Ten Dedicated Workshops Track Game Industry Audio
NEW YORK: In recognition of the massive Video Game contribution to audio production and post production, 127th AES Convention Workshop, Tutorials and Games Chair Alex Case has developed a dedicated, ten-event Game Audio Track. “The creative and economic impact of this sector is acknowledged throughout our industry,” Case said. “Studios, engineers, producers, technology developers, composers, sound designers and an enthusiastic, sophisticated audience are dedicated to the continued success of this unique creative sector. Our comprehensive program will provide invaluable technical and creative guidance. And,” Case adds, “extremely helpful networking opportunities.”
The 127th AES Convention will be held Oct. 9-12, 2009 at NY’s Javits Convention Center. Audio Game Track Program highlights include:
Education in Game Audio in Three Parts: Co-Chairs, Steve Horowitz, Nick-Digital, The Code International Inc. and Steve Martz, THX Ltd. will provide a comprehensive overview
on Audio Games
* Part 1: Game Production 101: An introductory tour of the basic landscape of audio for games and interactive media, including music, sound effects, and voice; parallels to film/TV/animation, development, formats, adaptive scoring and employment opportunities.
* Part 2: Meet the Team: Defining team member roles including: audio design, content and technology development, and implementation of audio assets.
* Part 3: State of the Union: Will detail training and experience requirements for landing that first job. Focus on the standardized school curriculum for games and interactive audio being developed by the Interactive Audio Special Interest Group (IASIG) and other organizations.
Leveling Up Game Audio Implementations: Chair: Scott Selfon, Microsoft Corporation and panelists: Scott Gershin and Gene Semel will address the conundrum of delivering 40+ hours of interactive, dynamic, game audio to a download, portable, or disc-based title. Issues include: reference level standards in an environment where mixing occurs in real time, and how to get real-time DSP effects out of the gear and into the game, so the players hear what the creators produce.
The Art and Business of Game Music: Chair, Tom Salta; Panelists Rod Abernathy and Paul Lipson: A leading game music composer, Salta is regional director for the Game Audio Network Guild (G.A.N.G). Topics include the differences between composing music for games and film, TV, etc; technical parameters of scoring games; types of implementation (layered, triggered, etc.); and a live demo of adaptive music using F-MOD.
Interactive Speech for Games: Chair, Steve Martz, THX Ltd. and Panelists: Hope Dippel, SCEA and Dieter Piltz, Blue Castle Games, will address creating realistic sports game play-by-play and color analysis from a virtual sports announcer. Seamless transitions and accurate descriptions are prerequisites for a believable experience. Topics include asset creation, scripting, recording, talent, editing, mastering, phrase-stitching and speech systems.
VO for Videogames – Process and Pipeline: Chair, Morla Gorrondona and Panelists: Chip Beaman, Alexander Brandon, David Chan and Greg deBeer of The Game Audio Network Guild (G.A.N.G.) and the Voice Actor Coalition (GVAC) will discuss voice acting and dialog production in video games; running a successful recording session, technology, reels, casting, union considerations, interactive vs. linear, getting the best performances, and budgets.
The Wii Remote as a Musical Instrument -Technology and Case Studies: Paper by Paul Lehrman: Wiimote, the inexpensive, remote for Nintendo’s Wii Game System will be scrutinized. Using a combination of technologies highly suited for music generation and control including position tracking, tilt and motion measurement in three dimensions, the two-dimensional joystick (with its companion “Nunchuk,”) and multiple buttons, the unit is ubiquitous. Lehrman will discuss the system in two musical contexts: controlling an electronic orchestra performing classical repertoire, and creating a new type of multi-parameter, multi-user synthetic instrument.
Additional Game Track Presentations Include:
* Interactive Music Techniques for Games: Chair, Scott Selfon, Microsoft Corp.
* Portable Surround Sound By Headphones – Main Research & Suitable Practice
* Techniques of Audio Localization for Games, Chair: Fabio Minazzi and Panelists: Hope Dippel, SCEA and Francesco Zambon, Binari Sonori Srl
* Sounds from the Third Dimension! 3-D Simulation Techniques in Game Development: Chair, Scott Selfon, Microsoft Corporation
* Implementing Sound and Music for Games Using the Unreal 3 Engine: Chair, Richard Stevens
* Eidola – An Interactive Augmented Reality Audio-Game Prototype: Nikolaos Moustakas, Ionian University
The 127th AES Convention, is at NY’s Javits Convention Center Oct. 9 – 12, 2009. For a complete schedule of 127th AES Convention Game Track events including dates, times and comprehensive abstracts, visit: http://www.aes.org/events/127/calendar/calendar.cfm
Photo: Leading Video Game music composer Tom Salta
The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org