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 51 ideas to keep the world feeling grounded and emotionally consistent throughout gameplay and narrative moments. When you are brought in early, how do you begin shaping the sonic identity of a project? What kind of input are you giving at that stage? Scott: In games, I have active discussions with the audio director about the bigger picture, asking questions like: •How do we want to approach this challenge? •How will the different missions be assembled? •How will the cinematics transition and drive the story forward? •How do we make each mission sonically unique? •What is the purpose and strategy of sound in this section? •What is the broader sonic identity we're aiming for? It's about laying down the conceptual framework before we get too deep into the details. It's a puzzle that needs to be assembled to carry the story and drive the emotional arc of the project. In film, I start working on the concepts with the director, building and designing libraries, going out and recording needed sound elements, getting ready to start the editorial process. Then I begin designing and mixing sequences and have the director come to my studio so we can work through the material together. After that, I send those sequences over to the cutting room. When working on animated features, heavy visual effects shows or game cinematics, I usually start with storyboards. Then I design the rough blocking and placeholder animation, which slowly evolves into detailed facial animation and eventually into scenes with added particle effects and lighting. We tend to work in lockstep with the visual effects department. With each of these steps, my team and I create evolving versions of the scenes until we're ready to prep for the mix. Learning Through Collaboration "Every collaboration teaches me something new. That's the beauty of this craft—we're always learning." How do you define great sound design? Scott: I think a lot of people, especially younger sound designers, assume sound design has to be big, loud, and full of sci-fi flair. And sure, that is one side of it. I have always admired Ben Burtt for the iconic sounds he created, but I have also been deeply influenced by Walter Murch for how he used sound. To me, sound design has to approach its objective in a number of ways. First, what sounds are needed, and what are the goals we're wanting those sounds to achieve? Second, creating compelling sounds that support the scene or action. And lastly, how and why the sounds are to be used in a specific way. It is not just about making cool sounds. It can also be about using ordinary sounds in creative, meaningful ways to serve the story and emotion. Does this project want to be minimalistic, a flood of ear and visual eye candy, or somewhere in between? In games, it is the same thing. Some are very narrative-driven, like The Last of Us. Others are more about pure experience, like Doom or Gears of War. When we were working on Gears with Mike Larson, we were creating these totally distorted, gritty gun sounds. At first, I was hesitant. I wanted them to be pristine and clean. But once I played a build of the game, I understood. It felt perfect, raw, and visceral—kind of like what is in Doom. I was hired to work on three of the Doom titles with the in-house team to create a mix adding clarity and punch to their in-game sounds and music. There is something powerful about that chaotic, aggressive energy. The music, the pace—it is not supposed to be clean. It is supposed to be overwhelming. Survive-or-die energy. That is what I love about collaboration. You are always learning. It pushes you out of your comfort zone, out of your own head, and into new creative territory. As a side note, I am known for my mixing as much as my design in the gaming world. Scott Gershin goofing around at Xmas Party at Technicolor after VR Project.