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 85 only ever worked in Pro Tools, you can still perform basic editing tasks and quickly modify a sound. On the integration side, the faster you can get a sound into the game and hear how it works in context, the better. This is how most people prefer to do editorial work, because how a sound needs to change becomes much more obvious when it is experienced in the game environment. The fastest method for doing this is usually the most effective. If you are working on linear picture with Pro Tools, I have seen REAPER chasing timecode, where sounds are copied from various projects, including all contributing tracks, into a REAPER project timeline. Creative Flexibility Building Blocks for Virtual Worlds Strata offers collections like 'Robotic' and 'Physics.' How do these multitrack SFX sessions enhance creativity and experimentation? Simon Pressey: A collection like Robotic is packed with potential. Robots used in stories invariably have unique characters and characteristics and are a lot of fun to bring to life with sound, especially when you have the Robotic collection as the workshop. It is stacked with well-organized, inspiring sounds that cover the gamut of potential propulsion mechanisms, from tiny to towering, from rolling to jetting, and everywhere in between. Then there is a world of processing tricks to turn those clicks, whirs, and ticks into flowing life. As soon as you open the collection, you are brought into a world ready to start audio alchemy, with frameworks of sounds combined in ways that ignite the imagination. The meticulous recordings of thousands of objects would take weeks, if not years, to assemble and categorize. It's like walking into a dream kitchen, with all the fresh ingredients at your fingertips and the chef's best recipes laid out, ready for you to explore and adapt. Physics is a Strata collection that is imagined from the reality of games. The amount of potential sounds created from the collision between objects is practically infinite. How, then, can we create an infinite sound library and avoid the dreaded scenario of merely three variations of an "object breaking" sound—the textbook example of breaking immersion through recognizable repetition? Game designers recognized this challenge when developing their Physics systems. The solution often involves a matrix table of objects and surfaces, where every collision is a combination of two elements. However, creating a set of sounds for every possible collision combination considering its size, Physics matrix: (Top) Demonstrating the selection process of a Physics matrix. (Bottom) Resulting sound when both sides of the collision are combined.