from the sound of running water and
footsteps around the corner sound
effects in a videogame are key to the
interactive experience hi I’m Joyce
ritzy and welcome to watchmojo.com today
we’ll be learning about the production
and use of authentic and ambient sounds
in Ubisoft’s Splinter Cell Conviction as
lead audio designer what exactly was
your role in developing the game Morrow
basically is to manage all the audio
assets starting from the design of the
systems that are going to play the
sounds having also to clarify the voice
recordings all that stuff the Foley also
what importance that sound effects and
ambience play within the gaming
experience some sounds like ambiences
are going to be more for the immersion
so the player feels really in the
location the voices gives a lot of
indication to the players so where are
the bad guys if I hear it in the in the
rear speaker I know someone bad is
coming there
what would you say sets conviction apart
from other games conviction is a really
realistic game so we treated the voices
in that way we didn’t want to sound a
cartoony or exaggerated so we had a
balance between your very stress you
need to shout elite soldiers really
professionals and so they need to be a
little bit more calm it’s gotta be the
spot where the tunnel runs close to the
old bugger and some of the in pieces
which are more thugs or bums get more
excited and panic more what is the
process like when sinking the voice over
dialogue with the animation most of the
voices are in the AI category basically
NPCs that are looking for you so there’s
just one sentence or just what we call a
bark so for that it will be no sing to
the image because they’re too far away
so we have basic animations for there
the sync the synchronization process is
more implied in the scripted events or
the cinematics who film or ignore where
we have to wait usually for the
animations to be there so the actor can
look at the screen and sync what were
some of the technical challenges that
you encounter with this game the first
one was the voices we recorded during
mocap that was a test and internet to be
very very good even if you lose a little
bit of sound quality during the
recording process the realistic feeling
is so much more there than if you record
an actor alone
that’s what you always say and I’ve
never run thank you very much
you have come
footsteps around the corner sound
effects in a videogame are key to the
interactive experience hi I’m Joyce
ritzy and welcome to watchmojo.com today
we’ll be learning about the production
and use of authentic and ambient sounds
in Ubisoft’s Splinter Cell Conviction as
lead audio designer what exactly was
your role in developing the game Morrow
basically is to manage all the audio
assets starting from the design of the
systems that are going to play the
sounds having also to clarify the voice
recordings all that stuff the Foley also
what importance that sound effects and
ambience play within the gaming
experience some sounds like ambiences
are going to be more for the immersion
so the player feels really in the
location the voices gives a lot of
indication to the players so where are
the bad guys if I hear it in the in the
rear speaker I know someone bad is
coming there
what would you say sets conviction apart
from other games conviction is a really
realistic game so we treated the voices
in that way we didn’t want to sound a
cartoony or exaggerated so we had a
balance between your very stress you
need to shout elite soldiers really
professionals and so they need to be a
little bit more calm it’s gotta be the
spot where the tunnel runs close to the
old bugger and some of the in pieces
which are more thugs or bums get more
excited and panic more what is the
process like when sinking the voice over
dialogue with the animation most of the
voices are in the AI category basically
NPCs that are looking for you so there’s
just one sentence or just what we call a
bark so for that it will be no sing to
the image because they’re too far away
so we have basic animations for there
the sync the synchronization process is
more implied in the scripted events or
the cinematics who film or ignore where
we have to wait usually for the
animations to be there so the actor can
look at the screen and sync what were
some of the technical challenges that
you encounter with this game the first
one was the voices we recorded during
mocap that was a test and internet to be
very very good even if you lose a little
bit of sound quality during the
recording process the realistic feeling
is so much more there than if you record
an actor alone
that’s what you always say and I’ve
never run thank you very much
you have come
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