Here’s another cutscene work print with a full sound design and mix treatment. There is a magical “temporal” explosion happening in the background while the foreground is primarily dialog and a few SFX. 5.1 mix encoded into Dolby PLII. The vocal treatment for the possessed Yanus was a variation of the pre-verb technique; reversing the content, running the reversed content through some reverb and recording it, reverse the reverb print and playing it back in sync with the original content. This gives a great ‘ethereal’ quality to voices. But I wanted to convey more of a possession or occupied-by-evil sound so I didn’t reverse the original content when I recorded the reverb. The result is that there’s still that reversed reverb sound but also a speaking-in-tongues feel to it.
Sound Design, Foley, 5.1 mix encoded into Dolby PLII
This is one of the cutscenes I did for Crystal Dynamics on contract. I did all of these scenes using Sony Vegas so I could transfer them back to the developer and they could render out the scenes for each localized language by replacing the dialog track. This also allowed me to work to rough renders while animators could continue to make tweaks to the scenes and the developers could make any timing adjustments in-house. There were a number of visual FX elements that were not able to be rendered for these work prints so I had to be a bit more imaginative in designing my sounds. This turned out to be rather inspirational for the FX artists and they were creating the visuals to my sounds instead of the other way around.
They provided the raw dialog plus any assets that needed to be the same as the in-game sounds (Spirit Forge background, core Reaver elements). Note the classic ‘pre-verb’ treatment I used on Ariel’s voice to create an ethereal but comforting feel.
Sound design, 5.1 mix encoded into Dolby PLII