Diablo III, one of the most anticipated – okay, quite possibly the most anticipated – games of the year finally landed at midnight, after over a decade of development. Early buzz is positive for Blizzard’s action RPG – with some even proposing that it’s a crucial release for the entire industry.
The Lead Sound Designer on Diablo III is none other than Sound Design for Visual Media graduate Joseph Lawrence, so when you play the game be sure to open your ears. Joseph also worked on Diablo II. How’s that for continuity?
Last week, Destructoid posted an amazingly in-depth series of interviews with the Diablo III sound team, including Joseph. And if that isn’t enough, how about this hour-long panel from BlizzCon 2011? It includes a behind-the-scenes featurette about the game’s audio as well as Joseph addressing the audience beginning around the 8:36 mark:
Joseph wasn’t the only VFS grad to contribute to the game. Digital Character Animation‘s John Miller was an Environment Artist, and here’s a blog post from way back in 2008 touching on the contributions of two 3D Animation & Visual Effects alumni!
Alessio Mellina is a current VFS student in the Sound Design for Visual Media program. He recently attended a lecture given by Rob Blake, Audio Lead for the Mass Effect franchise at BioWare and member of the VFS Sound Design Advisory Board. Alessio kindly provided this recap of his experience. By Alessio Mellina Students from the Sound Design for Visual Media program had the incredible opportunity to hear an exclusive lecture from Rob Blake about the sound of the best-selling title, Mass Effect 3. With 9 years of experience in the field and previous employment within the film industry, Rob has been Audio Lead at BioWare since the second installment of the franchise, Mass Effect 2. He was able to share with us a very insightful speech on each and every sound aspect of the game. Behind the Scenes We were first presented with the massive amount of work that a major game like Mass Effect requires. The 15 people on the audio team were in charge of managing a total of 12,500 sound effects, 40,000 lines of speech and 3 hours of new music. In order to deal with a workload of such magnitude, Rob explained how each team member was assigned one or more audio components, which in the case of this game was ambiance, level events, cut-scenes, in-game and conversation speech, combat sounds, foley, interactive objects, creature sounds and music. During the lecture, Rob went into detail about each of the audio components, covering all of the various considerations and problematics involved in each scenario. It was not just a frontal lecture though, as he also shared with us with some of the design challenges he and his team faced during production and asked us how we would approach them. Since Rob was Audio Lead on different iterations of the game, he stressed the importance of future-proof design choices, meaning that each solution needs to be evaluated in all of its consequences, as it may cause unexpected problems further down the line. In the later part of the lecture, we were able to take a look at how sounds are directly hooked into the game and how events and parameters can be manipulated in real time while a development version of the game is running. In order to do this, Rob showed us Audiokinetic Wwise, a powerful authoring tool used for sound implementation in Mass Effect 3. Wwise is a reference software in the game industry and Sound Design students are quite familiar with it as it is widely used throughout the Game Audio course. Industry Hints and Tips To conclude his day-long lecture, Rob was kind enough to share with us some valuable tips regarding how to break into the game industry. He explained to us the the do’s and don’ts regarding resumes and cover letters and stated the importance of using demo reels to showcase both skills and versatility, a talent much appreciated in the industry. Alessio Mellina is currently enrolled in Vancouver Film School’s Sound Design for Visual Media program.
Is it possible to have a life-changing experience in just five days? If you were to ask past participants in Summer Intensives at Vancouver Film School, the answer would be a resounding yes! Nine programs. Five days each. A firsthand look inside our acclaimed programs. That’s what it’s all about. In one week with us this summer, you’ll: Best of all, the cost of your Summer Intensive is applied against your tuition if you choose to enroll in a full-time VFS program. If you’re seriously considering an education at VFS, you can’t lose. Visit the Summer Intensives website for all the details and to register right now.
Sound Design grad Josh Osiris with current student Morgan Greenwood When Sound Design for Visual Media grad Josh Osiris (known to some as Josh Linton) finished his year at VFS, the video game industry in BC was experiencing rapid growth. Having now spent the majority of his evolving career at companies like EA and BigPark, Josh was brought in to speak to current students about the unique challenges of working in this field. Guest Post by Sound Design student Morgan Greenwood: Students from the Sound Design campus were privileged to have guest speaker (and VFS Sound Design grad) Josh Osiris come in to offer an insightful look into his world in the video game industry. Josh is the Lead Audio Designer at Microsoft’s BigPark Studios. He has also been involved in the Need for Speed and Skate franchises while working as an Audio Designer at Electronic Arts Blackbox. Josh currently uses a lot of the same software that is being taught here in the Sound Design program, including Wwise, FMOD, Pro Tools, and Max/MSP. We were able to get an inside peek at some of the content for one of the more current projects he was involved with – Kinect Sports 2. He went through the early processes involved with pitching an audio target to top executives, in order to demonstrate what the audio goals and priorities should be for the game. In this case, Josh was trying to sell the concept of incorporating some of his own Max/MSP plugin designs into the audio middleware program Wwise. It was reassuring to see these practices taking place, as we have completed many similar projects throughout our time spent here in game audio courses. Josh explained that for game audio mixing, it all comes down to the concept of ducking – which is the concept of discreetly lowering the volume of certain audio elements in exception for others in terms of priority. Because game audio is interactive and not linear, there could potentially be endless combinations of sounds that can occur at any given moment. This means that dynamics are generally not as varied in game audio than in film, as there could potentially be heavy compression to ensure particular audio files will punch through in the mix. Game audio mixing is done moment-to-moment. Josh spent a fair amount of time stressing the importance of individual workflow and awareness of your toolsets and software. We must be able to anticipate roadblocks and challenges ahead, and to weigh different priorities against each other. Everyone’s workflow is different, so it is important to try and find what works best for you to achieve the most efficient results. He argued that iteration and speed are more essential than knowledge of software or the gear being used. The goal is to always try to do things faster. Deadlines are absolute. You can be the best sound designer in the world but if you can’t submit deliverables on time, it means nothing. Thanks to Josh for the visit and to Morgan for the recap!
Before joining VFS, Jon was at Electronic Arts Canada where he worked on over 15 video titles including FIFA, NBA Live, and Medal of Honor. We asked him a few questions about his career, his love for sound, and what motivates him to teach here at VFS. What do you teach in the Sound Design program? Jon: As Senior Instructor of Game Audio in the Sound Design program, I devise, teach, and coordinate the game audio portion of the program. The program has undergone an overhaul in the past couple of years to make it more relevant to the industry, and I have been involved first-hand in revamping the curriculum from the game audio side of things. My subjects span five terms, with curriculum touching on multiple areas of sound design for video games — from conceptualizing and prototyping; to recording, designing, layering, sweetening, editing and creating variety; to implementing audio design in game audio software “middleware” tools for the purposes of integrating into working games. Sound design for games is a unique craft. It combines sound design with software development, and it’s certainly not for everyone. I balance a range of knowledge and skills in my teachings (both technical and aesthetic), and employ various audio tools and techniques to add to the students’ audio toolkit, giving them a competitive edge when they try to break into the competitive game industry. We start with the basics of what interactive, non-linear audio means, and work our way up to designing complex, real-time, parameter-driven audio events functionality in software that works! This way the students garner an understanding not only of how to apply techniques for designing sound for games, but having a context and understanding of how everything works within the big picture of the game industry. How did you break into the industry? Jon: Certainly not in the conventional way (if there is such a thing). I actually came from a primarily academic background when embarking on my career in game audio. I came here to Vancouver after completing a Bachelor’s degree at Concordia University in Montreal, Quebec. I went on to complete a Master’s degree at Simon Fraser University, where I specialized in sound design within the School of Communication, studying sound production, soundscape studies, and electroacoustic music amongst other areas of study. By the end of my studies, I was teaching introductory sound production and soundscape studies to undergraduate students. I researched and wrote my thesis “Interactive and Adaptive Audio for Home Video Game Console Systems”, which to this day is still the only MA thesis from SFU devoted to the area of game sound. After being awarded a Master’s degree, I went on to do some freelance audio work, including various projects at Airwaves Sound Design in downtown Vancouver. I had interviewed various game industry sound designers in compiling research and data for my thesis, and I maintained those contacts while working freelance. Looking back on your career so far, are there certain projects you’re especially proud of? Any highlights you’d like to share? Jon: So many valuable rewarding experiences! Working for EA was a real eye-opener. I got to work with so many talented peers, proprietary tools, pipelines, and processes under cut-throat deadlines. Working on AAA franchises on such a massive scale as FIFA was definitely a thrill, as was serving as Audio Lead on my first FPS franchise: Medal of Honor. I probably learned the most working as lead on the Playground IP title, for which we embarked on a completely new target market, technology, and platform never before attempted by EA. Also, wrangling speech for a trainer-driven fitness title was a massive undertaking that yielded great results and recognition. What excites you most about teaching at VFS? Jon: I’m big on giving back, and am passionate about sharing my knowledge and experience with the talent of tomorrow. I take pride in helping to build the skills that serve as the foundation for a student’s audio toolkit. Moreover, I find there’s very little that’s more rewarding in the world than when a student starts to embrace the skills I’ve helped to cultivate, and designs an audio product that they’re truly proud of. Sound is an art that is felt and is emotionally driven, so it’s more than just an accomplishment when you complete a sound design to your satisfaction; it’s a labour of love realized. When students contact me from the field to inform me about how my teachings helped to shape who they have become, or how they apply those lessons in their day-to-day work lives, I know I’ve made a difference. Aside from being a parent, what could be more rewarding than that? Thanks, Jon!
Founded in 1987, VFS has become the destination for amazing artists from all over the country – and around the world. The 2012 Cross-Canada Roadshow is your chance to discover if VFS is right for you, and how you can get started on a rewarding path in the entertainment industry. Sign up to attend one of these free info sessions, where you will: - Hear about an exclusive scholarship opportunity for attendees April 11: Fredericton Click here to find out all the details and register now. We hope to see you this spring in a city near you!
“Mass Effect 3 goes out on a big note. A galactic note. A giant, infra-sonic ultra-low frequency alien scream of a note.” David Murphy – Sound Designer You may remember some of them from our exclusive, behind-the-scenes look at BioWare last year, which also included an interview with Audio Lead Rob Blake. Congratulations, everyone!
It’s an exciting time at VFS right now! We’re kicking off our 25th anniversary celebration this year with an amazing opportunity for the storytellers, pioneers, innovators, and creatives who are looking to transform the entertainment industry over the next 25 years. If that sounds like you – and you’re ready right now to take the first big step in launching your career in film, TV, games, or design – then you may be eligible for a scholarship of up to $25,000 for specific full-time programs starting April 30th or June 25th, 2012. This is a limited time opportunity, so don’t delay. Visit the 25th Anniversary Celebration site now and get started!
What brought you to Vancouver Film School, and what started your interest in sound? John: My decision to go to VFS was mainly centered on the Sound Design program. As I mentioned in a recent article, I have always had a hobby and definite interest in sound and that lead me to Sound Design for Visual Media. My main experience in sound prior to that was strictly in the live context and I found it very appealing to explore the other worlds of sound and see what was possible. You also took Foundation Visual Art & Design. John: An unexpected pleasure during my time at VFS was being able to experience many different facets and disciplines through Foundation Visual Art & Design. I must say not everything was to my interest. However, I firmly believe that I would not have nearly the same level of professionalism and ability today in working on media-based projects without the Foundation program. Having the ability to coordinate with completely different disciplines through the basic understanding of how different departments work, and the necessary processes to contribute accordingly, is invaluable. This continued through the Sound Design for Visual Media course as they introduced numerous different areas of specialization and opportunities in the sound world. Tell us about your company. John: MILE Studios is primarily a boutique studio concentrating on digital colour grading and essentially everything sound, from pre-production through post and delivery. Our aim is to provide dedicated finishing services for the media industry in the UAE and hopefully the surrounding media areas. We have recently been working on a number of commercials from the region and a few short films from the initiatives taken by governmental agencies to help develop and promote the film industry in the UAE. Our colourist has recently begun grading a feature film from Jordan and hopefully soon we will be starting on a Chinese feature. That’s a lot of work for a new company. What kind of opportunities exist where you are? John: Perhaps the greatest benefit of working in the UAE is the unique opportunities that arise. Since I have been back in the UAE I have been able to become a teacher for sound in the local film schools, which has allowed me to help educate a very young industry taking its first baby steps. This then led me to explore video and film editing, and I’ve since become an Apple software trainer. Above all it has given me the chance to help create and establish standards of work in the region. Any particular challenges? John: In terms of challenges the sheer lack of standards does hurt. For the last 3 years I have been the Compilation Supervisor for a section of the Abu Dhabi Film Festival, taking the films from the EFC (Emirates Film Competition) and creating master screening tapes. The volume of films from the region has been steadily increasing and the storytelling aspect is improving with the actors and actresses, cinematography, editing, etc. However, each and every film arrives in a different frame rate, aspect ratio, resolution, codec – you name it. I get a significant amount of material arriving in NTSC, even though they were all shot PAL from the region. And then there is the sound, which hurts. Any favourite sounds when it comes to recording? John: I don’t think it is possible for me to have a favourite sound. I am continually fascinated by the unique variations a simple choice of microphone can have on the quality of a sound, let alone the different types of performance. At VFS I once went dumpster diving in front of a building being renovated with a classmate and came back to the Sound Design campus with a shopping cart full of large panes of glass. I then sat in one of the Foley rooms and recorded for a full five hours straight with multiple mics. I only stopped because my time slot had been far exceeded and I was running out of drive space. If I absolutely had to say a bandwidth of sound that is my favorite, it is definitely bass. I am obsessed with power of sound in the low frequency spectrum on large scale systems. The ability to find that unique resonance point of the woofers depending on the speakers and room, finding out what surfaces and materials vibrate at what frequencies – I could sit there till either my eardrums explode or the speakers give out. Thanks, John!
The honour is for his work on Hanna, a feature film scripted by Writing for Film & Television grad Seth Lochhead. With his frequent collaborator Skip Lievsay, Berkey has been nominated for three Oscars for sound editing/mixing on True Grit and No Country for Old Men. He has also previously been recognized with BAFTA and Golden Reel nominations. Congratulations, Craig! VFS students and faculty are lucky to have such an acclaimed mentor.
Guest Post: Sound Design Student Gets Effective Advice
Announcing the 2012 Summer Intensives
VFS Summer Intensives 2012
Guest Post: Grad Gives Game Audio Advice to Current Students
Faculty Spotlight: Game Audio Expert Jon Fish
VFS is home to many instructors who have built amazing careers from their life’s passion. Sound Design for Visual Media Senior Instructor Jonathan Fish is so committed to game audio, he even wrote his Master’s thesis on it. (Trivia: His paper is titled “Interactive and Adaptive Audio for Home Video Game Console Systems”.)
I applied to work at Electronic Arts Canada, but they weren’t initially hiring. It wasn’t long, however, before they needed an entry level Sound Artist for a new burgeoning business unit. I interviewed for and was hired on to do audio for handheld titles to start with. This blossomed into a career where I had the pleasure of working on over 15 discreet game titles (most of them AAA sports titles) on a host of platforms/consoles, including FIFA, NBA Live, Medal of Honor, The Sims, Madden NFL, NBA Street, and EA Sports Active franchises. I went on to serve as Audio Lead, overseeing all core audio disciplines for several SKUs in development including some new IP titles.VFS is Hitting the Road From April 11 to May 5, 2012!
We’re celebrating Vancouver Film School’s 25th anniversary by visiting 13 cities across Canada from April 11 to May 5, 2012 – and we’re bringing an exclusive scholarship opportunity with us!
- Get an inside look at student life at VFS
- Discover how VFS prepares you for your career in film, TV, games, and design
- Meet a VFS Admissions representative for application and portfolio tips
April 12: Ottawa
April 14: Toronto
April 17: Winnipeg
April 18: Saskatoon
April 19: Edmonton
April 21: Calgary
April 25: Victoria
April 26: Vancouver
May 1: Penticton
May 2: Kelowna
May 3: Kamloops
May 5: Prince GeorgeVFS Grads Save the Universe with Mass Effect 3
Creating one massively-successful game that also garners enthusiastic critical acclaim would be enough for most companies to rest on their laurels, but when BioWare followed up Mass Effect with the equally successful Mass Effect 2, the pressure was on for the final act in the trilogy to top both of them. Today, most of the world will find out if they were successful, although early critical response seems a resounding “Yes”.
“The answer is yes. Mass Effect 3 is a triumph.”
“More than ever, the Mass effect universe pulls off the masterful trick of feeling huge and yet believable.”
“Few gaming sagas come to a definitive close, but this one signs off in breathtaking style.”
The team crafting that experience included VFS alumni from Game Design, 3D Animation & Visual Effects, and Sound Design for Visual Media.
Joel Green – Sound Designer
Herbert Lowis – Senior Character Artist
Nathan Zufelt – Senior Cinematic Animator
Jeremie Voillot – Technical Audio Lead
Bartek Kujbida – Senior Cinematic Animator
Corey Gaspur – Lead Combat Designer
Samuel Irwin – Cinematic Designer
Jordan Ivey – Sound Designer
Steven Bigras – Audio Artist
Patrick Biason – Audio ArtistCelebrating 25 Years with Over $1,000,000 in Scholarships!
Sound Investments in Burgeoning Dubai
Vancouver Film School students come from all over the world, and, after graduating, take their talents back out across the globe. It’s an international network of professionals that stretches from India to England, Australia to California. Foundation Visual Art & Design and Sound Design for Visual Media grad John Kochanczyk has taken that a step further, both in distance and in ambition, by opening his own studio in Dubai, MILE Studios. Cinema Audio Society Recognizes VFS Advisory Board Member
Craig Berkey, an Academy Award-nominated Advisory Board Member for the Sound Design for Visual Media program, has been nominated for a Cinema Audio Society (CAS) Award for Outstanding Achievement in Sound Mixing. The awards ceremony will take place on February 18 in Los Angeles.