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E-grāmata: Working with Sound: The Future of Audio Work in Interactive Entertainment

4.50/5 (2 ratings by Goodreads)
  • Formāts: 228 pages
  • Izdošanas datums: 01-Jun-2023
  • Izdevniecība: Focal Press
  • Valoda: eng
  • ISBN-13: 9781000882902
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Working with Sound: The Future of Audio Work in Interactive EntertainmentPalielināt
  • Formāts: 228 pages
  • Izdošanas datums: 01-Jun-2023
  • Izdevniecība: Focal Press
  • Valoda: eng
  • ISBN-13: 9781000882902
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"Working with Sound is an exploration of the ever-changing working practices of audio development in the era of hybrid collaboration in the games industry. Through learnings from the pre-pandemic remote and isolated worlds of audio work, sound designers,composers and dialogue designers find themselves equipped uniquely to thrive in the hybrid, remote, and studio-based realms of today's fast-evolving working landscapes. With unique insights into navigating the worlds of isolation and collaboration, this book explores ways of thinking and working in this world, equipping the reader with inspiration to sustainably tackle the many stages of the development process. Working with Sound is an essential guide for professionals working in dynamic audio teams of all sizes, as well as the designers, producers, artists, animators and programmers who collaborate closely with their colleagues working on game audio and sound"--

Working with Sound is an exploration of the ever-changing working practices of audio development in the era of hybrid collaboration in the games industry.



Working with Sound is an exploration of the ever-changing working practices of audio development in the era of hybrid collaboration in the games industry.

Through learnings from the pre-pandemic remote and isolated worlds of audio work, sound designers, composers, and dialogue designers find themselves equipped uniquely to thrive in the hybrid, remote, and studio-based realms of today’s fast-evolving working landscapes. With unique insights into navigating the worlds of isolation and collaboration, this book explores ways of thinking and working in this world, equipping the reader with inspiration to sustainably tackle the many stages of the development process.

Working with Sound

is an essential guide for professionals working in dynamic audio teams of all sizes, as well as the designers, producers, artists, animators, and programmers who collaborate closely with their colleagues working on game audio and sound.

Recenzijas

'This is a much needed book and I can think of no one better or more appropriate than Rob Bridgett to have written it. Working with Sound is essential reading in its field for students, audio professionals and anyone with an interest in how sound creates narrative and emotional pictures in the mind. After all, as Bridgett reminds us, "sound is the invisible art department".'

Seįn Street, Emeritus Professor of Radio, Bournemouth University

'Rob Bridgetts book paints an amazingly detailed, broadly informed and inspiring vision of the future for anyone working with sound in the interactive world of entertainmentThis outstanding book is an invaluable resource for both seasoned professionals and emerging sound designers and directors.'

Wieslaw Woszczyk, Distinguished James McGill Professor, McGill University

'While providing a wealth of practical tips and tricks, Bridgett looks beyond the day-to-day tasks and envisions a paradigm shift where audio becomes integral to game design and development. Acknowledging that this fundamental change needs to come from the inside, Bridgett suggests a plethora of strategies in Working with Sound that game audio practitioners can adopt to inspire and cultivate collaboration with other disciplines, leading to a future with more meaningful game audio.'

Martin Stig Andersen, Composer, Audio Director (LIMBO, INSIDE, Control)

Part I: Introduction
1. Continual Change
2. Forever Changes Part II:
Remote Revolutions
3. Working with Sound: The (Present) Future of
Development
4. L-Levels
5. Live Reviews: Time to Listen
6. Diversity of Work
7. Integrated Audio and The Double Edged Sword of Audio Quality
8.
Guerilla-Style Remote
9. The Pendulum Shift
10. The Evolving Role of Audio
Leadership Part III: Understanding Sound Work: Cinematization
11.
First-Principles: Genre and Style
12. Three Factors: Game Genre,
Entertainment Genre, and Style
13. The Long Shadows of Cinema
14. Hollywood
Sound Part IV: Understanding Creative Work
15. Sound Images: Ambiguity and
Clarity
16. Sound Motifs
17. Ambiguity: Language in Collaboration
18.
Designing a Game for Sound
19. Creative Techniques
20. Audio Tools
21.
Quality
22. Emotional Parameters
23. Why we Might be Doing 66% Too Much Work
24. Long-Term Pillars for Audio Quality
25. Working with Future-Aware
Structures
26. Working in a Post-Silo Era
27. Breaking Down the Walls: New
Terrains
28. Social Sound Design
29. Haptic Design Part V: Spatial Work
30.
Surround and Spatial Sound
31. First Wave Consumer Integration into Surround
32. IMAX
33. Ride Film: Shock and Awe
34. Pushing the Consumer Sound Envelope
35. Spatial Music
36. A Positive Future for Spatial Audio in Games
37.
Off-Screen Sound in Games
38. Diegetic Devices: Music and Voice in
Third-Person Listener Perspectives Part VI: Planning Sound Work
39. Time
40.
Money
41. In The Loop Part VII: The Mix
42. Working with the Mix
43. Creative
Principles
44. Techniques
45. Standards
46. Planning
47. Roles and
Responsibilities
48. Outreach and Communication
49. Thinking Beyond the
Technical
50. Plan to Mix
51. Tools, Techniques and Pipelines
52. Fresh Ears
53. Consistency
54. Dynamic Range Part VIII: The Continual Work of Sound
55.
Good Enough - Isnt
56. The Ubiquity of Entertainment
Rob Bridgett is a British-Canadian Audio Director, Mix Supervisor, Sound Designer and Recordist based in Newfoundland. 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 a director in the games industry since 2001 (Vivendi Games, Activision Blizzard, Square Enix, PlayStation), Rob has become a committed advocate for leading with sound and sound as design.
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