Issue link: https://digital.copcomm.com/i/1538144
66 M PS E . O R G scene and characters. For linear game cinematics, the work is very similar to film Foley, where usually the footsteps are performed in a linear fashion and recorded first per character and by similar surface type. Then, props are usually recorded for each character (which requires a great deal of experimentation to get the right sound with a combo of props used, performance by the Foley artist, mic placement, and sound processing). Finally, the last recording pass is all the cloth layers, which for game cinematics are typically recorded in several separate tracks—as opposed to film—to allow for more flexibility in the final mix. For instance, in Star Wars Jedi: Fallen Order, we recorded four separate tracks for Cal's suit armor: leather, cloth, gear belt, and lightsaber gear jingle. These layers would be mixed dynamically later depending on what Cal was wearing and what he was doing in the scene. It also allowed the sounds to be pulled from the cinematics to be used in- game, since they were recorded on separate tracks. For in-game Foley, the approach involves a lot of repetitive recording for each character across all of the different surfaces (there were 32 different footstep surfaces for Star Wars Jedi) and each type of shoe or boot. Each individual footstep needs to have multiple variations that are performed to fit together well when cut up into individual files and played back in different sequences. All the in-game Foley goes through an intensive editing and mastering process, including testing the sounds in-game in order to accomplish these goals. Oftentimes, additional sessions are required to fill in what's missing. A lot of documentation is also needed to create Foley for AAA games, as the recording sessions usually span over a couple of years with gaps of months in between, and the cinematics are finished out of sequence. So, you have to photograph and document the recording process for the Foley for each character, surface, and prop used. For example: Footsteps—shoe type, surface, character clothing type, what was used for each layer, props used, Foley artist who performed it, and mic placement for each setup. This also requires going back-and- forth and referencing previously recorded sessions in order to match them with the new recording settings, mic placement, etc. In order to eliminate additional variables, it's a good idea—if the schedule allows—to record with the same crew at the same Foley stage, using the same mics and props, as it makes this process go much more smoothly. Seamless Integration: Challenges in Nonlinear Sound Design "The Foley needs to blend seamlessly in terms of levels, EQ, and texture to maintain immersion." What are some unique challenges you've encountered when creating Foley and sound FX for dynamic game environments compared to linear film scenes? Caron: With Foley for games, there are challenges making transitions as seamless as possible between the linear cinematics and dropping back into the gameplay and vice versa. This is becoming less of an issue now due to technological advances allowing the ambience, music, and dialogue to play through the cinematics from the in-game engine. Often, the background NPCs (non-player characters) play through from the game engine during the cinematics, which helps blend the transitions together. Gregg Barbanell Foley Artist‒Recording for Rudzienko Art Film 2016. Alyson Dee Moore climbing claw props for Cal's Foley recording during Jedi Fallen Order. Warner Bros 2019.