00:04Sobolie
00:04George Lucas ha famously said that 50% of the movie experience is sound and in a game like Hellblade
00:10Senua's sacrifice the sound has to be much more than experiential.
00:13It has to be interactive, reflecting your actions, and guiding you through the gameplay experience.
00:28We think of sound as something that exists in the world that we happen to hear
00:31but in reality it's not quite so simple.
00:34Our mind interprets sound based on our past experiences, our expectations and our state of mind.
00:41In this demonstration a sound changes based on what you see.
00:44Look at the video on the left. What do you hear?
00:48Ba, ba, ba.
00:52Ba, ba, ba.
00:54Now look at the video on the right.
00:56Ba, ba, ba.
01:00Ba, ba, ba.
01:02The sound hasn't changed yet the brain hears something different based on what you see.
01:06This is a key concept in Hellblade.
01:09We want you to hear the world as interpreted through Senua's mind.
01:13As her state of mind changes, as she's in different parts of her journey,
01:17sounds will morph and change accordingly and interactively.
01:27I'm going towards you.
01:29Do you see the bias?
01:30One of our goals on Hellblade from the very beginning has been to create a game with zero or at
01:34least a very minimal HUD.
01:35So where there might ordinarily be an objective marker, we've had to find other ways to communicate to the player
01:41where to go.
01:42And one of these has been to rely on 3D spatial sound.
02:11To test this fully, we came up with this idea that you could play a level
02:15che era completamente nero, solo utilizzando il sonore di 3D per navigare.
02:23Ci abbiamo provato e funzionato.
02:25Ma è stato un po' frustrante, perché nella vita reale
02:27almeno puoi imparare altri sensori, come il touch.
02:30Quindi abbiamo preso la visione un po' così,
02:32così puoi trovare il modo.
02:34Ma in principio la idea era il sonore.
02:36Abbiamo avuto l'opportunità di parlare con gente che ascoltava voce
02:39e ci raccontavano come queste voce
02:41che stanno trovando il suo corpo in un espacio.
02:44E noi prendiamo l'idea
02:46e la prendiamo con le grazioni binaurali.
02:53Questo fa che non si senti reali,
02:55ma che hanno una presenza
02:57e la senti in questo posto.
03:09così puoi parlare senza alercare gli altri.
03:12Le grazioni binaurali impressionano molto
03:14la prima volta che le ascolti,
03:16però hanno anche le limitazioni.
03:18Quando gravi con un microfono binaural,
03:19una volta che lo transporti all'engine,
03:22non si può modificare la grazioni.
03:24Non si può mettere le voce in un'altra posizione
03:25o girare...
03:27o girare in un'altra posizione
03:29in un'altra posizione che non sia la che già sta grabata.
03:34La stessa è venuta.
03:40La stessa è venuta.
03:42La stessa è venuta!
03:42La stessa è venuta!
03:43La stessa è venuta!
03:43Ma poi ho avuto l'idea
03:45che la stessa è un'ocervera,
03:47l'attive partitippante
03:48e la soluzione della voce
03:50sono stati di loro
03:51non è importante
03:52se può cambiare la camera
03:53oltre le conto di Senua
03:55oltre le cose
03:56tutto più che sia l'unico
03:58Noi si può giudere
04:00no one will ever know
04:04oh she heard us
04:08to increase the sense of presence
04:10for Senua in the world
04:11David had this idea
04:12to add a breathing system
04:14so that you could feel
04:16the effort that Senua is making
04:18whether resting, fighting, sprinting
04:21or in fear
04:32we then had this idea
04:34to link David's breathing system
04:36to visuals and other systems
04:39so in this one area of the world
04:41the burning forest
04:42the embers and particles
04:44breathe with Senua's breath
04:46and it's strangely unnerving
04:48and adds to the bizarre sense of reality
04:50that Senua experiences
05:00we have all these sound elements
05:02happening at the same time
05:04and we have to control
05:05the final mix in real time
05:07a dynamic mix
05:09where the mix adapts to everything
05:10and for this we use
05:12all the audio tools
05:14that we offer in real
05:15and we do our small tools
05:19to control it
05:26maybe it's super loud
05:27the thunder
05:30oh, it sounds great
05:34imaginaos ya
05:35es muy difícil hacerlo
05:35hacer una mezcla
05:37de todos estos elementos
05:37una película
05:38cuanto más difícil hacerlo
05:39en un entorno
05:40que varía en tiempo real
05:48I've always been advised
05:49that you can't rely on sound
05:51as a primary feedback mechanism
05:53in games
05:54because the player might be listening
05:55to loud music
05:56or they might have terrible speakers
05:58at home
05:58but after the work we've done
06:00on Hellblade
06:01and after hearing the results
06:02I don't think I could ever
06:03follow that path again
06:05I think sound
06:06really is so important
06:08that it has to be part
06:10of the experience
06:11Focus
06:12I believe you're sorry
06:22Let's go
06:23TurnCreep
06:24o o
06:25o
06:26o
06:26o
06:28o
06:28o
06:28o
06:29o
06:29R
06:29o
06:29o
06:35Grazie a tutti.
07:20Grazie a tutti.
07:30Grazie a tutti.
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