}
Dialogue: 2,0:38:12.44,0:38:16.24,Default,,0,0,0,,{\fad(200,200)}all these little pink speakers are stuff that we didn't have to place by hand\N{\fad(200,200)\rDefault-L2}所有这些粉红色的小喇叭都是我们不必手工放置的东西{\r}
Dialogue: 2,0:38:18.14,0:38:19.35,Default,,0,0,0,,{\fad(200,200)}Yeah it's pretty cool \N{\fad(200,200)\rDefault-L2}是的 很酷{\r}
Dialogue: 2,0:38:19.35,0:38:25.26,Default,,0,0,0,,{\fad(200,200)}So I've got a video and I'm gonna show you an exterior to interior transition \N{\fad(200,200)\rDefault-L2}我有一个视频 将会向你展示从室外到室内的过渡{\r}
Dialogue: 2,0:38:25.56,0:38:29.62,Default,,0,0,0,,{\fad(200,200)}it's going to.. you're gonna see the procedure locators kind of grey out \N{\fad(200,200)\rDefault-L2}你会看到程序化定位声源是灰色的{\r}
Dialogue: 2,0:38:29.62,0:38:34.23,Default,,0,0,0,,{\fad(200,200)}and then they'll turn green when you get close to them \N{\fad(200,200)\rDefault-L2}而当你靠近它们时 它们就会变绿{\r}
Dialogue: 2,0:38:34.72,0:38:38.05,Default,,0,0,0,,{\fad(200,200)}and then I'm gonna show you an exterior to interior transition  \N{\fad(200,200)\rDefault-L2}然后我再给你看一个从室外到室内的过渡{\r}
Dialogue: 2,0:38:38.05,0:38:41.00,Default,,0,0,0,,{\fad(200,200)}you're gonna see a red ball \N{\fad(200,200)\rDefault-L2}你会看到一个红球{\r}
Dialogue: 2,0:38:41.30,0:38:44.45,Default,,0,0,0,,{\fad(200,200)}and what we did with the interior sounds is \N{\fad(200,200)\rDefault-L2}我们对室内声音的处理是{\r}
Dialogue: 2,0:38:44.45,0:38:49.97,Default,,0,0,0,,{\fad(200,200)}when the player would get close to the interiors, the interior sound kind of follows the player \N{\fad(200,200)\rDefault-L2}当玩家靠近室内时 室内声音会跟随玩家{\r}
Dialogue: 2,0:38:49.97,0:38:52.09,Default,,0,0,0,,{\fad(200,200)}and it'll be occluded by walls but if it\N{\fad(200,200)\rDefault-L2}它会被墙壁挡住{\r}
Dialogue: 2,0:38:52.31,0:38:58.80,Default,,0,0,0,,{\fad(200,200)}..comes close to the door and you walk through the door, it'll pick up on the head and then follow the player  \N{\fad(200,200)\rDefault-L2}但是如果它靠近门 而玩家正走过门 它会到玩家头顶上 然后跟着玩家走{\r}
Dialogue: 2,0:38:58.80,0:39:02.77,Default,,0,0,0,,{\fad(200,200)}and then as you exit it will leave it at the door or at the window or whatever your exit at\N{\fad(200,200)\rDefault-L2}当你离开的时候 它会留在门口、窗户上 或者任何你走出去的地方{\r}
Dialogue: 2,0:39:02.95,0:39:07.44,Default,,0,0,0,,{\fad(200,200)}It's pretty cool. If *they shot out of window and you get close to it you have bleed from the window \N{\fad(200,200)\rDefault-L2}这很酷 如果有人从窗户里向外射击 当你靠近窗户 你会听到窗户内的声音渗透过来{\r}
Dialogue: 2,0:39:07.83,0:39:09.98,Default,,0,0,0,,{\fad(200,200)}But yeah, we'll show you that\N{\fad(200,200)\rDefault-L2}我们会给你展示{\r}
Dialogue: 2,0:40:08.94,0:40:10.58,Default,,0,0,0,,{\fad(200,200)}So let's move on to Mixing and Mastering\N{\fad(200,200)\rDefault-L2}那么让我们接着讲混音和母带{\r}
Dialogue: 2,0:40:10.59,0:40:13.95,Default,,0,0,0,,{\fad(200,200)}So we spent about a month mixing the game prior to certification\N{\fad(200,200)\rDefault-L2}我们花了大约一个月的时间在认证前对游戏做混音{\r}
Dialogue: 2,0:40:15.40,0:40:18.10,Default,,0,0,0,,{\fad(200,200)}we pre-mix the game every milestone \N{\fad(200,200)\rDefault-L2}我们会在每一个阶段里程碑进行预混{\r}
Dialogue: 2,0:40:18.29,0:40:21.94,Default,,0,0,0,,{\fad(200,200)}but we had a month before certification that we can mix \N{\fad(200,200)\rDefault-L2}但我们在认证前 会有一个月时间用来混音{\r}
Dialogue: 2,0:40:22.55,0:40:26.91,Default,,0,0,0,,{\fad(200,200)}The game is over a hundred plus hours so it was impossible to hear everything in that time\N{\fad(200,200)\rDefault-L2}游戏时间超过一百个小时 所以在这一个月内想听到所有内容是不可能的{\r}
Dialogue: 2,0:40:26.98,0:40:32.34,Default,,0,0,0,,{\fad(200,200)}so I think in that playthrough we got through two full playthroughs and side quests \N{\fad(200,200)\rDefault-L2}我记得对于本作 我们经历了两次完整的游戏体验 包括支线任务{\r}
Dialogue: 2,0:40:32.34,0:40:34.79,Default,,0,0,0,,{\fad(200,200)}and then we have to spot check a lot of the open areas \N{\fad(200,200)\rDefault-L2}然后我们要抽查很多开放世界区域{\r}
Dialogue: 2,0:40:35.46,0:40:41.01,Default,,0,0,0,,{\fad(200,200)}We relied heavily on systems and implementation standards to ensure quality \N{\fad(200,200)\rDefault-L2}我们非常依赖系统和植入标准来保证质量{\r}
Dialogue: 2,0:40:42.95,0:40:48.57,Default,,0,0,0,,{\fad(200,200)}So we basically got the all the designers to a kind of.. we worked at a reference level\N{\fad(200,200)\rDefault-L2}所以我们基本上让所有的设计师都在一个参考电平上工作{\r}
Dialogue: 2,0:40:49.12,0:40:53.43,Default,,0,0,0,,{\fad(200,200)}and we also applied loose standards for each different type of content \N{\fad(200,200)\rDefault-L2}我们还为每种不同类型的内容制定了较为松散的标准{\r}
Dialogue: 2,0:40:53.49,0:40:58.44,Default,,0,0,0,,{\fad(200,200)}so that when it came to us and we're in this mix session, we weren't sitting with a hot mess \N{\fad(200,200)\rDefault-L2}所以 当这些内容来到我们这里时 我们在混音的开始不会是一团糟{\r}
Dialogue: 2,0:41:01.22,0:41:04.84,Default,,0,0,0,,{\fad(200,200)}We used a primarily signal based mixers(RMS), so..\N{\fad(200,200)\rDefault-L2}我们主要使用基于信号的RMS混音器 所以…{\r}
Dialogue: 2,0:41:05.55,0:41:08.73,Default,,0,0,0,,{\fad(200,200)}except for in combat with the micro-state mixing, those are static\N{\fad(200,200)\rDefault-L2}除了在战斗过程中的微态混音外(这些是静态的){\r}
Dialogue: 2,0:41:08.73,0:41:14.70,Default,,0,0,0,,{\fad(200,200)}but with anything we're doing if we wanted to use a mixer to turn something down with something else  \N{\fad(200,200)\rDefault-L2}但是如果我们想用混音器来同时调低某些东西的音量{\r}
Dialogue: 2,0:41:14.70,0:41:18.61,Default,,0,0,0,,{\fad(200,200)}we'd use RMS mixer which is basically taking a signal in\N{\fad(200,200)\rDefault-L2}我们将使用RMS混音器 基本上 它会接收信号..{\r}
Dialogue: 2,0:41:18.89,0:41:20.51,Default,,0,0,0,,{\fad(200,200)}it's much more..\N{\fad(200,200)\rDefault-L2}它更…{\r}
Dialogue: 2,0:41:21.10,0:41:23.87,Default,,0,0,0,,{\fad(200,200)}so when it releases it's releasing much more naturally\N{\fad(200,200)\rDefault-L2}所以当它释放的时候 它会释放得更自然{\r}
Dialogue: 2,0:41:24.20,0:41:26.89,Default,,0,0,0,,{\fad(200,200)}it's not just static and hard\N{\fad(200,200)\rDefault-L2}而不仅仅是静态的和硬性的{\r}
Dialogue: 2,0:41:27.66,0:41:31.96,Default,,0,0,0,,{\fad(200,200)}We used the Frostbite HDR system for cleaning up mixing combat\N{\fad(200,200)\rDefault-L2}我们使用寒霜引擎的HDR系统来对战斗过程混音{\r}
Dialogue: 2,0:41:32.59,0:41:36.47,Default,,0,0,0,,{\fad(200,200)}This is inherent to the Frostbite audio engine\N{\fad(200,200)\rDefault-L2}这是寒霜音频引擎固有的{\r}
Dialogue: 2,0:41:36.60,0:41:40.32,Default,,0,0,0,,{\fad(200,200)}if you don't know what is it's kind of like a priority system based on loudness\N{\fad(200,200)\rDefault-L2}如果你不知道这是什么 它就像一个基于响度的优先系统{\r}
Dialogue: 2,0:41:40.63,0:41:42.83,Default,,0,0,0,,{\fad(200,200)}I can get into it deeper but I'm not going to...\N{\fad(200,200)\rDefault-L2}我可以深入讲解 但我不会..{\r}
Dialogue: 2,0:41:44.50,0:41:48.17,Default,,0,0,0,,{\fad(200,200)}We use.. We also developed, yeah, dynamic EQ in our master patch \N{\fad(200,200)\rDefault-L2}我们还在主补丁中开发了动态EQ{\r}
Dialogue: 2,0:41:48.31,0:41:53.05,Default,,0,0,0,,{\fad(200,200)}we took kind of like iZotope Final Mix and kind of we're inspired by it  \N{\fad(200,200)\rDefault-L2}我们受到iZotope Final Mix的启发{\r}
Dialogue: 2,0:41:53.05,0:41:57.20,Default,,0,0,0,,{\fad(200,200)}and we built a dynamic EQ in our master patch so \N{\fad(200,200)\rDefault-L2}然后在主Patch中构建了一个动态EQ{\r}
Dialogue: 2,0:41:58.18,0:42:02.11,Default,,0,0,0,,{\fad(200,200)}Basically this one here is for VO \N{\fad(200,200)\rDefault-L2}基本上 这里的这个是给VO的{\r}
Dialogue: 2,0:42:02.11,0:42:06.95,Default,,0,0,0,,{\fad(200,200)}so what we're doing here is we're taking the VO level, the RMS level \N{\fad(200,200)\rDefault-L2}所以我们要做的是 我们要取VO的RMS电平{\r}
Dialogue: 2,0:42:06.95,0:42:12.07,Default,,0,0,0,,{\fad(200,200)}and then we're triggering a peaking filter here and that's on the sfx bus  \N{\fad(200,200)\rDefault-L2}然后用它在这里触发一个峰值滤波器 那是在SFX总线上 {\r}
Dialogue: 2,0:42:12.07,0:42:13.73,Default,,0,0,0,,{\fad(200,200)}so everytime someone talks\N{\fad(200,200)\rDefault-L2}所以每当有人说话{\r}
Dialogue: 2,0:42:14.00,0:42:19.10,Default,,0,0,0,,{\fad(200,200)} we're massaging the frequencies with the voices out of the sound effects so \N{\fad(200,200)\rDefault-L2}我们用VO声音来对音效的频率做“按摩” {\r}
Dialogue: 2,0:42:19.10,0:42:20.90,Default,,0,0,0,,{\fad(200,200)}it's very transparent\N{\fad(200,200)\rDefault-L2}让VO非常透明地传达{\r}
Dialogue: 2,0:42:21.70,0:42:23.49,Default,,0,0,0,,{\fad(200,200)}you can get a really clean mix with this \N{\fad(200,200)\rDefault-L2}用这个你可以得到很干净的混音{\r}
Dialogue: 2,0:42:23.56,0:42:28.75,Default,,0,0,0,,{\fad(200,200)}And this is our.. we actually built a VO dynamic EQ \N{\fad(200,200)\rDefault-L2}这是我们的…我们实际上建立了一个VO的动态EQ{\r}
Dialogue: 2,0:42:28.85,0:42:32.23,Default,,0,0,0,,{\fad(200,200)}so we're actually mastering the VO on the fly at run time \N{\fad(200,200)\rDefault-L2}所以我们实际上是实时对VO做母带处理{\r}
Dialogue: 2,0:42:32.56,0:42:33.37,Default,,0,0,0,,{\fad(200,200)}so\N{\fad(200,200)\rDefault-L2}那么{\r}
Dialogue: 2,0:42:33.57,0:42:38.25,Default,,0,0,0,,{\fad(200,200)}96000 lines, you're gonna get some lines that aren't recorded the best \N{\fad(200,200)\rDefault-L2}96000条对话 你总会有一些录得不好的{\r}
Dialogue: 2,0:42:38.25,0:42:39.36,Default,,0,0,0,,{\fad(200,200)}yeah you might..\N{\fad(200,200)\rDefault-L2}是的 你可能…{\r}
Dialogue: 2,0:42:39.70,0:42:41.34,Default,,0,0,0,,{\fad(200,200)}you know not everything is going to be perfect \N{\fad(200,200)\rDefault-L2}你知道不是所有的事情都会完美的{\r}
Dialogue: 2,0:42:41.34,0:42:47.42,Default,,0,0,0,,{\fad(200,200)}so what we did is we actually set up using high and low pass filters running through an RMS signal nod \N{\fad(200,200)\rDefault-L2}所以我们所做的是 我们实际上是在RMS信号节点处设置了高通和低通滤波器{\r}
Dialogue: 2,0:42:47.42,0:42:54.02,Default,,0,0,0,,{\fad(200,200)}we created bands in the kind of areas that you want to mix to clean your VO up\N{\fad(200,200)\rDefault-L2}我们在你想要提升VO清晰度的频段创建了滤波频带{\r}
Dialogue: 2,0:42:54.29,0:43:00.46,Default,,0,0,0,,{\fad(200,200)}and then basically at run time when people would speak, it would master their VO \N{\fad(200,200)\rDefault-L2}然后在游戏运行时 人们会说话 它就会对VO做母带{\r}
Dialogue: 2,0:43:02.03,0:43:03.43,Default,,0,0,0,,{\fad(200,200)}so what's next\N{\fad(200,200)\rDefault-L2}那么接下来是什么呢？{\r}
Dialogue: 2,0:43:05.03,0:43:10.17,Default,,0,0,0,,{\fad(200,200)}Most of these systems have been carried over to Anthem and we've already starting proving them \N{\fad(200,200)\rDefault-L2}这些系统中的大部分都被移植到了《Anthem》 我们已经开始确认它们了{\r}
Dialogue: 2,0:43:10.95,0:43:15.10,Default,,0,0,0,,{\fad(200,200)}so basically we are already hitting a high quality bar with Anthem\N{\fad(200,200)\rDefault-L2}所以基本上我们已经让《Anthem》达到高质量的水准了{\r}
Dialogue: 2,0:43:15.22,0:43:19.14,Default,,0,0,0,,{\fad(200,200)} because you've already got the system so we can just concentrate on the sound design \N{\fad(200,200)\rDefault-L2}因为已经有了这个系统 所以我们可以专注于声音设计{\r}
Dialogue: 2,0:43:19.94,0:43:23.34,Default,,0,0,0,,{\fad(200,200)}With new systems: Game Object Mixers \N{\fad(200,200)\rDefault-L2}加入了新系统：游戏对象混音器{\r}
Dialogue: 2,0:43:23.34,0:43:26.20,Default,,0,0,0,,{\fad(200,200)}this is something if you've used Wwise, you know what game object mixer is \N{\fad(200,200)\rDefault-L2}如果你用过Wwise 你知道游戏对象混音器是什么{\r}
Dialogue: 2,0:43:26.20,0:43:28.50,Default,,0,0,0,,{\fad(200,200)}it's something that Frostbite doesn't have  \N{\fad(200,200)\rDefault-L2}这是Frostbite没有的东西{\r}
Dialogue: 2,0:43:28.56,0:43:35.03,Default,,0,0,0,,{\fad(200,200)}so we miss it because we made two Mass Effects on Wwise \N{\fad(200,200)\rDefault-L2}所以我们很想念它 因为我们有两款《质量效应》都是在Wwise上开发的{\r}
Dialogue: 2,0:43:35.04,0:43:37.44,Default,,0,0,0,,{\fad(200,200)}so we miss the concept of an owner\N{\fad(200,200)\rDefault-L2}所以我们想念Owner的概念{\r}
Dialogue: 2,0:43:37.65,0:43:41.46,Default,,0,0,0,,{\fad(200,200)}so we're kind of we built it in to Frostbite\N{\fad(200,200)\rDefault-L2}所以我们把它做进了寒霜引擎{\r}
Dialogue: 2,0:43:41.76,0:43:43.68,Default,,0,0,0,,{\fad(200,200)}so this is basically\N{\fad(200,200)\rDefault-L2}所以这基本上是{\r}
Dialogue: 2,0:43:43.96,0:43:48.61,Default,,0,0,0,,{\fad(200,200)}we can mix things based on an owner dot rather than a mix group or bus level\N{\fad(200,200)\rDefault-L2}我们可以基于Owner节点进行混音 而不是在Mix Group或总线级别{\r}
Dialogue: 2,0:43:49.35,0:43:53.95,Default,,0,0,0,,{\fad(200,200)}We have Navpath Obstruction so what we're doing here \N{\fad(200,200)\rDefault-L2}我们有导航路径遮蔽系统 所以我们在这里做的{\r}
Dialogue: 2,0:43:54.27,0:43:55.91,Default,,0,0,0,,{\fad(200,200)}is where actually..\N{\fad(200,200)\rDefault-L2}实际上是…{\r}
Dialogue: 2,0:43:57.40,0:44:03.76,Default,,0,0,0,,{\fad(200,200)}utilizing the game's navpath to determine if a sound has a path to the listener  \N{\fad(200,200)\rDefault-L2}利用游戏的导航路径来确定声音是否有指向Listener的路径{\r}
Dialogue: 2,0:44:03.76,0:44:09.11,Default,,0,0,0,,{\fad(200,200)}this in combination with our conventional raycast will give a better resolution to obstruction checks \N{\fad(200,200)\rDefault-L2}这与我们常规的射线系统相结合 将为障碍物检查提供更高的精确度{\r}
Dialogue: 2,0:44:11.09,0:44:14.43,Default,,0,0,0,,{\fad(200,200)}World Anchors, this is Procedure Locators 2.0\N{\fad(200,200)\rDefault-L2}世界锚点 这是程序化定位声源2.0{\r}
Dialogue: 2,0:44:14.88,0:44:19.79,Default,,0,0,0,,{\fad(200,200)}it's just a much more integrated version of procedure locators into the game \N{\fad(200,200)\rDefault-L2}它是程序化定位声源在游戏中集成性更高的版本{\r}
Dialogue: 2,0:44:20.13,0:44:23.65,Default,,0,0,0,,{\fad(200,200)}actually other other departments like designer using these as well \N{\fad(200,200)\rDefault-L2}实际上其他部门 比如设计师也在使用这些{\r}
Dialogue: 2,0:44:24.60,0:44:27.55,Default,,0,0,0,,{\fad(200,200)}Contextual Ambient Presence System(CAPS)\N{\fad(200,200)\rDefault-L2}上下文环境表现系统（CAPS）{\r}
Dialogue: 2,0:44:27.64,0:44:31.19,Default,,0,0,0,,{\fad(200,200)}this is a foreshadowing system for creatures \N{\fad(200,200)\rDefault-L2}这是给游戏生物用的预示系统{\r}
Dialogue: 2,0:44:31.55,0:44:37.93,Default,,0,0,0,,{\fad(200,200)}basically what we want to do is if you are coming close to a specific area \N{\fad(200,200)\rDefault-L2}基本上 我们做的是 如果你接近一个特定的区域{\r}
Dialogue: 2,0:44:38.78,0:44:41.87,Default,,0,0,0,,{\fad(200,200)}we're gonna.. we want to foreshadow what could be in that area\N{\fad(200,200)\rDefault-L2}我们要…我们想预示一下那个地区会有什么{\r}
Dialogue: 2,0:44:41.87,0:44:45.01,Default,,0,0,0,,{\fad(200,200)}so that you might want to go into it  \N{\fad(200,200)\rDefault-L2}这样你就可以进入..{\r}
Dialogue: 2,0:44:45.01,0:44:49.03,Default,,0,0,0,,{\fad(200,200)}like if it's a too dangerous area you don't want to go into it, then you don't have to go into it\N{\fad(200,200)\rDefault-L2}如果(你感觉到)这是一个太危险的地方 你不想进入它 那么你就不必进入它{\r}
Dialogue: 2,0:44:49.03,0:44:54.23,Default,,0,0,0,,{\fad(200,200)}But if you're at level and you can go into that area, you can \N{\fad(200,200)\rDefault-L2}但如果你在同一水平 你就可以进入那个区域{\r}
Dialogue: 2,0:44:55.33,0:44:58.10,Default,,0,0,0,,{\fad(200,200)}and then more quad assets in combat yeah\N{\fad(200,200)\rDefault-L2}然后在战斗中有更多的Quad资产{\r}
Dialogue: 2,0:44:58.10,0:45:00.10,Default,,0,0,0,,{\fad(200,200)}we just like using quad stuff\N{\fad(200,200)\rDefault-L2}是的 我们就是喜欢用Quad的素材{\r}
Dialogue: 2,0:45:01.63,0:45:02.81,Default,,0,0,0,,{\fad(200,200)}and that's it\N{\fad(200,200)\rDefault-L2}就是这样{\r}
Dialogue: 2,0:45:13.49,0:45:14.74,Default,,0,0,0,,{\fad(200,200)}Anybody have any question?\N{\fad(200,200)\rDefault-L2}有人有问题吗？{\r}
Dialogue: 2,0:45:19.96,0:45:24.33,Default,,0,0,0,,{\fad(200,200)}(Hi, great presentation. Lots of very cool tech in there) Cool thank you \N{\fad(200,200)\rDefault-L2}（嗨 很棒的介绍 里面有很多很酷的技术）酷 谢谢{\r}
Dialogue: 2,0:45:25.19,0:45:30.54,Default,,0,0,0,,{\fad(200,200)}(For the bullet fly-by, apart from being very dangerous to yourself)\N{\fad(200,200)\rDefault-L2}（对于子弹呼啸声 除了对自己很危险之外）{\r}
Dialogue: 2,0:45:31.66,0:45:38.08,Default,,0,0,0,,{\fad(200,200)}(Are you playing a bullet flyby on every vfx that's coming through? Or you're doing some sort of..) \N{\fad(200,200)\rDefault-L2}（你是不是在每一个子弹视效上都放一个子弹声？还是你只是…）{\r}
Dialogue: 2,0:45:39.79,0:45:44.52,Default,,0,0,0,,{\fad(200,200)}It's funny. It's actually we have stereo asset\N{\fad(200,200)\rDefault-L2}很有趣 实际上我们有立体声的素材{\r}
Dialogue: 2,0:45:45.22,0:45:48.00,Default,,0,0,0,,{\fad(200,200)}then what the system does is as a bullet gets closer to you..\N{\fad(200,200)\rDefault-L2}那么系统所做的就是 当子弹离你越来越近时{\r}
Dialogue: 2,0:45:48.00,0:45:51.36,Default,,0,0,0,,{\fad(200,200)}so it's based on the.. it is vfx in the bullets I guess \N{\fad(200,200)\rDefault-L2}所以它是基于……我想是子弹里的VFX{\r}
Dialogue: 2,0:45:51.88,0:45:55.20,Default,,0,0,0,,{\fad(200,200)}And as it gets closer to you, play one side of the stereo \N{\fad(200,200)\rDefault-L2}当它靠近你时 播放立体声的一边{\r}
Dialogue: 2,0:45:55.25,0:46:01.15,Default,,0,0,0,,{\fad(200,200)}and then like we have a ring around the player, one side of the stereo and then the release is in the back or in front \N{\fad(200,200)\rDefault-L2}然后就好像我们在玩家周围有一个环 立体声的一边 然后释放在玩家后面或前面{\r}
Dialogue: 2,0:46:01.15,0:46:03.77,Default,,0,0,0,,{\fad(200,200)}so yeah it's not every bullet because..\N{\fad(200,200)\rDefault-L2}所以不是所有的子弹都有 因为…{\r}
Dialogue: 2,0:46:03.94,0:46:07.56,Default,,0,0,0,,{\fad(200,200)}yeah we have a scope on that  to minimize it but \N{\fad(200,200)\rDefault-L2}是的 我们有一个范围来将其最小化 但是{\r}
Dialogue: 2,0:46:07.60,0:46:09.65,Default,,0,0,0,,{\fad(200,200)}every second or third bullet so..\N{\fad(200,200)\rDefault-L2}大概每秒三颗子弹 所以…{\r}
Dialogue: 2,0:46:09.97,0:46:12.01,Default,,0,0,0,,{\fad(200,200)}(Cool, nice thank you) No problem\N{\fad(200,200)\rDefault-L2}（很好 谢谢）没问题{\r}
Dialogue: 2,0:46:14.32,0:46:19.56,Default,,0,0,0,,{\fad(200,200)}(Hi I was wondering how did you deal with the challenge of..)\N{\fad(200,200)\rDefault-L2}（嗨 我想知道你是如何应对这样的挑战的：）{\r}
Dialogue: 2,0:46:19.56,0:46:25.70,Default,,0,0,0,,{\fad(200,200)}(..finishing the project with lots of assets coming in may be last minute and..)\N{\fad(200,200)\rDefault-L2}（可能是在最后关头有大量资产进入的情况下完成项目）{\r}
Dialogue: 2,0:46:25.85,0:46:27.88,Default,,0,0,0,,{\fad(200,200)}(how do you prepare for that beforehand?)\N{\fad(200,200)\rDefault-L2}（你事先是怎么准备的？）{\r}
Dialogue: 2,0:46:29.60,0:46:31.47,Default,,0,0,0,,{\fad(200,200)}Yeah that's the thing is like..\N{\fad(200,200)\rDefault-L2}是的 就是这样…{\r}
Dialogue: 2,0:46:31.47,0:46:38.24,Default,,0,0,0,,{\fad(200,200)}Like I said earlier it's like we try to get our system's development done in like its early..\N{\fad(200,200)\rDefault-L2}就像我之前说的 我们试图在早期就完成(音频)系统的开发{\r}
Dialogue: 2,0:46:38.95,0:46:41.84,Default,,0,0,0,,{\fad(200,200)}just after pre-production I mean, there're still iterations on these systems \N{\fad(200,200)\rDefault-L2}紧接预制作阶段之后 我的意思是 这些系统仍然会迭代{\r}
Dialogue: 2,0:46:41.84,0:46:46.30,Default,,0,0,0,,{\fad(200,200)}but we try and get all that done so we're concentrating on the late stuff \N{\fad(200,200)\rDefault-L2}但我们努力把所有的系统相关都做好 以使我们把注意力集中在后来的事情上{\r}
Dialogue: 2,0:46:46.30,0:46:48.71,Default,,0,0,0,,{\fad(200,200)}but you know, stuff's gonna be late \N{\fad(200,200)\rDefault-L2}但你知道 有些资源会很晚才能到位{\r}
Dialogue: 2,0:46:48.71,0:46:52.73,Default,,0,0,0,,{\fad(200,200)}so we have to.. it's basically adapt. We have to adapt to the situation\N{\fad(200,200)\rDefault-L2}所以我们必须…基本上是随机应变 我们必须适应这种情况{\r}
Dialogue: 2,0:46:52.84,0:46:57.05,Default,,0,0,0,,{\fad(200,200)}But with the source library we had, we had so much quality source that like..\N{\fad(200,200)\rDefault-L2}但是有了源素材库 我们有很多高质量的源素材{\r}
Dialogue: 2,0:46:57.21,0:47:00.73,Default,,0,0,0,,{\fad(200,200)}when cinematics sorta coming in were just like okay we can grab this \N{\fad(200,200)\rDefault-L2}当过场动画加入时 我们可以从库里快速抓取{\r}
Dialogue: 2,0:47:00.88,0:47:03.37,Default,,0,0,0,,{\fad(200,200)}and the idea is just keep your source library organized\N{\fad(200,200)\rDefault-L2}总之就是让你的源素材库保持井然有序{\r}
Dialogue: 2,0:47:03.49,0:47:07.74,Default,,0,0,0,,{\fad(200,200)}like a lot of times like right now our Anthem I is a little messy\N{\fad(200,200)\rDefault-L2}就像很多时候 像现在我们的《Anthem》一样 会有点乱{\r}
Dialogue: 2,0:47:07.74,0:47:11.81,Default,,0,0,0,,{\fad(200,200)}so I'm probably gonna go in and just make sure it's good but yeah \N{\fad(200,200)\rDefault-L2}所以我可能会进去确认一下{\r}
Dialogue: 2,0:47:11.81,0:47:14.65,Default,,0,0,0,,{\fad(200,200)}so just making sure you have the content upfront, so..\N{\fad(200,200)\rDefault-L2}所以 只要确保你提前准备好内容{\r}
Dialogue: 2,0:47:17.86,0:47:24.13,Default,,0,0,0,,{\fad(200,200)}(You managed to keep this enormous scope in check with a lot of complex automation)\N{\fad(200,200)\rDefault-L2}（你设法用许多复杂的自动化来控制这么巨大的体量）{\r}
Dialogue: 2,0:47:24.13,0:47:26.67,Default,,0,0,0,,{\fad(200,200)}(..with all the foley systems and weapons)\N{\fad(200,200)\rDefault-L2}（包括Foley系统和武器）{\r}
Dialogue: 2,0:47:27.29,0:47:33.45,Default,,0,0,0,,{\fad(200,200)}(but there was one programmer on that 14 or 15 person team?) One programmer \N{\fad(200,200)\rDefault-L2}（但在这个14或15人的团队中只有一个程序员？）一个程序员{\r}
Dialogue: 2,0:47:33.76,0:47:37.45,Default,,0,0,0,,{\fad(200,200)}That's the thing is because it's an object-based engine \N{\fad(200,200)\rDefault-L2}这是因为它是一个基于对象的引擎{\r}
Dialogue: 2,0:47:38.04,0:47:42.03,Default,,0,0,0,,{\fad(200,200)}we don't have to rely on a programmer so much, we can do a lot ourselves\N{\fad(200,200)\rDefault-L2}我们不必太依赖程序员 我们可以自己做很多事情{\r}
Dialogue: 2,0:47:42.22,0:47:43.99,Default,,0,0,0,,{\fad(200,200)}so we build this stuff\N{\fad(200,200)\rDefault-L2}所以我们做这些东西{\r}
Dialogue: 2,0:47:44.06,0:47:47.14,Default,,0,0,0,,{\fad(200,200)}we build these systems along with ourselves \N{\fad(200,200)\rDefault-L2}我们自己建立这些系统{\r}
Dialogue: 2,0:47:47.14,0:47:49.72,Default,,0,0,0,,{\fad(200,200)}and then the programmer just make sure it's working on the low level \N{\fad(200,200)\rDefault-L2}然后程序员只需确保它在底层正常工作{\r}
Dialogue: 2,0:47:50.32,0:47:55.64,Default,,0,0,0,,{\fad(200,200)}We had one programmer but at the end of Mass Effect when everything was like coming in hot \N{\fad(200,200)\rDefault-L2}我们有一个程序员 但在《质量效应》快结束的时候 很多资源开始进入{\r}
Dialogue: 2,0:47:55.64,0:47:58.72,Default,,0,0,0,,{\fad(200,200)}basically we brought in another programmer \N{\fad(200,200)\rDefault-L2}基本上我们引进了另一个程序员{\r}
Dialogue: 2,0:47:58.72,0:48:01.43,Default,,0,0,0,,{\fad(200,200)}and he basically just was there to optimize, make sure it was all good \N{\fad(200,200)\rDefault-L2}他基本上只是在那里优化 确保一切顺利{\r}
Dialogue: 2,0:48:01.64,0:48:03.31,Default,,0,0,0,,{\fad(200,200)}so there was two I guess\N{\fad(200,200)\rDefault-L2}所以我想有两个{\r}
Dialogue: 2,0:48:03.54,0:48:04.62,Default,,0,0,0,,{\fad(200,200)}(hahaha)\N{\fad(200,200)\rDefault-L2}（哈哈哈）{\r}
Dialogue: 2,0:48:06.26,0:48:07.09,Default,,0,0,0,,{\fad(200,200)}(Hi)\N{\fad(200,200)\rDefault-L2}（HI）{\r}
Dialogue: 2,0:48:07.09,0:48:08.66,Default,,0,0,0,,{\fad(200,200)}(Great presentation)\N{\fad(200,200)\rDefault-L2}（很好的演讲）{\r}
Dialogue: 2,0:48:08.66,0:48:16.29,Default,,0,0,0,,{\fad(200,200)}(So my question is clearly there are so many systems to control the sound effects)\N{\fad(200,200)\rDefault-L2}（所以我的问题是 很明显有这么多的系统来控制音效）{\r}
Dialogue: 2,0:48:16.29,0:48:20.87,Default,,0,0,0,,{\fad(200,200)}(and I guess I was wondering if there were any systems to help the sound effects play nice with the music )\N{\fad(200,200)\rDefault-L2}（我在想是否有任何系统可以帮助音效更好地和音乐配合）{\r}
Dialogue: 2,0:48:22.49,0:48:29.55,Default,,0,0,0,,{\fad(200,200)}Yes. Actually it's funny cause Jeremy in the video he actually has a whole presentation on the music system\N{\fad(200,200)\rDefault-L2}对 实际上很有趣 因为在视频里的Jeremy 他有一个关于音乐系统的完整演示{\r}
Dialogue: 2,0:48:29.74,0:48:30.88,Default,,0,0,0,,{\fad(200,200)}(okay)\N{\fad(200,200)\rDefault-L2}（好）{\r}
Dialogue: 2,0:48:31.19,0:48:34.26,Default,,0,0,0,,{\fad(200,200)}What we did for that is..\N{\fad(200,200)\rDefault-L2}我们为此做的是……{\r}
Dialogue: 2,0:48:34.97,0:48:39.56,Default,,0,0,0,,{\fad(200,200)}sometimes we will do is bus the tonal content to different bus \N{\fad(200,200)\rDefault-L2}有时我们要做的是把Tonal的内容发送到不同的总线上{\r}
Dialogue: 2,0:48:39.56,0:48:42.45,Default,,0,0,0,,{\fad(200,200)}and then as music comes in, we'll duck that total content \N{\fad(200,200)\rDefault-L2}然后随着音乐的到来 我们会让Tonal内容闪避{\r}
Dialogue: 2,0:48:42.45,0:48:45.07,Default,,0,0,0,,{\fad(200,200)}cause we do like to use a lot of tone in our games \N{\fad(200,200)\rDefault-L2}因为我们喜欢在游戏中使用很多有调性的声音{\r}
Dialogue: 2,0:48:45.07,0:48:47.16,Default,,0,0,0,,{\fad(200,200)}and then so it doesn't clash\N{\fad(200,200)\rDefault-L2}这样 (音乐和Tonal音效)就不会发生冲突{\r}
Dialogue: 2,0:48:47.16,0:48:48.24,Default,,0,0,0,,{\fad(200,200)}(okay)\N{\fad(200,200)\rDefault-L2}（好）{\r}
Dialogue: 2,0:48:48.28,0:48:51.80,Default,,0,0,0,,{\fad(200,200)}yeah but it also.. sorting music group is amazing \N{\fad(200,200)\rDefault-L2}是的 但它也… Sorting Music Group(音乐排序组)真是太棒了{\r}
Dialogue: 2,0:48:51.80,0:48:57.15,Default,,0,0,0,,{\fad(200,200)}and they actually went through in a lot of levels, they just tune the music to the sound effects \N{\fad(200,200)\rDefault-L2}实际上它的功能包括很多方面 它能把音乐调到音效的音调上{\r}
Dialogue: 2,0:48:57.15,0:48:57.85,Default,,0,0,0,,{\fad(200,200)}(wow)\N{\fad(200,200)\rDefault-L2}（哇）{\r}
Dialogue: 2,0:48:57.98,0:48:59.29,Default,,0,0,0,,{\fad(200,200)}Yeah, I love them\N{\fad(200,200)\rDefault-L2}是的 我爱它们{\r}
Dialogue: 2,0:49:00.22,0:49:01.65,Default,,0,0,0,,{\fad(200,200)}(That's awesome) Yeah\N{\fad(200,200)\rDefault-L2}（太棒了）是的{\r}
Dialogue: 2,0:49:01.94,0:49:07.51,Default,,0,0,0,,{\fad(200,200)}So we avoid it as much possible but sometimes that happens, the clash,\N{\fad(200,200)\rDefault-L2}所以我们尽量避免 但有时会发生冲突{\r}
Dialogue: 2,0:49:07.51,0:49:08.60,Default,,0,0,0,,{\fad(200,200)}but it's good\N{\fad(200,200)\rDefault-L2}但也没关系{\r}
Dialogue: 2,0:49:08.60,0:49:10.23,Default,,0,0,0,,{\fad(200,200)}(Thank you) Thank you \N{\fad(200,200)\rDefault-L2}（谢谢）谢谢{\r}
Dialogue: 2,0:49:18.04,0:49:21.89,Default,,0,0,0,,{\fad(200,200)}(Speaking of overall design for the game)\N{\fad(200,200)\rDefault-L2}（说到游戏的总体设计）{\r}
Dialogue: 2,0:49:22.01,0:49:27.70,Default,,0,0,0,,{\fad(200,200)}(Was there anything unique that you wanted to be just for Andrameda as opposed to the older games)\N{\fad(200,200)\rDefault-L2}（有没有什么独特的东西 你只想为《Andrameda》做 而不是其它前作）{\r}
Dialogue: 2,0:49:27.70,0:49:31.60,Default,,0,0,0,,{\fad(200,200)}(did you want it to be kind of its own things, stand on its own?)\N{\fad(200,200)\rDefault-L2}（你想让它拥有一种独立的风格吗？）{\r}
Dialogue: 2,0:49:31.60,0:49:34.89,Default,,0,0,0,,{\fad(200,200)}(because I know you pulled a lot of sounds from the original, so..) Yeah\N{\fad(200,200)\rDefault-L2}（因为我知道你从原作中提取了很多声音 所以…）是的{\r}
Dialogue: 2,0:49:35.06,0:49:40.87,Default,,0,0,0,,{\fad(200,200)}Yeah I guess the three races we wanted to just kind of sell them as different\N{\fad(200,200)\rDefault-L2}是的 我想我们想要让三个种族表现出区别来{\r}
Dialogue: 2,0:49:41.16,0:49:47.66,Default,,0,0,0,,{\fad(200,200)}and the fact that you're in the new galaxy so we wanted to sell that aspect as well, sort of planets\N{\fad(200,200)\rDefault-L2}事实上 你也来到了一个新的星系 所以我们想传达出这种感觉{\r}
Dialogue: 2,0:49:47.80,0:49:51.96,Default,,0,0,0,,{\fad(200,200)}the Monolith's stuff, the Remnant's stuff going to sound really different \N{\fad(200,200)\rDefault-L2}Monolith的声音 Remnant的声音 听起来要很不一样{\r}
Dialogue: 2,0:49:52.61,0:49:56.96,Default,,0,0,0,,{\fad(200,200)}But other than that, there's a lot of milky way tech they brought over  \N{\fad(200,200)\rDefault-L2}但除此之外 有很多银河系的技术被带进本作{\r}
Dialogue: 2,0:49:56.96,0:49:58.77,Default,,0,0,0,,{\fad(200,200)}so we kind of have to support that as well \N{\fad(200,200)\rDefault-L2}所以我们也得支持这点{\r}
Dialogue: 2,0:49:59.45,0:50:01.39,Default,,0,0,0,,{\fad(200,200)}But yeah, that's about it\N{\fad(200,200)\rDefault-L2}但是的 就是这样{\r}
Dialogue: 2,0:50:03.10,0:50:06.10,Default,,0,0,0,,{\fad(200,200)}Hello (Hey man, that was amazing, thank you)\N{\fad(200,200)\rDefault-L2}你好（嘿 伙计 太棒了 谢谢）{\r}
Dialogue: 2,0:50:06.25,0:50:13.64,Default,,0,0,0,,{\fad(200,200)}(Ultra specific question, but with the inside/outside kind of like a calculation) Yes\N{\fad(200,200)\rDefault-L2}（非常具体的问题 但对于室内/室外的计算）是的{\r}
Dialogue: 2,0:50:13.64,0:50:18.53,Default,,0,0,0,,{\fad(200,200)}(is that just like totally binary thing or is there anything more complex going on?)\N{\fad(200,200)\rDefault-L2}（这是个完全二元的东西 还是有更复杂的事情发生？）{\r}
Dialogue: 2,0:50:18.58,0:50:22.47,Default,,0,0,0,,{\fad(200,200)}We.. There's a thing called Contact System in Frostbite \N{\fad(200,200)\rDefault-L2}我们…寒霜引擎中有一种叫做“接触系统”的东西{\r}
Dialogue: 2,0:50:22.71,0:50:26.99,Default,,0,0,0,,{\fad(200,200)}so we have to tell the game whether you're inside or outside \N{\fad(200,200)\rDefault-L2}所以我们必须告诉游戏 你是在室内还是在室外{\r}
Dialogue: 2,0:50:27.19,0:50:32.26,Default,,0,0,0,,{\fad(200,200)}I think we're using geometry of the buildings and then basically when you..\N{\fad(200,200)\rDefault-L2}我想我们使用的是建筑物的几何形状 当你……{\r}
Dialogue: 2,0:50:32.60,0:50:35.90,Default,,0,0,0,,{\fad(200,200)}yeah and then we would put the logic into.. say that you were switching\N{\fad(200,200)\rDefault-L2}是的 然后我们把逻辑放到…比如说你在换..{\r}
Dialogue: 2,0:50:36.05,0:50:37.42,Default,,0,0,0,,{\fad(200,200)}Does that answer your question?\N{\fad(200,200)\rDefault-L2}这能回答你的问题吗？{\r}
Dialogue: 2,0:50:37.42,0:50:41.38,Default,,0,0,0,,{\fad(200,200)}(Once you worked that out, do you do anything like xxx needs?)\N{\fad(200,200)\rDefault-L2}（当技术实现之后 你会这么做吗：）{\r}
Dialogue: 2,0:50:41.44,0:50:45.19,Default,,0,0,0,,{\fad(200,200)}(like what would happened if it explodes on a doorway?)\N{\fad(200,200)\rDefault-L2}（比如 如果它在门口爆炸会发生什么？）{\r}
Dialogue: 2,0:50:45.31,0:50:47.74,Default,,0,0,0,,{\fad(200,200)}(Do you get a bit of both tails? Or..)\N{\fad(200,200)\rDefault-L2}（会听到室内和室外两个声尾吗？还是…）{\r}
Dialogue: 2,0:50:47.93,0:50:51.55,Default,,0,0,0,,{\fad(200,200)}It was kind of a combination of both actually like you would just..\N{\fad(200,200)\rDefault-L2}会是两者的结合 实际上会…{\r}
Dialogue: 2,0:50:51.65,0:50:55.85,Default,,0,0,0,,{\fad(200,200)}I don't know it just picks.. it would pick one or the others\N{\fad(200,200)\rDefault-L2}我不确定 它会选择其中一个？{\r}
Dialogue: 2,0:50:55.85,0:51:01.06,Default,,0,0,0,,{\fad(200,200)}(And in terms of the ambience stuff, say if you went inside)\N{\fad(200,200)\rDefault-L2}（从环境声方面来说 如果你走进室内的话）{\r}
Dialogue: 2,0:51:01.18,0:51:05.46,Default,,0,0,0,,{\fad(200,200)}(would you still keep the exterior, and pan it from the portal?) \N{\fad(200,200)\rDefault-L2}（你仍然会保留室外声尾 然后在入口处调整声像吗？）{\r}
Dialogue: 2,0:51:05.46,0:51:08.14,Default,,0,0,0,,{\fad(200,200)}Yeah (Ok, cool) Yeah totally, it works both ways\N{\fad(200,200)\rDefault-L2}是的（好的 酷的）是的 完全是 从内到外和从外到内的机制是一样的{\r}
Dialogue: 2,0:51:08.19,0:51:09.48,Default,,0,0,0,,{\fad(200,200)}(Awesome, thank you)\N{\fad(200,200)\rDefault-L2}（太棒了 谢谢）{\r}
Dialogue: 2,0:51:09.94,0:51:10.52,Default,,0,0,0,,{\fad(200,200)}Thank you\N{\fad(200,200)\rDefault-L2}谢谢你{\r}
Dialogue: 2,0:51:11.00,0:51:11.77,Default,,0,0,0,,{\fad(200,200)}(Hi) Hello\N{\fad(200,200)\rDefault-L2}（嗨）你好！{\r}
Dialogue: 2,0:51:11.83,0:51:13.40,Default,,0,0,0,,{\fad(200,200)}(Great presentation)\N{\fad(200,200)\rDefault-L2}（演示得很好）{\r}
Dialogue: 2,0:51:13.72,0:51:22.71,Default,,0,0,0,,{\fad(200,200)}(I was just thinking about do you have any favorite plugin or anything like that you could use like this one is the right for me?) \N{\fad(200,200)\rDefault-L2}（我只是在想 你有什么最喜欢的插件吗？ 那种对你来说是对的插件？）{\r}
Dialogue: 2,0:51:22.82,0:51:25.01,Default,,0,0,0,,{\fad(200,200)}Ok my favorite my favorite plug-ins..\N{\fad(200,200)\rDefault-L2}好的 我最喜欢的插件{\r}
Dialogue: 2,0:51:25.07,0:51:28.81,Default,,0,0,0,,{\fad(200,200)}I love Fabfilter, they're great \N{\fad(200,200)\rDefault-L2}我喜欢Fabfilter 它们很棒{\r}
Dialogue: 2,0:51:28.81,0:51:29.94,Default,,0,0,0,,{\fad(200,200)}and iZotope \N{\fad(200,200)\rDefault-L2}和iZotope{\r}
Dialogue: 2,0:51:30.12,0:51:31.58,Default,,0,0,0,,{\fad(200,200)}two my favorites\N{\fad(200,200)\rDefault-L2}两个我最喜欢的{\r}
Dialogue: 2,0:51:32.13,0:51:36.63,Default,,0,0,0,,{\fad(200,200)}For sound design, like Serum. I use a lot of Serum\N{\fad(200,200)\rDefault-L2}对于声音设计 比如Serum 我用了很多{\r}
Dialogue: 2,0:51:36.68,0:51:40.67,Default,,0,0,0,,{\fad(200,200)}Alchemy. I don't even use a Mac, I still use the old version of Alchemy \N{\fad(200,200)\rDefault-L2}还有Alchemy 我甚至不用Mac 我仍然使用旧版本的Alchemy{\r}
Dialogue: 2,0:51:40.67,0:51:43.79,Default,,0,0,0,,{\fad(200,200)}I'm like: I still love it because..\N{\fad(200,200)\rDefault-L2}我还是喜欢它 因为…{\r}
Dialogue: 2,0:51:44.02,0:51:48.07,Default,,0,0,0,,{\fad(200,200)}a lot of creatures we do use the "green morph", like the X-Y morph\N{\fad(200,200)\rDefault-L2}对于游戏中很多生物 我们会使用“绿色的Morph” 也就是X-Y Morph{\r}
Dialogue: 2,0:51:48.23,0:51:52.48,Default,,0,0,0,,{\fad(200,200)}it will take like a real, like a lion and mix it with like a rubber \N{\fad(200,200)\rDefault-L2}它可以把真实素材比如狮子 和橡胶声混合在一起{\r}
Dialogue: 2,0:51:52.48,0:51:54.70,Default,,0,0,0,,{\fad(200,200)}and then it green morph, ah it's so good\N{\fad(200,200)\rDefault-L2}然后还能“绿色Morph” 太好了{\r}
Dialogue: 2,0:51:54.96,0:51:59.04,Default,,0,0,0,,{\fad(200,200)}maybe one day I'll get a xxx, if I'm lucky, thank you\N{\fad(200,200)\rDefault-L2}也许有一天我会买个XXX 如果我幸运的话 谢谢你{\r}
Dialogue: 2,0:51:59.19,0:52:05.97,Default,,0,0,0,,{\fad(200,200)}(And I had another question is what was like the thinking when you made like the different races?)\N{\fad(200,200)\rDefault-L2}（我还有一个问题是 当你做不同种族时 你的想法是什么样的？）{\r}
Dialogue: 2,0:52:06.14,0:52:08.48,Default,,0,0,0,,{\fad(200,200)}(you said the first, Kett)\N{\fad(200,200)\rDefault-L2}（你说的第一个种族 Kett）{\r}
Dialogue: 2,0:52:09.04,0:52:14.31,Default,,0,0,0,,{\fad(200,200)}(and it was like slowly.. technology, that kind of stuff) \N{\fad(200,200)\rDefault-L2}（它们是像那种慢慢地…科技感 那种东西）{\r}
Dialogue: 2,0:52:14.31,0:52:17.92,Default,,0,0,0,,{\fad(200,200)}(How does it get to you? How do you think when your doing that?)\N{\fad(200,200)\rDefault-L2}（你是怎么想到的？当你做的时候你怎么想？）{\r}
Dialogue: 2,0:52:17.92,0:52:24.24,Default,,0,0,0,,{\fad(200,200)}Actually yeah.. sorry I didn't say that.. but for that stuff we just literally took all the sound designers and we just sat in a room\N{\fad(200,200)\rDefault-L2}实际上 是的…对不起 我没说…但是对于这些 我们只是叫上所有的声音设计师 然后我们就坐在一个房间里{\r}
Dialogue: 2,0:52:24.59,0:52:27.46,Default,,0,0,0,,{\fad(200,200)}and we started going through art \N{\fad(200,200)\rDefault-L2}我们开始浏览原画{\r}
Dialogue: 2,0:52:27.46,0:52:32.28,Default,,0,0,0,,{\fad(200,200)}and we started going through like written word and also like design documents \N{\fad(200,200)\rDefault-L2}我们开始浏览文字和设计文件{\r}
Dialogue: 2,0:52:32.28,0:52:34.41,Default,,0,0,0,,{\fad(200,200)}we just started throwing words at the wall\N{\fad(200,200)\rDefault-L2}然后我们开始往墙上贴一个个词{\r}
Dialogue: 2,0:52:34.41,0:52:38.15,Default,,0,0,0,,{\fad(200,200)}and then what I do is I just take that information, I take the ones I like \N{\fad(200,200)\rDefault-L2}然后我要做的就是收集信息 收集我喜欢的信息{\r}
Dialogue: 2,0:52:38.49,0:52:40.40,Default,,0,0,0,,{\fad(200,200)}that I think represent the race best\N{\fad(200,200)\rDefault-L2}我认为最能代表这个种族的{\r}
Dialogue: 2,0:52:40.51,0:52:41.58,Default,,0,0,0,,{\fad(200,200)}Ok thank you\N{\fad(200,200)\rDefault-L2}好的 谢谢{\r}
Dialogue: 2,0:52:44.35,0:52:46.53,Default,,0,0,0,,{\fad(200,200)}(Thank you very much for your presentation)\N{\fad(200,200)\rDefault-L2}（非常感谢您的介绍）{\r}
Dialogue: 2,0:52:47.13,0:52:53.54,Default,,0,0,0,,{\fad(200,200)}I didn't really fully grasp what the Procedural Locator System was, could you explain that a little bit more?)\N{\fad(200,200)\rDefault-L2}（我没有完全理解程序化定位声源系统是什么 你能解释一下吗？）{\r}
Dialogue: 2,0:52:53.60,0:52:55.37,Default,,0,0,0,,{\fad(200,200)}So it was a system.. ok\N{\fad(200,200)\rDefault-L2}所以这是一个系统…好的{\r}
Dialogue: 2,0:52:55.67,0:53:01.67,Default,,0,0,0,,{\fad(200,200)}There's a system like to attach sound to things in the world\N{\fad(200,200)\rDefault-L2}这个系统是用来  把声音附在游戏世界中的物体上{\r}
Dialogue: 2,0:53:02.16,0:53:08.02,Default,,0,0,0,,{\fad(200,200)}that we didn't like necessarily want to place by hand I guess \N{\fad(200,200)\rDefault-L2}我想 我们不一定想要亲手摆放{\r}
Dialogue: 2,0:53:08.46,0:53:09.67,Default,,0,0,0,,{\fad(200,200)}So what we would do is.. \N{\fad(200,200)\rDefault-L2}所以我们要做的是…{\r}
Dialogue: 2,0:53:09.67,0:53:14.92,Default,,0,0,0,,{\fad(200,200)}there was about three hundred of these placeable objects that designers made and then we..\N{\fad(200,200)\rDefault-L2}设计师制作了大约三百件这样的可放置物品 然后我们…{\r}
Dialogue: 2,0:53:15.40,0:53:17.60,Default,,0,0,0,,{\fad(200,200)}all we had to do is to attach sound to those\N{\fad(200,200)\rDefault-L2}我们所要做的就是把声音附在上面{\r}
Dialogue: 2,0:53:17.61,0:53:19.16,Default,,0,0,0,,{\fad(200,200)}so computers\N{\fad(200,200)\rDefault-L2}所以(游戏世界中的)电脑{\r}
Dialogue: 2,0:53:19.43,0:53:20.51,Default,,0,0,0,,{\fad(200,200)}trees, even\N{\fad(200,200)\rDefault-L2}树木 甚至{\r}
Dialogue: 2,0:53:21.00,0:53:25.39,Default,,0,0,0,,{\fad(200,200)}like so we can even take the velocity of the wind because Frostbite is all physics based \N{\fad(200,200)\rDefault-L2}我们甚至可以获得风速 因为寒霜引擎都是基于物理的{\r}
Dialogue: 2,0:53:25.72,0:53:29.88,Default,,0,0,0,,{\fad(200,200)}and we can drive wind loops with that off trees, it's pretty cool\N{\fad(200,200)\rDefault-L2}我们可以用风速 来驱动树上的风声Loop 很酷{\r}
Dialogue: 2,0:53:30.03,0:53:35.83,Default,,0,0,0,,{\fad(200,200)}But yeah.. So we have a way to attach like a wind loop to a tree, like leaves rustling and all that stuff and then\N{\fad(200,200)\rDefault-L2}是的 我们有一种方法 将风声Loop(树叶沙沙响那种)绑定在树上 然后{\r}
Dialogue: 2,0:53:35.95,0:53:37.66,Default,,0,0,0,,{\fad(200,200)}kind of stuff to computers\N{\fad(200,200)\rDefault-L2}然后把电脑的声音绑到电脑上{\r}
Dialogue: 2,0:53:37.79,0:53:41.19,Default,,0,0,0,,{\fad(200,200)}and what we do is there's a button in the game to generate procedure locators\N{\fad(200,200)\rDefault-L2}我们要做的是 在游戏中有一个按钮来生成程序化定位声源{\r}
Dialogue: 2,0:53:41.35,0:53:42.54,Default,,0,0,0,,{\fad(200,200)}just hit that\N{\fad(200,200)\rDefault-L2}只需一点{\r}
Dialogue: 2,0:53:42.91,0:53:46.75,Default,,0,0,0,,{\fad(200,200)}BOOM it populates the level with sound \N{\fad(200,200)\rDefault-L2}BOOM 它就把声源填充到关卡中了{\r}
Dialogue: 2,0:53:47.66,0:53:53.51,Default,,0,0,0,,{\fad(200,200)}so we attach it to one object and then designers would place that object multiple times in a level (Oh I see)\N{\fad(200,200)\rDefault-L2}所以我们将它附加到一个对象上 然后设计师将该对象放置在关卡中的其它位置（哦 我明白了）{\r}
Dialogue: 2,0:53:53.51,0:53:55.27,Default,,0,0,0,,{\fad(200,200)}and the sound would go with it, so..\N{\fad(200,200)\rDefault-L2}然后声音会跟着它 所以…{\r}
Dialogue: 2,0:53:55.27,0:53:59.43,Default,,0,0,0,,{\fad(200,200)}(Kind of like using a prefab with a audio source on it?) Yeah, totally\N{\fad(200,200)\rDefault-L2}（有点像使用一个带有音频源的Prefab？）是的 完全{\r}
Dialogue: 2,0:53:59.48,0:54:00.73,Default,,0,0,0,,{\fad(200,200)}(Cool, thank you)\N{\fad(200,200)\rDefault-L2}（酷 谢谢）{\r}
Dialogue: 2,0:54:05.71,0:54:10.16,Default,,0,0,0,,{\fad(200,200)}(Hi again. In the procedural breathing video that you had)\N{\fad(200,200)\rDefault-L2}（再次嗨 在你的程序化呼吸系统视频中）{\r}
Dialogue: 2,0:54:10.16,0:54:16.57,Default,,0,0,0,,{\fad(200,200)}(the breaths between the VO lines there, is that the procedural breathing? Or that was..) \N{\fad(200,200)\rDefault-L2}（对话之间的呼吸 是程序化呼吸吗？还是…）{\r}
Dialogue: 2,0:54:16.75,0:54:20.92,Default,,0,0,0,,{\fad(200,200)}Oh no, that was.. Ok for cutscenes we shut that off \N{\fad(200,200)\rDefault-L2}哦 不 那是…对于过场 我们会把它关掉{\r}
Dialogue: 2,0:54:21.24,0:54:24.81,Default,,0,0,0,,{\fad(200,200)}because.. yeah those are all performance\N{\fad(200,200)\rDefault-L2}因为…是的 这些都是表演中的{\r}
Dialogue: 2,0:54:26.09,0:54:27.50,Default,,0,0,0,,{\fad(200,200)}(Cool) Thanks\N{\fad(200,200)\rDefault-L2}（酷）谢谢{\r}
Dialogue: 2,0:54:28.20,0:54:29.33,Default,,0,0,0,,{\fad(200,200)}(And..)\N{\fad(200,200)\rDefault-L2}（…）{\r}
Dialogue: 2,0:54:29.48,0:54:36.92,Default,,0,0,0,,{\fad(200,200)}(for the ambience, you have the inside/outside which is based on the geometry of the houses and the precedural locators \N{\fad(200,200)\rDefault-L2}（对于环境声 你有室内/室外 这是基于房屋的几何结构和程序化定位声源的）{\r}
Dialogue: 2,0:54:36.92,0:54:41.91,Default,,0,0,0,,{\fad(200,200)}(Do you also have volumes of your place in the world to have different ambience? Yeah)\N{\fad(200,200)\rDefault-L2}（你在世界上的不同位置是否也会有不同的环境声？） 是啊{\r}
Dialogue: 2,0:54:41.91,0:54:48.82,Default,,0,0,0,,{\fad(200,200)}Yeah definitely. Like if we wanted to change it up in a specific area, we could like just place stuff in and then switch out content and stuff, yeah\N{\fad(200,200)\rDefault-L2}当然 如果我们在某个具体区域要换环境声 我们只要换就好了{\r}
Dialogue: 2,0:54:49.26,0:54:51.02,Default,,0,0,0,,{\fad(200,200)}(Cool, thank you) Awesome\N{\fad(200,200)\rDefault-L2}（酷 谢谢）太棒了{\r}
Dialogue: 2,0:54:54.12,0:54:55.06,Default,,0,0,0,,{\fad(200,200)}Any more questions?\N{\fad(200,200)\rDefault-L2}还有问题吗？{\r}
Dialogue: 2,0:54:55.52,0:54:56.26,Default,,0,0,0,,{\fad(200,200)}We're good?\N{\fad(200,200)\rDefault-L2}好了？{\r}
Dialogue: 2,0:54:57.63,0:54:58.24,Default,,0,0,0,,{\fad(200,200)}Thank you\N{\fad(200,200)\rDefault-L2}谢谢你{\r}