Hi everyone, and welcome to the Mass Effect Andromeda Audio Retrospective 大家好 欢迎来到《质量效应：仙女座》音效回顾展
Just like to remind everybody to put their phones on silence 提醒大家手机保持静音
and there should be time after this for questions but if 之后还有时间问问题
we run out of time we can go to the other side 但是如果我们没时间了 我们可以去另一边
So today 所以今天
I'm gonna walk you guys through some of the cool stuff we did for Mass Effect Andromeda, audio-wise 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
We'll talk about team structure 我们将讨论团队结构
final audio numbers 最终音频量
creating an audio vision 音频视觉的创造
source creation, weapons and combat 原始素材的创造 包括武器和战斗
foley and breathing systems and ambient systems and mixing Foley、呼吸系统、环境系统和混音
and then I'm gonna show a slide on how.. 然后我将展示一张幻灯片
we're using some of those systems in Anthem 演示我们如何在《Anthem》中使用了这些系统
so 那么
Click here 点击这里
Ahh there we go 啊 好了
Who am I? I am Michael Kent. I am the creative audio director at Bioware 我是谁？我是迈克尔·肯特 我是BioWare的创意音频总监
I have fourteen years of experiences making games mainly with Bioware 我有十四年的制作游戏的经验 主要是在Bioware
My first game is Jade Empire 我的第一款游戏是《Jade Empire》
I worked on all four Mass Effect titles and all three dragon age titles and am currently on Anthem 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》
I have twenty years of audio experience 我有二十年的音频经验
I started studying digital music technology and systhesis in Vancouver in the late nineties 90年代末 我开始在温哥华学习数字音乐技术和音频合成
That led me to.. I guess it just electronic music production and then that led me to 这让我…开始了电子音乐制作
Vancouver Film School where I studied post production and then ended up in games 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
I have three weeks of Power Point experience 我有三周的PPT经验
I've managed my fourteen years to avoid Power Point like the plague 我十四年来一直在努力像避开瘟疫一般地避开PPT
This is one of my few powerpoints so hopefully this goes well and I can do it again 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
So 那么
This is our team. This is the whole team at Bioware 这是我们的团队 这是Bioware的整个团队
So from Mass Effect we had fourteen audio designers and one programmer and one dedicated QA 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
Obviously there's more people here 很明显这里不止这么多人
Sony music group is here as well 索尼音乐小组也在这里
because we use them on Andromeda to help us work with the composer and also 因为我们在《仙女座》找他们来帮助我们和作曲家合作
integrate the music into our game 把音乐植入我们的游戏
Yeah so 那么
This is our team structure 这是我们的团队结构
We have the idea of "Product Owners" so we have people in charge of the different audio *foot groups 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
which are in the middle 在中间列出
then we have team members that work for those product owners with the foot groups 然后我们有团队成员 为分组的产品所有者工作
and then I would provide audio direction 然后我会提供音频方向
and then we had a producer that made sure everything was on time 然后我们有一个Producer 确保一切都准时完成
So for let's look at some final numbers before we jump into some more heavy system stuff 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
We had 23200 raw sound assets in the game 我们在游戏中有23200个原始声音资产
23300 patches/patch configurations and mixers 23300个patch/patch配置/mixer
31 levels varying in size and complexity 31个关卡 其尺度和复杂性各不相同
69250 lines of dialogue that's just English times that by three for localization 69250行对话 这只是英语 对于本地化要乘3
we also.. 我们也…
and that doesn't include combat barks in all that stuff 这还不包括战斗喊话
1300 characters 1300个字符
500 dialogue sessions 500个对话Session
543 minutes of music 543分钟的音乐
So how do we handle games this size? 那么 我们如何掌控这么大的游戏呢？
Where do we start? 我们从哪里开始？
Well we start by hashing out a vision for the game, an audio vision for the game 好吧 我们从对游戏的音频视觉进行分析开始
we break down what we want to fix from the last games 我们把前几作要解决的问题做了分解
and what we want to add to the new experience 以及我们想为新的体验增添什么
Last games being the trilogy “前几作”是指三部曲
as well as Dragon Age Inquisition which is our first game in the Frostbite engine 以及《龙腾世纪》 这是我们在寒霜引擎中的第一个游戏
So 所以
we look at our past games 我们看回过去的游戏
and set goals based on things we wanted to achieve and things we felt short on 根据我们想要达到的 和 我们觉得缺少的来制定目标
We sit down with senior leadership of the project and work out how we want the game to feel 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
We also port over systems that worked and improve on those systems from the last game 我们还引入了前作中有用的系统 并对其进行了改进
So some of the goals we came up with, I'll just show you 所以我们提出的一些目标 我会展示给你
like we wanted to respect the Mass Effect vision from the previous games 我们想尊重《质量效应》前作的理念
and update it to 2017 并将其更新到2017年
this is very important we want this game to feel like Mass Effect 这是非常重要的 我们希望新作的感觉就像《质量效应》
because it is a Mass Effect game 因为这就是一作《质量效应》游戏
but we want to be brought up to 2017 但是我们想带它到2017年
Grounded sonic experience always ensure that the players always immerse in the Mass Effect world 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
We did a lot of stuff here with.. 我们在这里做了很多事情……
switching out content depending on where you were in the world 根据你在世界上的位置切换音频内容
and this is like weapon contents 比如 武器内容
layers of weapons to create I guess fake IR kind of things 叠层的武器素材 来制造一种“伪IR混响”的效果
and that would switch depending on where you were 内容的切换取决于你在哪里
Fuller sharpened mix. The last three Mass Effect games I found were too dynamic for the living room 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
we would lose a lot of stuff 我们会损失很多东西
like you get it home, you'd lose a lot of the ambience and stuff 如果你在家玩 你会失去很多氛围感
when you're playing it in your living room 当你在客厅玩的时候
so what we wanted to do is bring the dynamic a little closer together 所以我们要做的是 让动态更集中一点
and get a nice really punchy mix for this game 为这款游戏做一个很带感的混音
Again, avoidance is we don't want distracting noisy mix, we don't want wall to wall sound all the time 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
we still want dynamics but just a little better for the living room 我们仍然要动态 但是要对客厅做优化
Unfocused sound design. Nothing should be in there that doesn't really represent Mass Effect （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
and static frequencies in ear fatigue this is a big one for us （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
Early on we set out to design systems to randomize frequency contents 在早期 我们打算设计专门的系统来使频率内容随机化
as well as we built a lot of assets with a lot more movement 同时 我们创建了大量的、有变化的声音资产
just so 以使..
yeah just not constant frequencies all the time 不是一直都是固定的频段
so we wanted to make sure that your ears weren't getting fatigued 所以我们想确保你的耳朵没有进入听觉疲劳
So source creation 接下来 源素材创建
once we figured out a clear idea of what we want to achieve with the game 一旦我们清楚地知道我们想让游戏达到什么效果
We then set out and build tools and create source for the game 然后我们就开始构建工具并为游戏创建源素材
This is an integral part to the process of Bioware 这是Bioware出品过程中不可或缺的一部分
and the more stuff you built upfront like in regards of source and tools, the easier it is to finish the game 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
It's also ensures consistency and continuity between such a large sound design team 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
So for this game we did fresh weapons shoot with Warner brothers and DICE 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
whole bunch of field and foley recordings 一大堆的现场和Foley录音
a lot of synthesis: wavetable, granular, modular synthesis palettes 大量的声音合成：波表、粒子、模块化合成器等等
In the end we had a source libraries about 670GB of new and old Mass Effect contents 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
Yeah it was a big library, I had to manage it 是的 那是一个很大的库 我必须要管理它
we ended up like yeah I just had to have a great folder structure so that everybody could find things easy 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
But what I'm gonna show you next is a video so I have a video and I'm going to show you 但是我接下来要给你看的是一个视频
three examples of source and then their implementation into game 展示源素材的三个例子 及其在游戏中的应用
So we have an electrostatic recording, it's processed then used in a cutscene 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
and then I have two examples of modular synthesis and its use in the game 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
For Mass Effect Andromeda, we separated source into four different groups 对于《质量效应：仙女座》 我们将源素材分成四个不同的组
Milky way, which is our known quantity 银河系 这是我们已知的星系
We remask and redesign content from the first three games and also added to that palette 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
From the biotic wobble to the indycar gun tails, we revisit old assets, re-built and polish what we had 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
For the three new races, Kett, Remnant, Angaran, we built style guides based on writing, design style guides as well as.. 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…
written words and art 文字与美术
So we built our own style guides 我们建立了自己的风格指导
so what we did is we define the race, the three words 我们所做的就是定义种族：用三个词(Alive鲜活|Industrial工业|Evil邪恶)
And then we build audio descriptors 然后我们构建音频描述符
We wanted to keep it really simple because we didn't have a large team and 我们想保持简单 因为我们没有一个庞大的团队
when people are making content for each specific race 当人们为每个特定的种族制作内容时
we wanted them to interpret it in their own way to add to that palatte 我们希望他们用自己的方式来诠释 去填充声音的调色板
So for the Kett, we went for a very industrial kind of pulsing vibe 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
We use movie "Alien" for reference 我们用电影《异型》作为参考
Everything was like have to breathe and move and like, pulse 一切都像是在呼吸和运动 像是脉搏
and we used mostly processed real-world sounds for this palette 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
A little bit of little bit of synthesis, but mostly, real world sounds 有点合成音色 但大部分是真实世界的声音
For the Remnant though, we went for the creepy and serious, robot vibe 不过 对于Remnant 我们选择了令人毛骨悚然、严肃的机器氛围
We wanted them sound different than the Kett 我们想让他们听起来和Kett不同
so we used a lot of wavetable synthesis for this 所以我们用了很多波表合成
We used the module called Waldorf *NW1 wavetable module 我们使用了Waldorf NW1波表合成模块
it's a pretty cool module, it's a modular synth if you're into that 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
You can record your own voice is into it and then make wavetables out of it and the manipulate it 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
So we built a lot of that 所以我们做了很多这种
We also.. 我们也…
Yeah we use a lot of Alchemy and Serum for that palette 是的 我们也用了很多Camel Audio的Alchemy 和 Xfer的Serum
but yeah, it was synth-heavy for this palette 对这个种族的音色来说 合成器用的非常多
And then Angaran, we just wanted to be the opposite of the Kett 然后是Angaran 我们只想让它和Kett相反
so we went as clean natural analog 所以我们用透明、自然的模拟音色
Their worlds were more organic and "naturous" 他们的世界更加有机和“自然”
that's a new word 这是个新词
And yeah, so they're the opposite to the Kett 是的 所以它们和Kett是相反的
so I'm going to show you guys some examples 所以我要给你们举几个例子
I have examples of Kett ambience 我有Kett环境声的例子
Remnant ambience Remnant的环境声
Angaran weapons Angaran的武器声
Remnant weapons and then Remnant的武器声 然后
Kett weapons Kett的武器声
So I'll show it 所以我会展示它
It's pretty clear that we can hear the wavetable synthesis in the reloads of the Remnant weapons 很明显 我们可以听到Remnant武器装弹时使用的波表合成音色
So we will move on to weapons and combat, let's get that way 那么 我们要继续介绍武器和战斗
First thing to show you guys is a video we made for the weapon shoot we did 首先要向你们展示的是我们为武器录音拍摄的视频
and I'll show it 我来展示一下
My name is Jeremy Voillot, I'm the director of audio for Bioware Edmonton 我叫Jeremy Voillot 是Bioware Edmonton的音频总监
Today we're here to shoot a whole bunch of guns 今天我们来这里是为了射一堆枪
I think we've organized one of the largest weapon shoots for EA 我想我们为EA组织的这次武器录音属于最大规模之一
and we're trying to get a whole bunch of original weapon source for our games 我们尽可能地为我们的游戏找到一大堆原始的武器资源
We're able to put the various layers, as you can see there're different mic positions, distant, close 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
and mix them together dynamically in the game to effectively simulate what happens in real life 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
but it all starts with our good sources 但这一切都是从好的声音源开始的
Hi I'm Mike Kent 嗨 我是Mike Kent
I'm the lead sound designer at Bioware 我是Bioware的首席声音设计师
What we do here is record environments, gun tails, body, xxx weapons 我们要做的是录制环境声 枪尾 枪体 xxx
So all those elements can be re-assembled in the game 所以所有这些元素都可以在游戏中重新组合
We keep them as seperate layers and what we do is 我们把它们分开 我们要做的是
we create sci-fi elements that'll work with realistic elements 让我们创造的科幻元素将与现实元素相结合
basically we mix them all together and.. 基本上我们把它们混合在一起…
what you have is kind of a hybrid between realistic and sci-fi 你所拥有的就是现实和科幻的混合体
We gonna be shooting bullets through the hill 我们要向山上开枪
and the recorders are actually underneath the hill 录音机就在山下
with live rounds going over their heads 实弹从他们头上飞过
We're also recording this in the 192kHz, which gives us a lot of freedom to manipulate them later 同时我们是用192kHz录制 这给了我们以后处理它们的自由
For us, it's just about capturing interesting, dynamic, powerful sound, live 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
They're equivalent of audio gold 它们相当于音频中的黄金
we're mining for gold right now 我们现在正在挖黄金呢
That was extremely fun 当时太有趣了
I was one of the recorders 我是录音师之一
under the ridge with the wiz-bys 在山脊下 录制子弹呼啸声的
Yeah it was terrifying, it was super terrifying 是啊 太可怕了 太可怕了
It was safe but it was terrifying 虽然很安全 但还是很可怕
and I remember after the first round of wiz-bys 我记得第一轮子弹飞过后
Jean-Francois came out from like his little corner and came out and he said: Jean-Francois从他的小角落里出来 他说：
That's the sound of death 那是死亡之声！
and he just walk back 然后就走了回去
So scary 太吓人了
So we've always taken a hybrid approach to weapon design for Mass Effect 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
We've always combined ballistic and sci-fi 我们总是把弹道声和科幻元素结合起来
we found that really grounds the weapons in the world 我们发现这确实能落实武器的真实感
We never wanted to go full sci-fi or full ballistics 我们从来不想做完全科幻或完全弹道的武器音效
we always did a hybrid approach 我们总是采用混合方法
And in combat for Mass Effect we went for a very aggressive mix 在《质量效应》的战斗中 我们采取了非常侵略性的混音
player centred audio mix 以玩家为中心的混音
We wanted the player to know it was going on at all times 我们想让玩家始终知道游戏在发生什么
Challenges for this is combat, I mean it's combat, it's super frantic 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
it's very messy, it can be a messy experience 很可能会造成混乱的体验
So we have to build systems that would help clean up audio from happening all over the place 所以我们必须建立一个系统来帮助清理各处发生的音频
We needed to prioritize the player's experience at all times 我们要总是优先考虑玩家体验
so they knew it was going on 让他们知道正在发生的事情
There was lots of tight spaces first, and those broke our systems pretty bad 首先 有很多狭小的空间 这些空间严重破坏了我们的系统
so we had a lot of bugs coming out of that, so we fix a lot of bugs 所以我们出现了很多bug 然后我们修复了很多bug
in tight spaces and lots of unique tonal contents 在狭窄的空间里 同时我们还有许多独特的Tonal音效
so we needed to control that because a lot of weapons have tonal content in it 所以我们需要进行控制 因为很多武器都有Tonal内容
it starts stacking and it just becomes a mess 它开始堆积 然后变得一团糟
so yeah 所以是的
So next 所以接下来
this is our weapons patch 这是我们的武器Patch
So this is an automatic weapons patch 这是一个自动武器的Patch
so just took three photos in Photoshop to take a picture of this 这是用Photoshop把三张照片拼起来得到的
So early on 那么 一开始时
because we work at EA, and we work on Frostbite, we got to work with DICE 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
So we contacted DICE early on 所以我们很早就联系了DICE
and ask them to share their knowledge with weapons designs 并请求分享他们关于武器设计的知识
They sent us a patch over, similar to this 他们给我们发了一个Patch 类似于这个
But what we did is we looked at it, studied it, deconstructed it 但我们所做的是观察、研究、解构它
re-assembled it from Mass Effect, just the way we wanted to use it 从《质量效应》前作中重组 按照我们想要的方式
and 还有
what this did is there're a lot to hit a higher quality quicker 这样做是为了更快地达到更高的质量
Thanks DICE for your help, you're awesome 谢谢DICE的帮助 你们太棒了
And yeah, so let's break this down so you guys can understand what's going on here 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
So we have.. this is our logic 所以我们有…这是我们的逻辑
So parameters and event inputs coming here 所以参数和事件输入会出现在这里
So basically like stuff like rate of fire 所以基本上例如 开火速率等
out of ammo 弹药耗尽
other fun stuff comes in here 其他有趣的东西也在里面
and that logic feeds into the samplers 然后这个逻辑输入采样器
So all these will squares here are samplers 这里所有的小方格都是采样器
so these are different layers of the gun like Mac: 所以这些是枪的不同叠层 比如Mac：
body, LFE, sci-fi layers 枪体 LFE 科幻层
area types 区域类型
so yeah 所以是的
then logic and parameters feed in this sampler, tell the sampler how to play 然后逻辑和参数输入这个采样器 告诉采样器如何播放
and then we go into the random filtering section 然后我们进入随机过滤区域
so here 在这里
every time a player fires a gun, or an NPC 每当玩家或NPC开枪
we're doing a.. 我们会..
we have a notch filter set between 200Hz and 6kHz that kind of like just massage that area and randomly picks frequencies just to.. 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”
it's clean up the ear fatigue 它能消除听觉疲劳
and then for here 然后在这里
this is the non-player distance mixing 这是NPC的距离混音
I really like shelving EQs, I don't like low pass and high pass filters 我真的很喜欢搁架式EQ 我不喜欢低通和高通滤波器
so we designed our own kind of distance mixing 所以我们设计了自己的距离混音
so over distance as the NPCs walk away from you 当NPC逐渐远离你的时候
we're using shelving EQs and kind of pulling down and creating like a band pass 我们使用的是搁架式EQ 会产生一个类似带通的效果
as people get further away from you 随着NPC离你越来越远
it will create a I find it more natural distance feel 它会创造一种 我认为更自然的距离感
Then we have a parallel delay unit here 然后 我们这里有一个并行的延迟单元
so as characters run away and shooting 所以当角色逃跑和射击时
we add delay into the signal 我们在信号中加上延迟
and then I creates like an echo effect like just to give a nice wash to the ambience 然后我创造了一个回声效果 给环境声一种洗刷感
Combat 这是战斗系统
and then we have our outputs so we have our LFE output 然后我们有输出 我们有LFE输出
player only for power 因为性能问题 只为玩家角色提供
and a player output which is 2D 以及一个2D的玩家输出
so we control the player's gun by just having it stereo 所以我们对玩家的枪声控制就是使用2D立体声
and then we had a non-player output 然后我们有一个非玩家输出
which is 3d, obviously for direction 这是3D的 显然是为了定位
and we had a late reflections output 然后我们有后期反射输出
so this output basically in our master patch which is the final stage before we output to speakers 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
we have a late reflection 我们有一个后期反射输出
so we built kind of a delay line that could create echo depending on what area type you're in 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
this also.. 这也…
we added this basically the.. sorry 基本上 我们添加了这个.. 对不起
through the sci-fi and the area type sounds into this 经过科幻层和区域类型的声音会进入这里
and then so when you're in different areas, the sci-fi would kind of echo out 所以当你在不同的地方时 科幻层会有点回响
and just kind of help ground the weapon in the space 这有助于确立武器在空间中的位置感
So let's go to more combat systems 然后我们看看战斗系统的更多内容
So area type switching, we use them to switch out content 区域类型切换 我们使用它们来切换内容
we had six different area types, we would switch out content based on these 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
So 所以
we would switch out like noise layers in the weapon to ground the gun in these spaces 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
and also IR, ER and reverbs 可切换的也包括 IR(冲击响应层)、ER(早反射层)和混响层
We had early and late reflection system 我们有早期反射和晚期反射系统
this is a series of raycast 它们是一系列射线
and one vertical raycast 和一条垂直射线
that data would then go into our master patch 然后这些数据会进入我们的主Patch
and we had five discreet delay and filter lines 然后我们有五条独立的延迟和滤波处理线
that would be for each speaker 对应每个扬声器
it's kind of how we did that 我们就是这么做的
and then we had to think a relative orientation or field of view mixing 然后我们要想出一个相对方位或者视觉窗口的混音
so anything the player's looking at in front of them, that's all we care about right now and then 所以在玩家面前的 就是我们现在关注的
anything that's around the sides or back, we're filtering and mixing out 任何在侧面或背面的东西 我们都会做滤波和衰减
But sometimes you don't want that sometimes you want a threat level 但有时你不想那样 有时你想要实现一个“威胁级别”
like if something is threatening behind you, you want to make sure you hear that 就像如果你身后有什么东西在威胁你 你要确保你听到了
so we.. 所以我们…
this is inherited from Frostbite, "Directional Mixing and Towardsmeness", that's a Swedish term we kept it 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
it's awesome 太棒了
And yeah so if a player or enemy or NPC is shooting at you 是的 所以如果一个玩家、敌人或NPC向你开枪
we turn up the gun, like elements of the gun 我们会把枪的音量提高 比如枪的一些部件声
like Mac, like and then we actually add layers of like terror to the gun 然后我们在枪上加了一层恐怖音效
So yeah, so as they're shooting at you, the gun will sound more scary 所以当他们朝你开枪的时候 枪声听起来会更可怕
If they're looking away from you, we'd mix things down so it's more ambience in the world 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
and that this system would trump this if we wanted it to 这个系统也能突出这个声音 如果我们想要的话
so if somebody is shooting from behind you, we can play it up in the rears 如果有人从你后面开枪 我们可以从后面让它播放
We had a Quad Explosions system 我们有Quad爆炸系统
so 所以
what this was.. 这是…
we had the idea of impact and reflection content 我们有“冲击”和“反射”内容的概念
so the best way to describe this is if you're in a doorway 所以最好的描述方法是 如果你在门口
you have an exterior in front of you, interior behind you 你的前面是室外 后面是室内
if an explosion happens outside you'd get the exterior noise, and then interior reflection 如果室外发生爆炸 你会听到室外的噪音 和室内的反射
So we are changing content on that and it was head-relative 所以 我们会实时改变这方面的内容 而且是“头相关”的
Activate Mixers - micro state mixing. We did a lot of.. 主动混音器-微态混音 我们做了很多…
we had mixers on biotics 我们有针对生化技能的混音器
and other things like player weapons 还有其他东西 比如玩家武器
these are like pretty harsh static mixers that like if you fired, say a biotic charge or something 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
it would suck the game out and then everything would come back when you impacted 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
Linear attenuations for almost everything in combat because this works really well if.. 几乎所有的战斗音效都是线性衰减的
we found this work really well with Frostbite HDR 我们发现这与寒霜引擎的HDR配合得非常好
so we had like five different attenuations from small to large 所以我们有五种不同的衰减 从小到大
and yeah that's what we used 是的 这就是我们使用的
Frequency Randomization - ear fatigue. I showed you in the patch there 频率随机化-听觉疲劳 我给你看了它的Patch
Cover Mixing so when you got into cover we would mix the guns differently or the combat experience differently 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
and when you came out it was.. we mix everything back up so it was more frantic 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
That's yeah that's our combat system 是的 那是我们的战斗系统
so I now have a video that shows all of this stuff working 我现在有一个视频展示所有这些东西是如何工作的
so you guys can fully understand what's going on 这样你们就可以完全理解..
with the weapons and combat systems, here we go 武器和作战系统 我们开始了
Sorry, forgot to mention that, we did.. 对不起 忘记提了
for every boitic throwing, we actually had effect chain in the master patch 对于每个生化投掷技能 我们都会在主Patch中有效果链
that we would frequency shift as well as pitch every sound in the game down 我们对游戏中的所有其它声音做变频和变调(降低)
It was pretty neat 挺棒的
So Procedural Foley and Breathing Systems 那么 程序化Foley和呼吸系统
So we built the procedural foley system 我们建立了一个“程序化Foley系统”
that got us about eighty percent coverage on movement sounds for the game 它覆盖了游戏中百分之八十左右的动作声音
This system was ok, when it worked, it worked amazing 这个系统还不错 当它有效时 它的效果很棒
but when it broke, broke horribly 但当它失效时 它的效果将会非常糟糕
This is essential for us though to cover all the cinematics 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
in the game there're over three hundred and fifty cinematic 因为在游戏里有超过350个过场
while we still handtouch all the most important stuff 同时 我们仍然手动调整所有重要内容
We also built a breathing system to respond to player activity 我们还建立了呼吸系统来响应玩家的活动
This responded to things like exertion levels, jumping, landing and hazards 这会对活动强度、跳跃、着陆和危险状况作出响应
So let's break down the procedural foley system 那么让我们来分解一下程序化Foley系统
Movement was a combination of loops and one shots 角色的运动是循环和One-Shot的组合
basically what we do is use the footstep almost like a side-chain compressor so 基本上 我们所做的就是使用脚步声做侧链压缩
that would you know compress the loop so you get less foley 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
and then when you are coming out of the footstep, you'll hear more foley 当没有脚步声时 你会听到更多Foley声
We would take the speed of the character's hands into account 我们会将角色手的摆动速度考虑进来
this works well in conversations 这在角色对话时很有效
the reason why is a lot of times the conversations are torso up 这是因为 很多时候对话都是只显示上半身的
so a lot of times the animators would just leave the legs moving 所以很多时候 动画师会让腿保持运动
so we couldn't take that data and it would just sound like ants 所以我们不能利用这些(脚步)数据 那听起来就像蚂蚁一样
so we had to shut that off and use the hands 所以我们必须关掉它 然后用手的摆动
And we had 8 different States 我们有8个不同状态
we had walking, sprinting, jogging, wait, 我们有散步 短跑 慢跑 等待
forward and backwards, uphill and downhill 向前 向后 上坡和下坡
We had eight different types of armor 我们有八种不同类型的装甲
we had leather, leather gear heavy, armor, armor heavy, cloth, cloth and leather 我们有皮革 重皮革 盔甲 重盔甲 布料 布+皮
weapons specific and gun specific 以及特定武器和特定枪械
so we can combine these in different ways to make different armors in the game 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
A breathing system 呼吸系统
the animations were synced to the breathing system for this, just the resting animations 休息状态的动画被同步到呼吸系统
so it's so it looked like it was in sync 所以看起来是同步的
We have three states, low exertion to high exertion 我们有三种运动状态 从低强度到高强度
and then we also generated a level of exertion by calculating how fast the character was going and how much they have exerted 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
we had different breathing for hot cold and poison hazards 我们有不同的呼吸对应冷、热和中毒状态
And yeah the breathing system and the exertion system worked well together 是的 呼吸系统和运动强度系统配合得很好
the way we got them to sync up is we actually played an inhale after an exertion 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
and then it just felt really natural 这样感觉很自然
So now I have a video I'm gonna show you guys some of the procedural foley working in a cutscene 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
some edited foley in there but it's mostly procedural 里面有些编辑过的Foley 但大部分都是程序化的
There was a few scenes of that, I left the dialogue in, so we're not just listening to foley 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
and I'm gonna show you the breathing system with combat 然后我会向你演示战斗中的呼吸系统
foley with three different sets of armor 有三套不同的盔甲的Foley
and then hot and cold hazards 然后是冷、热环境
舵控制 报告
我们在漂流
飞行控制没有反应
第一要务是解决这些中断问题
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！
我们的位置是？
未知 我们失去了遥测
山姆 我们需要在外边插眼
能腾出点空间吗？
谢谢
这到底是什么？
不知道 但我们的工作是搞清楚
听起来像你老爸在说话
他是对的 这里出了点问题 我们得找出原因
一件一件事情来
Ryder
是Fisher
等等.. 看
可以 结束了
Fisher 你还好吗？
我还能活 以为我已经死了
对不起 赖德 我知道你想给和平一个机会
那里开始变得难看了 我想我们没有选择了
你救了我的命 在坠机中幸免于难 却又被外星人射中
就知道他们不是友好的那种
我们还是不知道他们想要什么
It's little awkward by itself 单独听起来有点尴尬
but in the mix, it's pretty cool 但在混音中 还是很酷的
So we're going to move on to levels and ambience here 所以我们要在这里继续介绍关卡和环境声
so we have two different types of levels in the game 所以我们在游戏中有两种不同类型的关卡
we had open world and linear story-driven 我们有开放世界的和线性故事驱动的
so we have two different approaches to these levels 所以我们有对应两种不同的设计方法
For the open world, a player could be anywhere at any time so we have systems.. 对于开放世界 玩家可以随时出现在任何地方
have to be robust to support this 所以我们的系统必须足够稳健来支持这一点
And then for the linear areas we did more hand-scripted approach 然后对于线性关卡区域 我们做了更多的手动调整
So we use a lot quad ambiences for our base 所以我们使用了很多Quad环境声作为基底
We can switch out quad ambiences depending on user created zone 我们可以根据用户创建的区域切换Quad环境声
so like area types, interior/exterior 比如区域类型 内部/外部
urban, forest, canyon 城市 森林 峡谷
or whatever the person implementing chose to switch out the ambience 或者配置者选择的任何什么来替换环境声
And then we had a system called Overlays 然后 我们有一个叫做“覆盖层”的系统
this system working in conjunction with the quad ambiences 这个系统与Quad环境声配合工作
this basically what it did is 基本上是这样的
it has a stereo or mono sound 有一个立体声或单声道的声音
it basically plays off the player's head 在玩家的头上方播放
and then kind of moves around the head 然后绕着头移动播放
We could add filtering and kind of a modulation to that as well 我们也可以加上滤波和一些调制
and we can put things in there like wind, tonal elements, distant, walla 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
Big worlds. These are one shot kind of how we play one shots in the game 大世界 这是指我们在游戏中播放One-Shot的方式
You can randomize position and distance of these 你可以随机化它们的位置和距离
it's head-relative to the player 它对于玩家是头相关的
Procedural locators. This is kind of a big one we developed 程序化定位声源 这是我们开发的一个大功能
Basically what this is 基本上这个就是
it's all procedurally place sound object that snap to objects in a level 程序化地将声音对象绑定到某个关卡中的一系列物体
the system was integral for us getting complete coverage over very large areas of the game 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
So in total there's about three hundred procedure locators 所以总共有大概三百个程序化定位声源
that're things like computer screens and.. like just minor things in the world 就像(游戏世界中的)电脑屏幕和其它小物件
so 所以
there's about three hundred so we attach sound to three hundred of these things 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
and then we opened up a level and just to check to see how many procedure locators were placed in a level 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
and there's over fifty seven hundred placed objects that we didn't have to touch 其中有五千七百多个物体我们不用碰
we just have to do the three hundred 我们只需要做那三百个
We did have a way of cleaning this stuff out we had a max count and also 我们有办法清理这些东西 我们有一个最大实例数
..we took into the account how far the player was from one of these things 而且我们会考虑到玩家离这些东西有多远
so I think max count was between three and nine 所以我想其最大实例数在3到9之间
But yeah so this is the test level 这是测试关卡
where we can test out all our kind of logic for ambience systems 在这里我们可以测试出环境系统的所有逻辑
so these are buildings you would see in the game 你会在实际游戏中看到这些建筑
these would contain logic for interior/exterior transitions as well as the procedural locators 这些建筑会包含室内/外过渡逻辑 以及程序化定位声源
So if I pull these away 所以如果我把这些建筑拿走
all these little pink speakers are stuff that we didn't have to place by hand 所有这些粉红色的小喇叭都是我们不必手工放置的东西
Yeah it's pretty cool 是的 很酷
So I've got a video and I'm gonna show you an exterior to interior transition 我有一个视频 将会向你展示从室外到室内的过渡
it's going to.. you're gonna see the procedure locators kind of grey out 你会看到程序化定位声源是灰色的
and then they'll turn green when you get close to them 而当你靠近它们时 它们就会变绿
and then I'm gonna show you an exterior to interior transition 然后我再给你看一个从室外到室内的过渡
you're gonna see a red ball 你会看到一个红球
and what we did with the interior sounds is 我们对室内声音的处理是
when the player would get close to the interiors, the interior sound kind of follows the player 当玩家靠近室内时 室内声音会跟随玩家
and it'll be occluded by walls but if it 它会被墙壁挡住
..comes close to the door and you walk through the door, it'll pick up on the head and then follow the player 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
and then as you exit it will leave it at the door or at the window or whatever your exit at 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
It's pretty cool. If *they shot out of window and you get close to it you have bleed from the window 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
But yeah, we'll show you that 我们会给你展示
So let's move on to Mixing and Mastering 那么让我们接着讲混音和母带
So we spent about a month mixing the game prior to certification 我们花了大约一个月的时间在认证前对游戏做混音
we pre-mix the game every milestone 我们会在每一个阶段里程碑进行预混
but we had a month before certification that we can mix 但我们在认证前 会有一个月时间用来混音
The game is over a hundred plus hours so it was impossible to hear everything in that time 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
so I think in that playthrough we got through two full playthroughs and side quests 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
and then we have to spot check a lot of the open areas 然后我们要抽查很多开放世界区域
We relied heavily on systems and implementation standards to ensure quality 我们非常依赖系统和植入标准来保证质量
So we basically got the all the designers to a kind of.. we worked at a reference level 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
and we also applied loose standards for each different type of content 我们还为每种不同类型的内容制定了较为松散的标准
so that when it came to us and we're in this mix session, we weren't sitting with a hot mess 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
We used a primarily signal based mixers(RMS), so.. 我们主要使用基于信号的RMS混音器 所以…
except for in combat with the micro-state mixing, those are static 除了在战斗过程中的微态混音外(这些是静态的)
but with anything we're doing if we wanted to use a mixer to turn something down with something else 但是如果我们想用混音器来同时调低某些东西的音量
we'd use RMS mixer which is basically taking a signal in 我们将使用RMS混音器 基本上 它会接收信号..
it's much more.. 它更…
so when it releases it's releasing much more naturally 所以当它释放的时候 它会释放得更自然
it's not just static and hard 而不仅仅是静态的和硬性的
We used the Frostbite HDR system for cleaning up mixing combat 我们使用寒霜引擎的HDR系统来对战斗过程混音
This is inherent to the Frostbite audio engine 这是寒霜音频引擎固有的
if you don't know what is it's kind of like a priority system based on loudness 如果你不知道这是什么 它就像一个基于响度的优先系统
I can get into it deeper but I'm not going to... 我可以深入讲解 但我不会..
We use.. We also developed, yeah, dynamic EQ in our master patch 我们还在主补丁中开发了动态EQ
we took kind of like iZotope Final Mix and kind of we're inspired by it 我们受到iZotope Final Mix的启发
and we built a dynamic EQ in our master patch so 然后在主Patch中构建了一个动态EQ
Basically this one here is for VO 基本上 这里的这个是给VO的
so what we're doing here is we're taking the VO level, the RMS level 所以我们要做的是 我们要取VO的RMS电平
and then we're triggering a peaking filter here and that's on the sfx bus 然后用它在这里触发一个峰值滤波器 那是在SFX总线上
so everytime someone talks 所以每当有人说话
we're massaging the frequencies with the voices out of the sound effects so 我们用VO声音来对音效的频率做“按摩”
it's very transparent 让VO非常透明地传达
you can get a really clean mix with this 用这个你可以得到很干净的混音
And this is our.. we actually built a VO dynamic EQ 这是我们的…我们实际上建立了一个VO的动态EQ
so we're actually mastering the VO on the fly at run time 所以我们实际上是实时对VO做母带处理
so 那么
96000 lines, you're gonna get some lines that aren't recorded the best 96000条对话 你总会有一些录得不好的
yeah you might.. 是的 你可能…
you know not everything is going to be perfect 你知道不是所有的事情都会完美的
so what we did is we actually set up using high and low pass filters running through an RMS signal nod 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
we created bands in the kind of areas that you want to mix to clean your VO up 我们在你想要提升VO清晰度的频段创建了滤波频带
and then basically at run time when people would speak, it would master their VO 然后在游戏运行时 人们会说话 它就会对VO做母带
so what's next 那么接下来是什么呢？
Most of these systems have been carried over to Anthem and we've already starting proving them 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
so basically we are already hitting a high quality bar with Anthem 所以基本上我们已经让《Anthem》达到高质量的水准了
because you've already got the system so we can just concentrate on the sound design 因为已经有了这个系统 所以我们可以专注于声音设计
With new systems: Game Object Mixers 加入了新系统：游戏对象混音器
this is something if you've used Wwise, you know what game object mixer is 如果你用过Wwise 你知道游戏对象混音器是什么
it's something that Frostbite doesn't have 这是Frostbite没有的东西
so we miss it because we made two Mass Effects on Wwise 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
so we miss the concept of an owner 所以我们想念Owner的概念
so we're kind of we built it in to Frostbite 所以我们把它做进了寒霜引擎
so this is basically 所以这基本上是
we can mix things based on an owner dot rather than a mix group or bus level 我们可以基于Owner节点进行混音 而不是在Mix Group或总线级别
We have Navpath Obstruction so what we're doing here 我们有导航路径遮蔽系统 所以我们在这里做的
is where actually.. 实际上是…
utilizing the game's navpath to determine if a sound has a path to the listener 利用游戏的导航路径来确定声音是否有指向Listener的路径
this in combination with our conventional raycast will give a better resolution to obstruction checks 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
World Anchors, this is Procedure Locators 2.0 世界锚点 这是程序化定位声源2.0
it's just a much more integrated version of procedure locators into the game 它是程序化定位声源在游戏中集成性更高的版本
actually other other departments like designer using these as well 实际上其他部门 比如设计师也在使用这些
Contextual Ambient Presence System(CAPS) 上下文环境表现系统（CAPS）
this is a foreshadowing system for creatures 这是给游戏生物用的预示系统
basically what we want to do is if you are coming close to a specific area 基本上 我们做的是 如果你接近一个特定的区域
we're gonna.. we want to foreshadow what could be in that area 我们要…我们想预示一下那个地区会有什么
so that you might want to go into it 这样你就可以进入..
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 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
But if you're at level and you can go into that area, you can 但如果你在同一水平 你就可以进入那个区域
and then more quad assets in combat yeah 然后在战斗中有更多的Quad资产
we just like using quad stuff 是的 我们就是喜欢用Quad的素材
and that's it 就是这样
Anybody have any question? 有人有问题吗？
(Hi, great presentation. Lots of very cool tech in there) Cool thank you （嗨 很棒的介绍 里面有很多很酷的技术）酷 谢谢
(For the bullet fly-by, apart from being very dangerous to yourself) （对于子弹呼啸声 除了对自己很危险之外）
(Are you playing a bullet flyby on every vfx that's coming through? Or you're doing some sort of..) （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…）
It's funny. It's actually we have stereo asset 很有趣 实际上我们有立体声的素材
then what the system does is as a bullet gets closer to you.. 那么系统所做的就是 当子弹离你越来越近时
so it's based on the.. it is vfx in the bullets I guess 所以它是基于……我想是子弹里的VFX
And as it gets closer to you, play one side of the stereo 当它靠近你时 播放立体声的一边
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 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
so yeah it's not every bullet because.. 所以不是所有的子弹都有 因为…
yeah we have a scope on that to minimize it but 是的 我们有一个范围来将其最小化 但是
every second or third bullet so.. 大概每秒三颗子弹 所以…
(Cool, nice thank you) No problem （很好 谢谢）没问题
(Hi I was wondering how did you deal with the challenge of..) （嗨 我想知道你是如何应对这样的挑战的：）
(..finishing the project with lots of assets coming in may be last minute and..) （可能是在最后关头有大量资产进入的情况下完成项目）
(how do you prepare for that beforehand?) （你事先是怎么准备的？）
Yeah that's the thing is like.. 是的 就是这样…
Like I said earlier it's like we try to get our system's development done in like its early.. 就像我之前说的 我们试图在早期就完成(音频)系统的开发
just after pre-production I mean, there're still iterations on these systems 紧接预制作阶段之后 我的意思是 这些系统仍然会迭代
but we try and get all that done so we're concentrating on the late stuff 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
but you know, stuff's gonna be late 但你知道 有些资源会很晚才能到位
so we have to.. it's basically adapt. We have to adapt to the situation 所以我们必须…基本上是随机应变 我们必须适应这种情况
But with the source library we had, we had so much quality source that like.. 但是有了源素材库 我们有很多高质量的源素材
when cinematics sorta coming in were just like okay we can grab this 当过场动画加入时 我们可以从库里快速抓取
and the idea is just keep your source library organized 总之就是让你的源素材库保持井然有序
like a lot of times like right now our Anthem I is a little messy 就像很多时候 像现在我们的《Anthem》一样 会有点乱
so I'm probably gonna go in and just make sure it's good but yeah 所以我可能会进去确认一下
so just making sure you have the content upfront, so.. 所以 只要确保你提前准备好内容
(You managed to keep this enormous scope in check with a lot of complex automation) （你设法用许多复杂的自动化来控制这么巨大的体量）
(..with all the foley systems and weapons) （包括Foley系统和武器）
(but there was one programmer on that 14 or 15 person team?) One programmer （但在这个14或15人的团队中只有一个程序员？）一个程序员
That's the thing is because it's an object-based engine 这是因为它是一个基于对象的引擎
we don't have to rely on a programmer so much, we can do a lot ourselves 我们不必太依赖程序员 我们可以自己做很多事情
so we build this stuff 所以我们做这些东西
we build these systems along with ourselves 我们自己建立这些系统
and then the programmer just make sure it's working on the low level 然后程序员只需确保它在底层正常工作
We had one programmer but at the end of Mass Effect when everything was like coming in hot 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
basically we brought in another programmer 基本上我们引进了另一个程序员
and he basically just was there to optimize, make sure it was all good 他基本上只是在那里优化 确保一切顺利
so there was two I guess 所以我想有两个
(hahaha) （哈哈哈）
(Hi) （HI）
(Great presentation) （很好的演讲）
(So my question is clearly there are so many systems to control the sound effects) （所以我的问题是 很明显有这么多的系统来控制音效）
(and I guess I was wondering if there were any systems to help the sound effects play nice with the music ) （我在想是否有任何系统可以帮助音效更好地和音乐配合）
Yes. Actually it's funny cause Jeremy in the video he actually has a whole presentation on the music system 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
(okay) （好）
What we did for that is.. 我们为此做的是……
sometimes we will do is bus the tonal content to different bus 有时我们要做的是把Tonal的内容发送到不同的总线上
and then as music comes in, we'll duck that total content 然后随着音乐的到来 我们会让Tonal内容闪避
cause we do like to use a lot of tone in our games 因为我们喜欢在游戏中使用很多有调性的声音
and then so it doesn't clash 这样 (音乐和Tonal音效)就不会发生冲突
(okay) （好）
yeah but it also.. sorting music group is amazing 是的 但它也… Sorting Music Group(音乐排序组)真是太棒了
and they actually went through in a lot of levels, they just tune the music to the sound effects 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
(wow) （哇）
Yeah, I love them 是的 我爱它们
(That's awesome) Yeah （太棒了）是的
So we avoid it as much possible but sometimes that happens, the clash, 所以我们尽量避免 但有时会发生冲突
but it's good 但也没关系
(Thank you) Thank you （谢谢）谢谢
(Speaking of overall design for the game) （说到游戏的总体设计）
(Was there anything unique that you wanted to be just for Andrameda as opposed to the older games) （有没有什么独特的东西 你只想为《Andrameda》做 而不是其它前作）
(did you want it to be kind of its own things, stand on its own?) （你想让它拥有一种独立的风格吗？）
(because I know you pulled a lot of sounds from the original, so..) Yeah （因为我知道你从原作中提取了很多声音 所以…）是的
Yeah I guess the three races we wanted to just kind of sell them as different 是的 我想我们想要让三个种族表现出区别来
and the fact that you're in the new galaxy so we wanted to sell that aspect as well, sort of planets 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
the Monolith's stuff, the Remnant's stuff going to sound really different Monolith的声音 Remnant的声音 听起来要很不一样
But other than that, there's a lot of milky way tech they brought over 但除此之外 有很多银河系的技术被带进本作
so we kind of have to support that as well 所以我们也得支持这点
But yeah, that's about it 但是的 就是这样
Hello (Hey man, that was amazing, thank you) 你好（嘿 伙计 太棒了 谢谢）
(Ultra specific question, but with the inside/outside kind of like a calculation) Yes （非常具体的问题 但对于室内/室外的计算）是的
(is that just like totally binary thing or is there anything more complex going on?) （这是个完全二元的东西 还是有更复杂的事情发生？）
We.. There's a thing called Contact System in Frostbite 我们…寒霜引擎中有一种叫做“接触系统”的东西
so we have to tell the game whether you're inside or outside 所以我们必须告诉游戏 你是在室内还是在室外
I think we're using geometry of the buildings and then basically when you.. 我想我们使用的是建筑物的几何形状 当你……
yeah and then we would put the logic into.. say that you were switching 是的 然后我们把逻辑放到…比如说你在换..
Does that answer your question? 这能回答你的问题吗？
(Once you worked that out, do you do anything like xxx needs?) （当技术实现之后 你会这么做吗：）
(like what would happened if it explodes on a doorway?) （比如 如果它在门口爆炸会发生什么？）
(Do you get a bit of both tails? Or..) （会听到室内和室外两个声尾吗？还是…）
It was kind of a combination of both actually like you would just.. 会是两者的结合 实际上会…
I don't know it just picks.. it would pick one or the others 我不确定 它会选择其中一个？
(And in terms of the ambience stuff, say if you went inside) （从环境声方面来说 如果你走进室内的话）
(would you still keep the exterior, and pan it from the portal?) （你仍然会保留室外声尾 然后在入口处调整声像吗？）
Yeah (Ok, cool) Yeah totally, it works both ways 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
(Awesome, thank you) （太棒了 谢谢）
Thank you 谢谢你
(Hi) Hello （嗨）你好！
(Great presentation) （演示得很好）
(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?) （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？）
Ok my favorite my favorite plug-ins.. 好的 我最喜欢的插件
I love Fabfilter, they're great 我喜欢Fabfilter 它们很棒
and iZotope 和iZotope
two my favorites 两个我最喜欢的
For sound design, like Serum. I use a lot of Serum 对于声音设计 比如Serum 我用了很多
Alchemy. I don't even use a Mac, I still use the old version of Alchemy 还有Alchemy 我甚至不用Mac 我仍然使用旧版本的Alchemy
I'm like: I still love it because.. 我还是喜欢它 因为…
a lot of creatures we do use the "green morph", like the X-Y morph 对于游戏中很多生物 我们会使用“绿色的Morph” 也就是X-Y Morph
it will take like a real, like a lion and mix it with like a rubber 它可以把真实素材比如狮子 和橡胶声混合在一起
and then it green morph, ah it's so good 然后还能“绿色Morph” 太好了
maybe one day I'll get a xxx, if I'm lucky, thank you 也许有一天我会买个XXX 如果我幸运的话 谢谢你
(And I had another question is what was like the thinking when you made like the different races?) （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？）
(you said the first, Kett) （你说的第一个种族 Kett）
(and it was like slowly.. technology, that kind of stuff) （它们是像那种慢慢地…科技感 那种东西）
(How does it get to you? How do you think when your doing that?) （你是怎么想到的？当你做的时候你怎么想？）
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 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
and we started going through art 我们开始浏览原画
and we started going through like written word and also like design documents 我们开始浏览文字和设计文件
we just started throwing words at the wall 然后我们开始往墙上贴一个个词
and then what I do is I just take that information, I take the ones I like 然后我要做的就是收集信息 收集我喜欢的信息
that I think represent the race best 我认为最能代表这个种族的
Ok thank you 好的 谢谢
(Thank you very much for your presentation) （非常感谢您的介绍）
I didn't really fully grasp what the Procedural Locator System was, could you explain that a little bit more?) （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？）
So it was a system.. ok 所以这是一个系统…好的
There's a system like to attach sound to things in the world 这个系统是用来 把声音附在游戏世界中的物体上
that we didn't like necessarily want to place by hand I guess 我想 我们不一定想要亲手摆放
So what we would do is.. 所以我们要做的是…
there was about three hundred of these placeable objects that designers made and then we.. 设计师制作了大约三百件这样的可放置物品 然后我们…
all we had to do is to attach sound to those 我们所要做的就是把声音附在上面
so computers 所以(游戏世界中的)电脑
trees, even 树木 甚至
like so we can even take the velocity of the wind because Frostbite is all physics based 我们甚至可以获得风速 因为寒霜引擎都是基于物理的
and we can drive wind loops with that off trees, it's pretty cool 我们可以用风速 来驱动树上的风声Loop 很酷
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 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
kind of stuff to computers 然后把电脑的声音绑到电脑上
and what we do is there's a button in the game to generate procedure locators 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
just hit that 只需一点
BOOM it populates the level with sound BOOM 它就把声源填充到关卡中了
so we attach it to one object and then designers would place that object multiple times in a level (Oh I see) 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）
and the sound would go with it, so.. 然后声音会跟着它 所以…
(Kind of like using a prefab with a audio source on it?) Yeah, totally （有点像使用一个带有音频源的Prefab？）是的 完全
(Cool, thank you) （酷 谢谢）
(Hi again. In the procedural breathing video that you had) （再次嗨 在你的程序化呼吸系统视频中）
(the breaths between the VO lines there, is that the procedural breathing? Or that was..) （对话之间的呼吸 是程序化呼吸吗？还是…）
Oh no, that was.. Ok for cutscenes we shut that off 哦 不 那是…对于过场 我们会把它关掉
because.. yeah those are all performance 因为…是的 这些都是表演中的
(Cool) Thanks （酷）谢谢
(And..) （…）
(for the ambience, you have the inside/outside which is based on the geometry of the houses and the precedural locators （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）
(Do you also have volumes of your place in the world to have different ambience? Yeah) （你在世界上的不同位置是否也会有不同的环境声？） 是啊
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 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
(Cool, thank you) Awesome （酷 谢谢）太棒了
Any more questions? 还有问题吗？
We're good? 好了？
Thank you 谢谢你