Sound in a Video Game
summary
Describes building the audio department for Fall Guys at Mediatonic and delivering remaining sound assets in a three‑month production sprint. Covers using FMOD middleware (speaker prefers Wwise), recording with a Zoom H6 and contact mic, editing in Logic Pro and RX7, and handling live‑game constraints like ~300 simultaneous instances and tight memory/performance budgets. Stresses documenting the tech/pipeline, sharing convolution reverb tools, recording and experimenting in preproduction, and optimising audio early rather than leaving it to the final weeks.
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chapters (15)
- 0:00Introduction
- 3:34Presentation
- 12:04Mediatonic
- 19:32Overview
- 24:06Training
- 27:49Processes During a Project
- 28:13Pre-Production
- 34:58Release
- 36:02Tools
- 43:42Middleware
- 46:05Tackling a Project
- 47:09Resources for the Sound Designer
- 48:19Focusing Audio on Your Project
- 50:14Properly Focusing Audio on Your Project
- 52:15Sound in Mobile Games
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