Issue link: https://digital.copcomm.com/i/1512183
30 M PS E . O R G too! So you didn't significantly sweeten sounds from gameplay for perspective in a cinematic compared to in gameplay if you were further away? JS: For the cinematics, I totally did that. I would do EQ filters and stuff to put things in the distance. I'm trying to think when we got that ability to do distance crossfading. I don't think we had it in Gears of War 1. In Gears of War 2, I remember we finally had access to some programmer time and one of the things that we really rallied for and got was this distance crossfading thing where I would make two versions of any particular sound. A close and a distant, and based on the proximity to the camera, we would do a crossfade into that stuff. That was really important because we wanted to have distant gunfire happen from gameplay triggers. Unfortunately, I don't think we got that in Gears of War 1, and we had to utilize different versions. But we weren't able to be so free with it. We had to specifically place it and I did a lot of that when I was doing the cinematic mixes because there was nothing procedural going on in that. I had to place it all and sweeten it. To see this entire Sound Advice video, please click on the following QR code: Left: Jamey Scott scouting recording locations for Gears of War. Right: Jamey in the field recording sounds. Jamey Scott recording the sounds of a slingshot for Gears of War. The COG fight off Locust armies in Gears of War. Photo: Microsoft Game Studios