Issue link: https://digital.copcomm.com/i/1538144
44 M PS E . O R G projects, what do you see as the biggest differences and overlaps between sound design for films and games? And how have workflows evolved with the rise of tools like Wwise and REAPER? Scott: A lot of people ask me about the similarities and differences between movies and games, and the truth is, they're very different in terms of workflow. In film, we are considered post-production. We start after the movie has been shot and the director and picture editor have started to assemble and edit the film into a story. We spot an early version of the show, work on how the sound will support the story and the cut and start designing the film's sonic style and approach while creating temp edits and mixes, which are then shown to a recruited test audience. In games, we are considered production. We are creating audio assets that will be assembled and integrated inside a game engine. Throughout the process, we do vertical slices of the game to see how the gameplay works, which is similar to a film doing temp dubs. The latest workflow in games we're finding is that our team is being embedded on projects with their in-house team for one to two years, instead of working as a strictly outsourcing company supplying sound files—aka the older way we've been working. We also contribute to designing and mixing the sound for their cinematics, which—that one part—is similar to linear mediums like film and streaming. But in terms of overall workflow, it's very different from film. Sound Design: Shared Art, Different Logistics Scott: That said, there are overlaps. When it comes to creating sounds for a game or a film, they are quite similar. An explosion is an explosion; a weapon is a weapon. The art of sound design Scott Gershin in Sound Lab Studios Keywords Studios–Working on Maya and the Three 2021. Scott Gershin, Ashes of Problem Clients–The Strain 2017–Sound Lab at Technicolor with his S6.