Sound Design:
Sound Design, Foley Recording, and Basic Implementation
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Graveyard/Sci-Fi Bunker Facility
Demo Reel
The Portfolio II Course in the Full Sail University Audio Production degree program gave me the opportunity to design and implement audio for two video game levels.
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In the Graveyard project, the focus was set on creating natural-sounding assets for an impending storm occurring at dusk. As the player navigates through the graveyard, they will encounter various assets including owls, and ghostly whispers.
In the Sci-Fi Facility level, the player navigates through a Sci-Fi facility. Suddenly, alarms ring out and an overhead announcement indicates the player must evacuate the facility immediately due to a reactor leak.
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For this Demo Reel, I used iMovie to edit the clips from both the Graveyard and Sci-Fi Facility Levels. I trimmed each clip to about 10-15 seconds highlighting the most important sound assets of the levels. I took on the role of sound designing, audio editing, and implementing the assets into Wwise for both levels.
Video Game Menu Sounds
For these menu game sounds I created three different versions. The first set is foley-based sounds that I recorded on my H5 Zoom recorder and then edited with Pro Tools.
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For the second set, I pulled different sounds from the Sound Ideas online library, time-stretched them and pitch-shifted them to sound unique, and further processed them in Pro Tools.
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For the last version, I used synth-based sounds created with a virtual instrument inside Pro Tools, and they were further processed.
All assets were implemented into Wwise.
Elemental Spells Sound Design
For the designing of the sound for the Elemental Spells, there were assets created for different environments: Earth, Wind, Fire, Water, and Ice.
For each environment, the sounds were recorded, and edited in Pro tools. There were also vocal lines for each spell and these vocals were pitch-shifted and processed to sound deep and ambient.
The assets were then implemented into the game via Wwise.
Jumpgate Sound Design
For the designing of the Jumpgate sounds were recorded and processed in Pro Tools and then attenuated in Wwise to create the Jumpgate effect.
The assets were then implemented into the game via Wwise.
Character Footstep/Surface Sound Design
This video shows the sound design created for characters, their clothing, boots, and various types of walking surfaces. These surfaces include the character walking on Carpet, COncrete, and Grass. All assets were layered and processed in Pro Tools.
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The assets were then implemented into the game via Wwise.
Most Recent Work:
The Blacksmith Sound Design Demo reel
This is my most recent work. This is a demo reel project that was done in my Project and Portfolio Arts 6 class at Full Sail University. As a student, I have focused on audio production for visual media. I have applied my understanding of audio development for both linear and nonlinear media to yield a functional and polished portfolio piece. In creating audio for visual media, I have demonstrated my grasp of dialogue, foley, game engines, and appropriate sound design in their projects. A written description of each portion is as follows:
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The Blacksmith Cinematic: We focused on the linear aspect of sound design for “The Blacksmith” cinematic sound redesign. I used three sustaining interior ambiance background layers consisting of wind, birds/insects, and a low rumble drone for the interior ambiance, and EQ’d and filtered to give the inside sound. These same backgrounds were enhanced and made louder for the exterior sounds. These backgrounds were also time-stretched via Varispeed in Pro Tools to create more of an eerie sound to highlight the theme of the game. Three stingers in the background occur in the cinematic to represent a crow calls, thunder, and a creature cry. Foley that was recorded consisted of the sounds of the character's toolbelt, leather garments, and heavy leather boots. The toolbelt was recorded using a leather back with chains on it, the leather garments were recorded with a leather jacket, and the heavy leather boots were recorded with real heavy leather boots walking on concrete and processed to make it sound like the character was walking on stone. For the chairs and creaks, wooden sounds were used and processed to taste. The hard iron shards hitting the floor were recorded using a handful of metal knives and dropped onto the concrete floor and sounds were processed. As the character collides with the wooden door and the door opens, the sounds were created with heavy wooden door sounds time-stretched with Varispeed to sound old and creaky. Entire linear sounds were mixed completely.
The Blacksmith Gameplay Video: For the nonlinear portion, all the same sounds were used from the cinematic to keep consistency. Mud footsteps were added and created by duct-taping boxing gloves to the bottom of the heavy leather boots and processed to sound fuller and heavier. We also added dialogue for the character and the enemy which was made with my vocals processed and pitch-shifted to fit the characters. The character's sword sounds were created by layering, and processing flame bursts sounds and heavy sword sounds. The magic sounds for the enemy’s weapon were created by manipulating sword and magic sounds via Varispeed. The body fall sound was created by dropping two boxing gloves taped together, time-stretched, and pitch-shifted. The taking hits were made by boxing gloves being punched together and manipulated with time-stretching and Varispeed to sound fuller and heavier. The sound represents the character picking up the sword and the beginning of the gameplay video was created by slamming a handful of kitchen knives together and time-stretching and pitch-shifting. All assets were made a single sound and exported and implemented into the game via Wwise and further mixed within that application, and attenuated according to the position of the character.
Title and Contact Cards: I was sure to add sound wherever I could even coincide tiniest details. The title and contact cards feature sound logos to complement the visual aspects on screen. The title card has shimmering sounds to complement the visual aspect of glitter falling and changing colors, with hard synch spots that coincide with the movement of the background and text. The contact card features a solar system in space, so the background was filled with layered space ambiances and other added hard synch sounds to complement the text appearing and disappearing.
