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 107 might dive into the game's settings and enable the low dynamic range mix mode in order to give yourself a better experience under those conditions. For film and TV, you are usually stuck with one mix and rely on simply turning the volume up or down to suit the environment, often requiring the user to ride the volume throughout. Imagine a world where you could interactively select a low or high dynamic range mix as easily as you can in games, it would be great, I think! What were some of the easiest objects in the game to source/ capture/design/edit/implement? Most difficult? Did you end up sourcing any surprising sounds? JT: These actually kind of go hand in hand. Some of the most challenging things to design were the ones that needed a lot of variation, for example, Stratagems. The designs themselves weren't necessarily that difficult to nail down but just the sheer quantity proved to be a challenge as you're essentially designing a very similar sound over and over again. Having various sound designers work on the same category of sounds, for example, explosions, helped to get a lot of natural variety. This pool of designers is something we could also leverage for a particularly tough design. One such challenge was the Hellpod launch that happens every time you drop into the missions. For this particular design, we organized an internal global "Sound Design Challenge" where we had PlayStation Studios sound designers from the US, UK, and Japan teams participating, totaling up to around 25 submissions. There was no brief except a clip of the sequence to design to, so we got a massive pool of very unique takes from each sound designer. We could then pick and choose the most interesting bits that seemed to fit the best and combine and polish these into a more unified design. As for recordings outside of Foley, we didn't really have any big teamwide recording sessions but I think, like a lot of sound designers, the team is always looking for any interesting sounds to record and fill out their library. Recordings can be a great way to give a reference The game was mixed at RAK Studios in London, UK.