Issue link: https://digital.copcomm.com/i/1436283
m ot ion p ictu re s o u n d e d i to r s I 59 EM: Uncharted 3: Drake's Deception was huge in scale. And then you ventured into an entirely new genre in The Last of Us, the original game. How did your approach to game audio evolve for that title, and what did you learn from the transition between those games? PK: So I started offi cially as a proper Naughty Doggy in the summer of 2010, just as they were ramping up on the production of Uncharted 3. And then Rob, you started in 2011, in the last six or eight months of the production of the game. So this is where we all joined forces at this moment. When we started pairing off for The Last of Us, eventually, I moved on to The Last of Us and Bruce stayed on with Uncharted 3, but we did cross the streams a bit there. We had to use the same systems from Uncharted to build The Last of Us and it made a lot of sense early on. And then Jonathan had to bridge that gap between keeping the Uncharted stuff in "uncharted territory," for lack of a better term. And then fi guring out all the crazy stuff we needed to do for The Last of Us because it was a very diff erent game, even though it was on the same engine. We had to build entire new systems of propagation and indirect audio and diff erent reverb systems, and the game was more grounded in a way. So we had to understand how Bruce and Jonathan, and in some stages myself, built all these systems for the Uncharted series, but then fi gure out what was the story we're trying to tell, what was the game we were trying to make? How were we trying to create something that made sense in this entirely new world that should feel diff erent? It shouldn't feel or sound like an Uncharted game. There were a lot of detailed sound design diff erences that happened there, and I think because it was stealth, the Foley systems were diff erent, the reverb Drake on the run in Uncharted 2: Among Thieves Drake dangles from a train in the opening moments of Uncharted 2: Among Thieves