Issue link: https://digital.copcomm.com/i/1470109
62 I m ps e . o rg for God of War. We were able to get Chris Judge and Sunny Suljic to be in the same space. That's the ideal scenario, but usually it is just one person in there. From there, we take all of that material, cut it up, and edit. My team uses various programs to do their work—Pro Tools is the primary program that we use, but we have begun to explore Reaper for helping us in the back-end with post- production. There's a lot of files and file-naming, so the team does use tools like Keyboard Maestro. I let my team try to find the right tools that will help them expedite the process. Our team definitely uses other software like Adobe Audition and Izotope. Izotope RX is a huge part of our workflow—spectral editing has been a god-send. [laughs] So with cut scenes, it's very similar to what you would do in a feature. In-game can be a lot faster—we try to make it as fast as possible but without compromising quality. Most of the time, the in-game material is farmed out to our vendors, and we work with them to ensure they're hitting our editorial and mastering quality, but we set the bar to how we'd like it to sound, along with sharing ideas on workflow and processes. EM: How do you maintain consistency of the treatment of the quality of the voices between in- game dialogue and cutscenes? LR: We definitely have a quality bar on that front. This is one thing I took to heart when I worked at Naughty Dog under Bruce Swanson. He comes from a film background, so his main thing to me was to make it a seamless experience from cinematic to in-game. I definitely preach that to my team. I don't want it to sound like things are coming from five different places, which is a challenge. This is why my team needs to understand the key foundations of what makes dialogue sound good. The characters should sound like they were all recorded on one day in one location, and they should sound natural and in Nathan Drake, Sully and Elena in Uncharted 3: Drake's Deception.