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Leading with Sound: Proactive Sound Practices in Video Game Development [Mīkstie vāki]

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  • Formāts: Paperback / softback, 234 pages, height x width: 234x156 mm, weight: 381 g, 15 Line drawings, black and white; 15 Illustrations, black and white
  • Izdošanas datums: 19-May-2021
  • Izdevniecība: CRC Press
  • ISBN-10: 0367535874
  • ISBN-13: 9780367535872
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  • Mīkstie vāki
  • Cena: 49,50 €
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Leading with Sound: Proactive Sound Practices in Video Game DevelopmentPalielināt
  • Formāts: Paperback / softback, 234 pages, height x width: 234x156 mm, weight: 381 g, 15 Line drawings, black and white; 15 Illustrations, black and white
  • Izdošanas datums: 19-May-2021
  • Izdevniecība: CRC Press
  • ISBN-10: 0367535874
  • ISBN-13: 9780367535872
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780367535872.html
Keywords:

Leading with Sound is the must-have companion guide to working on video game projects. Focused on the creative, collaborative, philosophical and organizational skills behind game sound and eschewing the technical, this book celebrates the subjects most essential to leading with sound in video game development at any level. Refuting the traditional optics of sound as a service in favour of sound as a pro-active visionary department, , this book examines each of the four food-groups of dialogue, sound design, music and mix, not through the usual technical and production lenses of ‘how’ and ‘when’, but the essential lens of ‘why’ that enables leadership with sound.

Leading with Sound

is essential reading for aspiring sound designers, inside and outside of the classroom, as well as experienced professionals in the game industry.

List of figures
viii
Acknowledgements ix
PART I Ports of entry
1(62)
What is this book about?
3(7)
1 The big four: Understanding the four food-groups of audio (and how they inter-relate)
10(12)
2 What drives the mix of your game?
22(2)
3 Taking a psychological approach to sound categorisation
24(6)
4 What is a game developer?
30(8)
5 What is game audio?
38(8)
6 What you may be missing: Vision to drive your tools and pipelines
46(5)
7 Communication essentials: Managing expectations of quality (the `L' scale)
51(4)
8 Audio in concept
55(8)
PART II Sound design
63(50)
9 Working with sound: Building from nothing: the importance of rules
69(3)
10 Higher level is better
72(5)
11 What is causing these sounds and where are they located?: Diegetic, non-diegetic and trans-diegetic sound
77(7)
12 Ambiguity and clarity
84(9)
13 Sound design: Designing for three audiences (player, spectator, creator)
93(5)
14 Sound playback dynamics: Thinking horizontally, vertically and diagonally about asset design
98(6)
15 Designing a moment: Temporality in interactive sound design
104(5)
16 Leading with sound: Spectacle and immersion
109(4)
PART III Music
113(30)
17 Music as creative crutches: Reaching for music too soon and too late
117(5)
18 Defining the sound: Towards an iconic music design
122(3)
19 The shape of emotion: We can't feel emotion all the time
125(4)
20 Diegetic, non-diegetic and trans-diegetic musical spaces
129(5)
21 Non-diegetic space in recorded music
134(6)
22 Leading with music: Music as spectacle throughout production and post-release
140(3)
PART IV Voice
143(18)
23 Early dialogue development
145(2)
24 The sound of voice
147(4)
25 Casting philosophies (auditions, recording, iteration)
151(3)
26 Let's do it again: Understanding and anticipating iterative cycles in dialogue development
154(2)
27 Rethinking dialogue production
156(3)
28 Leading with voice: Leveraging the spectacle of performance
159(2)
PART V The mix
161(40)
29 Mix essentials
165(6)
30 Philosophy of the mix: Narrative dynamics (pushing, pulling, shaping)
171(5)
31 Some defining terminology and features of non-linear mixing
176(7)
32 Mix consistency
183(3)
33 Building the mix
186(6)
34 Planning and surviving the major milestone and final mixes
192(4)
35 Leading with the mix
196(5)
PART VI Fade out
201(14)
36 Studio culture
203(3)
37 Game audio studio spaces: Architectural problems in video game sound
206(3)
38 Games are for everyone: Accessibility, options and customisation in audio for gamers
209(3)
39 From invisible to visible: Finding our place, between vision and service
212(3)
Bibliography 215(1)
Index 216
Rob Bridgett is a British-Canadian Audio Director based in Montreal. In 1993 Rob attended Derby University to study cinema and media, and was one of the first to graduate from the Sound Design for the Moving Image Masters degree programme at Bournemouth University in 1999. Having worked as an audio director in the games industry since 2001, Bridgett has become a committed advocate for leading with sound and 'sound as design.