Issue link: https://digital.copcomm.com/i/1490686
M OT I O N P I CTU R E S O U N D E D I TO R S I 39 R epresenting MPSE Wavelength, contributing host Charles Maynes is pleased to present a conversation with the principals of the international game audio company Sweet Justice Sound, based in the UK, and also having offices worldwide. The company was created by principals Chris Sweetman and Samuel Justice, both of whom have long track records making highly regarded AAA games for international game studios like Sony, Microsoft, Epic, Electronic Arts, and many others. Ben Minto and Csaba Wagner are also joining the conversation as Sweet Justice Sound stakeholders in the EU and the USA. We hope you enjoy reading about the company and the genius and genesis of their work in the game audio field. CHARLES MAYNES MPSE: Can you tell the MPSE membership a bit about yourselves and your journey into sound editing? BEN MINTO: Whilst at University studying computational fluid dynamics, I had a sideline hobby buying and fixing up old synths. That led, a bit indirectly, to a job down in London involving post- production audio sales and installations (mostly Apple Macs and Pro Tools), which in turn opened doors allowing me to try short freelance gigs across many different audio-related industries, including music production, post- production, and the small but exciting, and relatively new world of video game audio. A job in game audio seemed like the perfect three-way marriage between my technical studies, passion for audio, and love of video games. CHRIS SWEETMAN: I started in the film industry working with my father at his company, The Sound House in 1988, initially as a tea boy, then progressing to running transfer bays (16mm & 35mm), Foley, and voiceover recording and working with editors utilizing our bespoke FX Library, Soundwaves. Our main work was in features and commercials, as well as work with Survival Anglia. I started in games in 1995 and have not looked back!!! CSABA WAGNER: I was very young when I started thinking about what made the sounds of some of my favorite movies so special. Especially movies like Terminator 2, Jurassic Park, and Star Wars. The sound design and mix of those movies were like music to my ears and they still are to this day. In my teenage years, I purchased Pro Tools and a Digi 003, and started figuring out how to create things that my heroes did. I spent years dissecting the movies that inspired me, and a few years later, I managed to get an internship at Danetracks. In 2011, I moved to the States and started working at Soundelux DMG on game projects. Within a year, I managed to move on to movies, like Pacific Rim, Riddick, and others. I spent a few years in the movie industry working with various studios and had the privilege of collaborating with some of my heroes, learning a lot from every single one of them. After several years working on movies, I ended up with Charles Deenen at Source Sound, working on super fun trailers and ads for almost seven years. We had the chance to create unique pieces like the Pennzoil Joyride series that I'm still extremely proud of. During those years, I had the chance to collaborate with Sam Justice on several projects. We really loved each other's work and quickly became very good friends. Three years ago, the idea came up that I could join Sweet Justice and it turned out to be the best decision I could have ever made. Sam, Chris, Ben, and the entire crew feels like family to me and we're all about helping each other, and we're constantly learning new things from one another. SAMUEL JUSTICE: I sort of 'fell' into it (audio) about 18 years ago, a title was released called Half-Life 2, a famous PC video game. At the time, it came with what are known as modding tools, essentially allowing users/creators to build their games with the technology the title used. I was about 16 then and had no idea where my future was going. Being relatively apathetic to most 'normal' career paths, I began studying sound technology at a local college (due to not knowing where I was going in life). Whilst spending my evenings tinkering with the Half- Life 2 modding tools, similar to how people would tinker with car engines or other similar hobbies back in the day. I quickly used the knowledge I was learning at college, coupled it with the tinkering hobby, and began making my own sound effects to integrate into the game. This led me to join 'modding teams' where groups of people learning disciplines (programming, 3d modeling) would create their own small games. I joined these teams as a 'sound person' (not particularly knowing the role titles back then). And so began my journey! CM: What are some of your favorite films, TV, and games that inspire you for your sound aesthetic? BM: This is probably because of the types of titles I have worked on, but real-world captures of amazing sound(s) and performances are a constant source of inspiration and amazement. Only last week, someone shared a clip of the Falcon Heavy boosters landing that was just breathtaking. With a lot of previous projects I worked on, we captured source audio in the usual ways but we also had a lot of references of it being used "in anger." The performance, Opposite page: Sweet Justice Sound—Let It Be! Top row, L-R: Chris Sweetman, Ben Minto. Bottom row, L-R: Sam Justice, Csaba Wagner.