Issue link: https://digital.copcomm.com/i/1524863
M OT I O N P I CTU R E S O U N D E D I TO R S 45 DualSense controllers are more precise, spatialized, and operate at different frequencies. You can actually route your DualSense haptic speakers as an output device on your DAW and, if you place your controller on a flat surface, play a little tune if you have a simple synthesizer on your track. As it's a relatively new sense to be playing with, there are a couple 'schools' of thought developing for modern haptics. I personally subscribe to using simple frequencies for most effects. For example, if I were to score the haptics for a fun explosion: two ear- crushingly loud ~80Hz+50Hz sine waves with a steep volume drop-off would suffice. Another approach I've seen essentially routes a low passed explosion sound to the haptics bus. While this could be a quick and straightforward approach, I find that this encroaches a bit into the rumble territory if not done with intent and takes away some of the control the sound designer has over the tactile sensation. It's somewhat amusing to me that sound designers are in charge of two senses while most other facets are concerned with just sight. That being said, I'm not looking forward to the day when games have olfactory engines. Like many careers in this industry, yours doesn't seem one where keeping "bankers' hours" can regularly apply. Is there anything you're particularly passionate about when it comes to how you manage your career and possibly achieve at least some work/life balance? My passion is good tools that work often! Jokes aside, one of my favorite parts of my career so far has been the variety of teams and genres I've had the pleasure to work with. In the span of a couple years, I've gone from old-school hack 'n' slash to a samurai sword combat game to sports games, to third-person shooters. There's hardly a dull moment. Work-life balance is a skill that varies for each person and must be learned. It's easy to burn out in this field, so it's crucial to set boundaries and understand your limits, and learn steps you can take to avoid it. I personally enjoy surrounding myself with a variety of hobbies to keep things fresh. Recently I've been on a photography and watchmaking kick. Thanks for sharing all of this with us. Lastly, would you care to offer any advice for those just starting out in their careers? If by just starting you mean those looking for that first gig: I just hit my five-year milestone working for PlayStation and a thought I have quite often is; how did I end up on this wild ride working on some crazy cool projects? I don't think there is a right answer to how to get that first job. Many people I know have crazy stories about how they got to where they are. I would consider mine less spectacular: I made some games, I built a reel, applied, and got the job. Frankly, I received so much advice in college on landing that first gig, 99% of it is just what worked in people's specific scenarios; the important thing is that you do something. Create some work, learn the skills, meet cool people, and have fun. One practice I think of often is that of an assignment given out by a former professor of mine, the late Dr. Alan Shockley. He had us maintain a spreadsheet documenting every educational and professional rejection that we received during college and encouraged us to continue this practice throughout our lives. Periodically, he encouraged my peers and I to compete to see who had amassed the most rejections. If I recall correctly, the goal was to destigmatize rejection, transforming it from a discouraging event into a learning opportunity. Dr. Shockley framed rejections as something to collect—like trading cards—and he taught us to view them as valuable experiences rather than setbacks. After all, being rejected just means you put yourself out there. Daniel Ramos and Jeff Darby recording a Vespa.