Automatic Audio in Frostbite
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Walkthrough of the key Audio Technologies used in Frostbite; HDR Audio, Master Unit and the modular design. An in-depth sound design discussion for Battlefield: Bad Company covering both the sandboxed multiplayer and the story driven single-player
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Automatic Audio in Frostbite
- 4. Me?
- 6. Average logged playtime Accumulated play time across all players Vision 61 hours 45 hours 9500 years 33200 years
- 9. Complexity Manual result Automatic result Manual effort Automatic effort Time Complexity Effort Result
- 10. Complexity Manual Automatic Lagom Time Complexity Result
- 12. Frostbite
- 13. Frostbite
- 14. Frostbite
- 15. Complexity Lagom Time Mixing Variation Result
- 17. Bad Company Weapons, Vehicles + cause & effect = destruction, explosions, bullet impacts, etc. VO Music Ambient The complete experience
- 18. Process Execution Choice of Technology Execution Analysis Choice of Style
- 20. Weapon Design
- 21. Weapon Design
- 22. Weapon Design Whooah ! What ?
- 23. Weapon Design Shot Shot Shot Shot Shot Shot Shot Shot_far Reflection Reflection Reflection Reflection Reflection Reflection Reflection Reflection_far Shot_far Shot_far Shot_far Shot_far Shot_far Shot_far Reflection_far Reflection_far Reflection_far Reflection_far Reflection_far Reflection_far World Variation, Urban, Openfield, Indoor, Run Time IR reverb Discrete LFE Content Identity World
- 25. Weapon Design
- 29. Sound Design Star Wars 2001 Hollywood Realism Diverse Homogenous
- 30. Sound Design Hollywood Realism Diverse Homogenous
- 31. Sound Design Not Intrusive Intrusive Diverse Homogenous Hollywood Realism
- 34. Sound Design Medal of Honor: Airborne Battlefield: Bad Company
- 36. Sound Design
- 37. Sound Design
- 38. Sound Design
- 41. HDR Audio Big Sandbox
- 42. HDR Audio Big Sandbox + Anything can happen at any time +
- 43. HDR Audio Big Sandbox + Anything can happen at any time Destruction +
- 45. 0 d b 140 db 12db 30db 55db 120db 35 db Time HDR off example
- 46. 0 d b 140 db 12db 30db 55db 120db 35 db Time Masked HDR on example
Notes de l'éditeur
- 40 to 74 minutes like a music album, around 100 minutes like a movie Or considerably longer
- Spent time on each second in movie A 3 minute song can be mixed for a week But our games are 10000 years long? How much time can you spend on that?
- DICE’s game engine Frostbite™ Tight s ystem integration, a udio one of the core comp onents Destruction integral part of the engine Developed for Battlefield: Bad Company™and to be used by future projects at DICE
- HDR Automation on most used interactions
- What do you wanna do? there are so many things that I initially thoght we would do..but then you need to boil down to top 3 vital areas that needs the majority attention and maybe new technology. Note : these are not key features, they focus areas
- You Can't Do Everything. Underestimated VO but the time spent should be according to your games major components. Naturally. Key Experiences of game = Resources in the right areas
- By knowing what style you want to create
- Ca 83 million kills (2142) It still amazes me that after knowing this ? Games are still being made as if this was not true! And we made this aswell, until now. The Brain want’s to track repetition!
- You gather reference of course, don’t we all.
- Its not just A SOUND for AN ASSET in the game
- The audio/firing experience is very diverse…and complex Some people bewildered Some people get happy. IN either case – its very DIVERSE
- This is how our design looks in the Frostbite editor You cannot underestimate the importance of key-features going hand in hand with your tech dev.
- In sense, this is exactly what we’ve created We’ve built away repetition and created something that automaticly designs itself from the ingame conditions Yes we still need to do kick-ass content but thats not the point.
- We’ve been at ” PLAY –FILE ” for to long.
- So what about ”style”? Again, I think audio people are less skilled when it comes to describe what they are doing. At least when you compare to Art. – But shouldn’t it be the other way around?
- These things means different things to different people but are vital to deepen our dialogue of soundscapes and direction Art Directors are usually a lot better at communicating like this You don’t have to agree, in fact it’s probably better if you don’t.
- By changing words you open up your mind and consider different meanings
- Ingame video captures Not about good or bad
- Began to be able to compete with movie output Play the right sounds, not all of them. Not all of the time.
- It’s not about good or bad Its making up your mind – making a choice, -and somewhat stick to it. Knowing what you want to make. - just don’t say ”cinematic” –because then you need to sound like ” every movie ever made ” In Bad Companys case, ”its noisy, a little bit messy, embracing the distorted ”
- In contrast to our previous games … Which inevitably lead to a deaper discussion of style
- The parts dictate the whole Usually, or at least for us, this was the way we worked on previous titles. It’s not bad, its just not thought through. The vision builds upon the assets. The individual assets were the golden nuggets that should contribute to babylon If we had the perfect recording, everything will just come together in the end sounding ”good”
- The whole dictate the parts The importance of unity and consistency Builds believability to the audio world of your game
- Play the right sounds, not all of them. Not all of the time.
- How to mix that?