Issue link: https://digital.copcomm.com/i/1538144
M OT I O N P I CTU R E S O U N D E D I TO R S 45 itself shares many similarities. But the business side, the logistics, and how we execute things are very different. First of all, I'd say movie animation and game development share a lot of common ground, more so than live-action films and games. Both deal with technical challenges like choosing an engine, setting up mocap, and integrating dialogue. The process of putting it all together is almost identical. The big difference is that instead of using Pro Tools exclusively, we use tools like Wwise and Unreal Engine. From Asset Delivery to Embedded Collaboration Scott: When we started out, studios would call us to create cinematics or in- game sound assets, and we would hand those off to them for implementation in their proprietary engines. But over the last 10 years, the industry has shifted away from proprietary sound tools and toward third-party middleware that can almost play back on any release platform, such as PlayStation, Xbox, PC, and mobile technologies (sort of), using software like Wwise, FMOD, and Unreal. These middleware tools allow us to embed our sounds directly into the game. Previously, we sent audio assets to studios. Now, we're embedded in the development pipeline, collaborating in real time rather than following the old "toss it over the fence" approach. We still work that way maybe 15 percent to 20 percent of the time, but about 80 percent of the time, we are fully embedded with the in-house sound and development team. We're placing sounds directly into Wwise, and that's not just on the editing side. We're handling reverb, voice counts, randomization logic, and more. Interactive Mixing and Spatial Audio Logic Scott: Integration has similarities to film mixing, but since each time you play is a different mix, the sound's panning, EQ, and reverb have to be programmed into the game so that under specific situations or perspectives, the music, dialogue, and sound effects play in a way that supports the player's perspective or position within the game map. If the player chooses to play differently, that changes the attributes of the sound mix. For example, if you talk next to a glass window, the reverb might change to include a glass-reflected element. If I'm designing creature vocals, I'll create five or 10 variations of that vocal. Then, inside Wwise, we'll randomize between the sounds, slightly pitch each vocal, add EQ based on distance and obstructions, build perspective changes, and more. We've also moved into what I call high-end implementation and programming. We are building hooks, or sync points to trigger sounds, directly into the game to create real-time interactions. Beyond that, we even work on custom programming, such as developing new reverbs or audio systems, similar to plug-ins, that go beyond what Wwise includes. Tools, Training, and Workflow Fluency Scott: This shift has changed what we look for in new hires. When students come in, I ask if they "know" Wwise, not just that they "took a class," but if they really know it the way a musician from Berklee knows their instrument. While Pro Tools is used for editing cinematics and a lot of in-game design for the linear portions of a game, REAPER has also become a major part of our workflow. We encourage our crew to be fluent in both Pro Tools and REAPER. Each person brings different strengths. Some are Pro Tools experts, others shine in REAPER. We work to bridge those gaps because at the end of the day, these are just tools to help us create great work, and each has its place. Pro Tools is still unmatched for mixing, especially when it comes to Atmos. But for clip-based processing, like creating pitch envelopes, REAPER excels. The Power of REAPER and the Role of Pro Tools Scott: REAPER operates with the flexibility of a sampler, while its interface resembles that of a traditional disk recorder. It also has the ability to customize keystrokes, so you can program the same keystrokes you use in Pro Tools. It is fully clip-based and highly scriptable. We can write scripts to scan thousands of dialogue lines to make sure they are all hitting the same LKFS or volume levels, then apply fixes automatically if they fall out of spec, or apply a specific plug-in to any number of sound files or combinations of plug-ins. It makes part of the process automatable, which is incredibly powerful and saves a ton of time. But based on its architecture, REAPER isn't a great mix tool. That's where Pro Tools still dominates. We use both technologies every day, but I lean on Pro Tools for mixing. In the end, we use whatever tool best fits the situation and sonic objective. That's what matters most. Designing Through Performance "I never rely solely on a dry voice. My performance responds to the character and the color added by the effects." When you're creating characters or creatures, whether it's for a film or a game, where do you typically begin? Scott: For me, it often starts with vocalization. In my film and game projects, I don't use words to emote feelings or emotions. I rely entirely on non-verbal expressions like breaths,