Rebellion’s Post

Hey guys, just published an article, HOW TO CREATE AN AUDIO VISUALIZER IN NEXTJS. An audio visualizer is an essential feature that can make a website more exciting and interactive.Imagine listening to music or audio and seeing the sound come to life with colorful visuals and animations. Check out the article because we built a little project as a case study with it. https://lnkd.in/d-H2WDYj

🎮 The Art of Creating Emotions: Sound Design and Composition in Role-Playing Video Games 🎶 Role-playing video games immerse us in fantastical worlds where every sound and melody transports us to new adventures. Behind this sensory experience lies a dedicated team of sound designers and composers, whose art is crucial in creating immersive and thrilling atmospheres. Sound Design: Sound design in role-playing games goes beyond mere effects. Every footstep, whisper, or clash of swords contributes to the player's immersion in the game universe. Sound designers use a combination of real recordings, sound effects, and mixing techniques to bring every element of the game to life, from the roars of a dragon to the whisper of the wind in an enchanted forest. Musical Composition: Music in role-playing games is like the soul that accompanies the player on their journey. From epic melodies resonating in battles to gentle arpeggios accompanying moments of reflection, musical composition enriches the player's experience and enhances the emotions they experience throughout the game. The Power of Immersion: When sound design and musical composition merge, the result is an immersive experience that captivates players and transports them to fantasy worlds. Every sound effect and every musical note becomes threads weaving the game's narrative, creating a unique emotional connection between the player and the story unfolding before their eyes. In summary, sound design and musical composition are essential elements in role-playing games, elevating the player's experience and making each adventure unforgettable. Get ready to dive into a world of emotions and sounds that will take you beyond reality! #JuegosDeRol #DiseñoDeSonido #MúsicaParaVideojuegos #ComposiciónMusical #SoundDesign #GameAudio #GameMusic #RolPlayingGames #JuegosIndie #CreatividadSonora #IndieGameDev #GameDevelopment #AudioDesign #GameDesign #GameDevLife #Videojuegos #AudioEngineering #GameComposer #GameSoundtrack #InteractiveAudio

Reflecting on the journey of continual learning in the realm of sound design and game audio. Here's to the pursuit of growth, embracing challenges, and evolving as a sound designer and Audio game developer. 📈🎮 #ContinuousLearning #GameAudioEvolution

Finally, I got to my favorite thing - sound design! I decided to create the initial sound effects for two sword attack animations and my character's voice (breathing). The sword sound effects will randomly select pitch and volume. Her breath sound varies randomly and can be selected from 10 different options with each attack. Also, I'm using a new method of implementing sound in Unreal Engine called Meta Sound. It's a super exciting thing. Makes sound designers lives much easier! ✨ I'm starting to love non-linear sound because of its variability, which you can't achieve in movies. Can't wait to do more sound design for this level 🤩

The first blog post of 2024. In case you missed me overthinking and overcomplicating some seemingly simple aspects of game audio design, here I come again. This time I explore auditory feedback to button interactions. https://lnkd.in/dM-Nmsbe Hope you like it! #gameaudio #sounddesign #audiodesign #audioux #gamedevelopment

Hello to all the game industry professionals out there. So something that has always plagued me as a Game Artist is figuring out polycount and optimization as a whole. What are some of things I can look into as an artist to make sure I am optimizing correctly. I understand that polycount is not the only culprit in making things run smoothly but as someone who knows absolutely nothing about how to figure out a target optimization level as a whole (with lighting and textures and much more etc), What would you suggest to start with to both understand what to look for and how to go about getting the best out of your game? If possible, more mobile specific information is what I am mainly trying to figure out.

Today I'm sharing my process for how I devise the audio direction for indie games I work on and how I created the documentation from my previous post. Enough people have reached out asking for advice about this since last week that I think it's worth sharing publicly: 1. I start with the audio pillars first by scoping the game. I look over any documentation about the game, playtest it, and ask the team lots of questions. We usually create a Miro board where we share ideas too. Here are some I’ve asked in the past: A) What is the tone of the gameplay? B) How can we support environmental storytelling and world-building with the audio? C) How are the player’s faction and their enemies different? D) How do you want interacting with X to feel? E) What do you want this group of sounds to communicate to the player? 2. Scoping the game and determining the audio pillars gives me the information I need to create a thorough asset list. The sound list includes the following: Class, Sub-Class, Action/Name, Priority Level, Design Status, Implementation Status, Event or File Name, Notes, and Hook/Reference. Priority and the statuses are good places for dropdowns to save time. It’s natural to add to this list and to remove sounds while you’re in development. 3. The classes in my asset list are my overarching groups that I use for the mix and which frequency bands to aim for. They’re separated this way to minimize frequency masking and to be immediately recognizable by the player. If you come from film, remember to test how your sounds interact in-game since they may overlap or behave in unexpected ways. These early-game decisions are part of macro-mixing, as Alex Riviere explains in his Game Audio Mixing book. 4. Finally, the mixing pillars are established so that I can decide which sounds should be prioritized in certain locations or game states. These are entirely dependent on gameplay. Mapping out the priority-level of each sound group with a white board informs my decisions about which LUFS categories to export each sound group at. Overall, Sony has a loudness standard of -23 LUFS, and I aim for that too. I hope that helped clarify some questions you had about planning out the audio direction of a game! Let me know whether this helped you in some way. #sounddesign #gameaudio #indiegame #gamedev #indiedev #freelancer #mixing #indiegamedeveloper #planning #audio #womeninbusiness #

Audio studio DOKI DOKI launches with an identity inspired by video game sounds Quebec-based audio studio DOKI DOKI specialises in creating original music and sound design for video games. With the help of advertising agency No Fixed Address, it's launched with a visual identity built around sound. Sound is the unsung hero of video games. While characters, story and gameplay draw players in, effective sound design helps to bring these virtual worlds to life and make them feel rounded and more enjoyable. Whether it's the waka waka sound of Pac-Man on his never-ending pursuit of cherries, or the tune that plays when Mario grabs a Super Star power-up, video games have a rich sonic history just waiting to be tapped into. And that's just what No Fixed Address has done for the new full-service audio studio, DOKI DOKI. Founded by President Michel Labrecque, DOKI DOKI claims to "see sound differently". Specialising in creating music and multiplatform sound design for video games, DOKI DOKI is named after the Japanese onomatopoeia for a heart-pounding feeling of excitement. It's all part of a striking identity that sells the importance of sound through visuals, animation, and wordplay. Using familiar imagery from games like Pac-Man, Pong, and Galaga is a shrewd creative choice. By trading on the sonic successes of the past, No Fixed Address subtly leaves it to the audience to understand why sound is so important in computer games. And fortunately, these allusions didn't land the studio in hot water regarding copyright. "These early games are so iconic that we only had to hint at the visuals to ensure that everyone would instantly hear the same sound in their imaginations," Jean-Philippe concludes. Credits & read full article: https://lnkd.in/d2TvjA3p Let's collaborate to bring your creative visions to life. Reach out today to discuss your project. #DesignServices #CreativeCollaboration #branding

Hello game sound designers! So, for a while now, I wanted to create a series of tutorials or streams about audio in Unity, and I've decided to simply go for a streaming series so that I can engage with whoever shows up🙂 Next Tuesday, on the 19th of March, I'll be hosting the first live stream in the series! The stream will focus on the main building blocks in Unity’s audio system and the engine’s mixer, which we will demo by implementing the first couple of sounds into the game that will be our project for this series. In subsequent streams, we'll delve a bit into code, call audio from animations, create adaptive sound, talk about optimization, tap into the mindset of a game sound designer, and more! Feel free to participate and ask questions in the streams themselves, that’ll make them a lot more interesting and helpful. This stream will start from the basics more or less, so if you know nothing about Unity and Audio, feel free to join 🕹 Updates and stream link in this event: https://fb.me/e/4Nav2EKHb See you there! #sounddesign #gameaudio #gamedev #unity

💥 The Disaster Season: Sound Design by Source Sound, Inc. / Music by PILOTPRIEST. Bringing together artists and companies I've admired for many years was a dream come true. Having both Source Sound, Inc. and PILOTPRIEST onboard for the sound design and music of this project was truly a highlight of this journey. A special thanks to Charles Deenen whom I connected with here on LinkedIn, for agreeing to be a part of "Boundary of Disaster". This project has been a significant learning experience, and I couldn't have asked for a better outcome. It turned out perfectly. I swear, our friends and families in the cinema screamed 💣 when the car fired up. Here is a small glimpse of a few shots and sounds that I love, including the poem from Chase, the main obsessed antagonist. "Thank you" is not enough. 💢 Experience Boundary of Disaster: Behance - https://lnkd.in/dgpazDfP Vimeo - https://lnkd.in/dikj9hFs YouTube - https://lnkd.in/dDTKCu5E Visit the website: www.boundaryofdisaster.io DISCLAIMER: No AI was used in the creation of this project. #Porsche #GT3RS #Cinematic #UnrealEngine #EpicGames #Pathtracing #CGI #Animation #Automotive #SoundDesign #SourceSound #Nurburgring Epic Games VEIN Postproduction ZTUDIO&BURZA Source Sound, Inc. ROUTE Unreal Engine