- 23 ore fa
Un videodiario che esplora il comparto audio di Destiny.
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01:57in the game.
02:00We found some contacts that allowed us to go to a very remote area
02:04of an Air Force base outside of Las Vegas
02:05and be able to record some awesome stuff.
02:07It was a fantastic trip.
02:12We just said let's record as much varied stuff as we possibly can
02:15because we'll find a use for it.
02:18We recorded about 20 plus different types of weapons
02:21from like World War I machine guns
02:24to .50 cal sniper rifles.
02:25One of the cooler things that we did which I had never heard about before
02:28was some stuff called Tannerite
02:30which is used in sort of target shooting at long distances
02:33and it's two powers that you mix together.
02:35You can drop it on the ground, you can shoot it with a .22 and it's fine
02:38but if you shoot it with a high-power rifle
02:40it goes kaboom.
02:42We basically used that as the basis of all of our grenade sounds in the game.
02:47It was amazing, it was awesome.
02:52One of our contacts here at Bungie runs a couple different machine shops
02:57recording anything from lathes to blow torches.
03:02There's a stamper machine that was actually punching out circles of like half-inch sheet metal.
03:13That actually turned into the Vex footsteps.
03:18Anything we could find was like basically going to a place that had lots of machinery
03:21and saying like make that go and we'd record it.
03:33This is a EuroRack synthesizer, something I've been building for a while.
03:36It's a bunch of different pieces of synthesizers you put together to kind of make your own instrument out of.
03:41A lot of people use it for music but this is just for sound design.
03:47So I'm playing water sounds out of the laptop.
03:50It goes through the system and I'm going to record it here in Pro Tools.
03:52This is the water sound without the effects.
03:56And this is it with the start of the effects.
04:00The beginning of the effects.
04:04That's kind of a good sound, it's not quite vexy enough for me yet.
04:08But of course you can get a lot crazier.
04:11I'm increasing the modulation amount that's coming from this thing.
04:17It's fun to kind of get out of the box once in a while,
04:20and get some sort of tactile control going on.
04:34This is actually my instrument. It's called a vibraphone.
04:37And normally when you play this you play with mallets.
04:40And so I'm actually using a cello bow.
04:43So these are metal keys and there's an edge on here and this bow has a lot of rosin.
04:49You can just put it on the edge and you can just slowly draw it across and it can draw
04:52a nice sound out.
04:56We want to try and get just some things that we can use for like energy or magical tones.
05:02Like if you've been through the fallen transporters or elevators will actually have some of the sound mixed into them.
05:11I designed this little device.
05:13It's essentially a guitar pickup without a guitar.
05:16If you play guitar you know that if you walk with your guitar in front of a light there's this
05:20hum.
05:22Most people think that's a bad thing.
05:24And what I did was essentially embrace that interference.
05:31It's all over the fallen stuff.
05:33But the stealth vandal is really when he's invisible you'll hear a lot of this crackling and these bizarre melodic
05:41tones.
05:42That's the interference.
05:51Heart of the Black Garden. Damn. I wish I could have seen it.
05:55In Destiny I am playing the role of Cade.
05:58What have you got?
05:59When we first sit down with a new character and a new actor we usually take the first couple of
06:04pages with the lines that have a little bit more meat to them so that the actor can play with
06:08the character and find the voice.
06:09It's just kind of working together with everybody to kind of get in that pocket of this is her. Okay
06:14we found her. Now let's go from there.
06:16The fact that you only have your voice to play with might concentrate your mind in a way that perhaps
06:21it wouldn't if you were envisioned.
06:24Centuries after the coming of the Traveler those enemies found us.
06:28I play the Queen of the Reef, Mara Sav. She is icily resolved. She will do what she has to
06:35do for what she believes in.
06:37Mara Sav vows to no one. We are Elixir.
06:44The kind of gravel and some of the odd little ornaments that I added into it, I want to go
06:50for something that has a...
06:57That's got some of that kind of what's called a glottal fry.
07:00You cannot face this alone.
07:03When I came to discover the voice of Eris, I thought about despair and darkness. Very dark and disturbed. And
07:13sonically that just put it in a low register for me. Like almost like a soothsayer, so to speak.
07:19I. Will. Not. Fail.
07:22War is the only constant, Guardians.
07:26Transmission received and verified.
07:28You're still in this fight!
07:29Unit 9940GM, ready to help.
07:32If the Queen wants it, then do it.
07:35You've changed everything, Guardian.
07:37For organic life to persist, it requires constant adaptation.
07:43You have a stack of lines to say so that they have options for each one.
07:47Is it going to be a little more uptight? Is it going to be a little more relaxed? Do they
07:49have the options they can slide in there?
07:51Don't look at me. Better say something.
07:54Don't look at me. Better say something.
07:57Dynamic dialogue is a really cool thing because what we can do is create a bucket of four or five
08:03different lines.
08:04You say each one in a couple of different ways.
08:06The game decides that one of those lines needs to be played, it'll just pull one of them randomly.
08:10Let's get started.
08:11Am I standing next to them? Have I run off across the map?
08:14Are we in combat? Are we not in combat?
08:17As a player who plays that more than once, they won't hear the same dialogue every time.
08:21You don't necessarily have a concept of a take is a take.
08:25A take is a piece that you can make into a different take sometimes because it turned out you needed
08:32something later, long after the session that you thought you were going to need.
08:35I hope we can hunt together again someday.
08:39I need to hear something good. Anything.
08:42To what do we owe this honor?
08:44That's one of the hardest parts about being able to put together dynamic dialogue in a game is making sure
08:50that the actor stays consistent.
08:52Last call. Closing down. End of shift.
08:56So that this line can follow that line, can follow that line, and it all makes sense.
09:02I understand. Your grace.
09:07Good luck!
09:16Yeah, so what you're seeing here is the audio engine in action, and we can see what sounds are playing
09:20when with this little text read out here on the screen.
09:25The mix is the most important part. You can have a lot of great content, but if you don't get
09:30the game mixed right, then the players have a horrible experience.
09:33Either the music doesn't have the impact it needs to have.
09:36Thank you for your input, Eris.
09:40Or you can't understand the dialogue, which ruins your story experience. You don't know what's going on.
09:45Or, you know, if there's too much high end in a weapon sound, it can literally hurt people if you
09:51don't do your job right.
09:54For the gameplay, the engine is pretty much the way everything is mixed.
09:58It's very powerful in the way that allows us to monitor things and for us to be able to manipulate
10:06audio in the game.
10:07We have a way of choosing which sound plays at what time based on what the player needs to know
10:13or needs to hear or what just is cool.
10:16So every time the player plays, it's essentially mixing sound real time based on certain preset mix settings.
10:29What we see right here is basically all the emitters I'm playing in the world.
10:32They kind of vary in color. It's telling me the state that they're in. Some of them that are gray,
10:36for example, I've totally turned off because they're too far away or not important enough.
10:40The yellow is something that is active that we've turned off because there's so many other projectile sounds.
10:45You know, you only need to hear about two or three of this to get an idea of what's going
10:48on.
10:49What results is all the blue sounds. These are all the sounds providing a layer that's interesting to what is
10:53currently going on on the screen.
10:55If something's not playing and we think it should be, we can look and see if the game thinks it's
11:00there.
11:01Then we might know it's in our mix or if it's not there at all, then we know it's probably
11:07inside the game engine somewhere.
11:09It's not being called or it's not hooked up or it's going on because once you've got hundreds of sounds
11:14all piled up, it's really hard sometimes to know exactly what's causing the symptom.
11:33Destiny has such a sweeping story. The music is tragic, it's epic, and it continues to evolve over time.
11:39With the first Destiny, we were maybe a little more on a grand scale, whereas on Taken King, we went
11:45a little more personal and dark.
11:46Music helps the sound of the game by scoring the emotion of the experience.
11:51Slayer of my son.
11:53Hopefully without doing it so overtly that people know what's happening, you want to give it a bit of a
11:58tilt in the direction.
12:00If it's dark, you want the music to kind of push it in that direction.
12:04When we very first started writing for Destiny, we didn't really know yet what the world was.
12:09I mean, we're writing, we're using MIDI instruments or sampled instruments or whatever just to get the ideas across.
12:18We'll sketch out a piece of music that you can actually hear, and then oftentimes that will get re-recorded
12:23later with live musicians.
12:30There's a very sort of exciting live feel to it that you just can't replicate in MIDI.
12:34My goal, obviously, is to make the best music that we can and help it really complement the gameplay and
12:41the stories that are implemented and really make it sound and feel right.
12:51Yes, and a lot of the music plays under guns firing and bombs going off and all that stuff, but
12:58that's the game biz, man. That's okay.
13:03I love knowing it's there. Even when you can't hear it because the explosions are too loud, I know it's
13:07there. I know it's there, and it makes me happy.
13:25I love that C-Paul and a few others totally went balls to the wall on a bunch of different
13:31levels and sort of took Bungie music in a way that we haven't been to in the past.
13:34If you've played any of the moon, you get a little of this going on.
13:42It's like Marilyn Manson meets EDM is how I saw a fan that played the beta describe it.
13:46Yeah, that works for me.
13:48He meets Marilyn Manson. I call him C-Paul Reznor at the moment. Don't tell him I said that.
13:55I have definitely heard a Nine Inch Nails quality in the stuff that he has written for the Hive.
14:01I didn't think of that as a term, but that basically applies to what that music is, and that's something
14:07completely foreign to Bungie games in the past.
14:10That was very gratifying because I feel like I brought something new to what the Bungie audio experience is and
14:17can be.
14:21A lot of times when you're building something, it's not until you're done that you realize what you were trying
14:26to build in the first place.
14:27You've got this blank canvas to create a universe from scratch and then make it sound like that universe.
14:34It was a really challenging task, for sure, for us to basically throw out everything we'd done for 10 years,
14:39as far as an audio team goes, and all the code base that we'd had prior to this, and go
14:44to a brand new engine and make a brand new game.
14:51Bungie's gotten so much bigger, but Bungie still maintains the philosophy of iteration until it's right. There's a system there
14:59to build on and there's a lot of depth to that.
15:01Destiny is still evolving. We're still deciding what destiny is as we go.
15:06I'm a true believer, and I want to be here for this for a while. I'm having fun.
15:12I enjoy putting it all together and making it all come to life.
15:18.
15:19.
15:28.
15:28.
15:32Grazie a tutti.
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