#MEDAL OF HONOR 2010 SONG SOFTWARE#

#MEDAL OF HONOR 2010 SONG SOFTWARE#

Implementing sounds throughout the game required us to constantly work with design scripting, the VFX and animation tools, and so forth (as well as collaborate with software engineers to draw up new audio features). We had a very strong relationship with the level designers вЂ“ we would have frequent meetings and spotting sessions to discuss the latest changes in the levels, how we could best use sound to tell the story and enhance the experience. Our sound designers interact with every other discipline in the game (design, background art, animation, visual effects, et al). This made sure that everyone got вЂњears onвЂќ everyone elseвЂ™s work and had the chance to offer feedback to improve the game. Tyler Parsons: For the single-player portion of the game, Paul, Jeff, and I each owned individual levels as well as global sounds (and focused on our own shares through the bulk of production), but we also held group play-through sessions as we got closer to final in which the entire audio team would gather and really scrutinize each level in turn. The result was a great exchange of ideas and approaches to sound recording, design and technology and some of the most comprehensive weapon field recording sessions ever done. Paul Lackey organized a Gun Summit, where we had EA audio teams who were working on weapons-based games come to Los Angeles for a week-long weapons recording session and knowledge sharing session. Fortunately, as part of a big company like EA, we have the opportunity to share and learn from all the other great sound people in the numerous studios across the world. We also collaborate with many external contractors for music, dialogue, and sfx and with other studios, especially DICE, who handled the development of the multiplayer portion of our game. The music needs to be current, exciting and fresh, but true to MOHвЂ™s orchestral roots and its focus on scoring the humanity of the soldiers throughout the story and not just support action.ДS: How was your collaboration inside the audio team and also the relationship with other development crews?Д®K: Within the audio team, communication was easy, as many of us have been working together for years. The voice acting needs to feel more like a documentary than a feature film and represent, as accurately as possible, the foreign languages of the indigenous people. Guns need to represent their real-life counterparts accurately but still provide distinct character and interact with the world in believable ways. While not every sound in the game is necessarily realistic, they are intentionally not hyped to the point of feeling like a Hollywood blockbuster. We want to give the player the feeling of truly being in that world, living that experience. Our focus was to take our learning s from the previous games and go deeper on all the things we try to do on each MOH вЂ“ focus on authenticity and the personal story of the soldier. Fortunately, we had a very talented senior team of sound artists and programmers who have all worked on multiple MOHs before, so the franchise audio aesthetic sensibility and quality bar is now part of our DNA. MOH 2010 was about reinvention on all fronts, and audio was a big part of that. So our massive library of sounds that we had recorded and built of every World War II weapon, vehicle and foley suddenly became dated. For this latest Medal of Honor we had quite a challenge, because it was an entirely new setting and decade for us to create within. It is often hard to get past the frustration of knowing what вЂњcould have beenвЂќ on the previous project, but it just fuels us to keep pushing it further each game. Sound Design Leads: Tyler Parsons and Jeff WilsonДesinging Sound: With all those great Medal of honor titles already in the market, what was your approach on this title to make it as good as the previous ones but also new and different?Д®rik Kraber: We come away from every project with a laundry list of things we wish we could have done better, but were unable due to time, resources, or technology.Audio Directors: Erik Kraber and Paul Lackey.Most of their titles have really good sound work, and Medal of Honor (2010) is not an exception of it.Д«elow is an interview I had with the audio team of the game, talking about the different challenges they had and the techniques/processes applied on recording, designing and implementing the sound of this adventure. Medal of Honor has been one of the most important franchises of warfare video games.

Medal of honor 2010 song