Issue link: https://digital.copcomm.com/i/1532010
C I N E M A A U D I O S O C I E T Y. O R G 37 Cross-Disciplinary Collaboration Ramirez described how sound enters the process in games during preproduction, with teams considering the balance between cinematics and gameplay, and the type of game (adventure, live-service, puzzle) to determine whether they need a more traditional or technically focused team. Beaumont elaborated that sound teams in games integrate work more with other departments compared to film, impacting VFX, picture, editorial, and fostering cross- disciplinary collaboration. Gershin emphasized that sound in games is not only artistic but also navigational, informative, and strategic. Ramirez also spoke about the collaborative nature of game audio, highlighting how sound teams work with narrative designers, game designers, and creative directors to ensure the first 90 minutes of gameplay are engaging. She noted that in games, multiple writers are assigned to different aspects, such as cinematics, gameplay, or even specific levels. There are times sound teams record dialogue without knowing where a character will be visually, making collaboration with writers essential for ensuring consistency. Dialogue and Asset Variations Ramirez explained that it's essential to avoid repetitive dialogue lines like "Get down!" being delivered in the same cadence. Creating a bank of varied sound assets ensures that characters' voices have an arc within scenes. Beaumont added that middleware pitch adjustments and micro-tweaks help make repeated dialogue less noticeable. Gershin said he encouraged his team to introduce more randomness into sound design, explaining that imperfections contribute to the illusion of realism in games. Integration and Mixing Nearing the end of the panel, Marks asked about integration, delivery, and mixing. Beaumont explained that integration involves embedding sound assets into the game so that players can trigger them through interactions. Gershin likened integration to mixing, noting that it can take months or years. Unlike film, where sound is edited linearly, game audio involves crafting sounds that are randomized and layered dynamically. Beaumont described each animation as a "micro-movie," focusing on storytelling through sound. Ramirez provided an example from Spider-Man, where 80,000–90,000 lines of dialogue were cut into granular pieces to accommodate dynamic interactions such as a character being hit mid-sentence. She noted that the mixing phase typically takes 1–1.5 months, with additional time allocated for pre-mixing and mastering. Cross-Pollination Between Media Lastly, the panel spoke about the ongoing connection between games, film, and television. Ramirez said she encouraged her team to draw inspiration from films and TV shows. Gershin observed that games are returning to storytelling, creating a "cross-pollination" between media. Beaumont spoke about the nostalgia factor in game adaptations of older films and TV shows, emphasizing the importance of maintaining accuracy in the sonic world. Gershin summed up the sentiment by stating, "You have to pay homage to the sonic mythology and build upon it." Eric Marks MPSE Leilani Ramirez MPSE Scott Martin Gershin MPSE Brad Beaumont MPSE