Issue link: https://digital.copcomm.com/i/1538144
94 M PS E . O R G 'in-game,' like we did for the 25ish alien wildlife critters for Evolve, it's much more asset-heavy. We'd usually have a session for each specific critter we'd be working on—to keep all their recorded or gathered elements together and within easy reach. There's a lot of back- and-forth with the clients, tweaking things here, changing an emotional aspect there, that kind of thing. Having some sort of tracking (google sheets can work!) for what revision you're on, the latest set of notes, filenames, etc., for each asset is key. Organization when doing in-game assets is paramount because you'll often just have SO many things to keep track of! What are the biggest differences in collaboration when working with a film director versus a game development team? Mike Schapiro: Hard to say. There's a lot of similarities! Both will usually Multipass Snap Heap Kilohearts Multipass Kilohearts Snap Heap game cinematics, they're often pretty similar to doing a linear project. We'll do an edit in Pro Tools, sometimes multiple people touching each cinematic, and then we'll do a mix for it, and deliver a 5.1 or 7.1 (or whatever the client asks for!) stem that'll stream from disk during the cinematic. Sometimes—and I hear this is happening more and more often nowadays—you'll be attacking it more like in-game effects: doing a sound for an object or event in the cinematic and delivering all those things as separate assets to be implemented in-engine. Be precise with your filenames! For projects that are definitively