The Audio of Fable 2: Large scale collaborationKristofor MellrothAudio DirectorMicrosoft Game StudiosFable 2 Sound Supervisor3/23/2009 10:35 AM1Intro

3/23/2009 10:35 AM2IntroWhat is Large scale collaboration?

3/23/2009 10:35 AM3Intro3/23/2009 10:35 AM4like a great turducken

http://en.wikipedia.org/wiki/Turducken3/23/2009 10:35 AM5Key roles for the 3 SsSchedule is a feature

Start date: January 4, 2008

Stop date: June 23, 2008

6 months

3/23/2009 10:35 AM7Audio Design Pillars

3/23/2009 10:35 AM8Audio Design Pillars

3/23/2009 10:35 AM9Audio Design Pillars

3/23/2009 10:35 AM10Postmortem: What went right?

What went right? - Circle of trust

3/23/2009 10:35 AM12What went right? - Implementation

Paper design firstFlexibility through assetsProgress despite dependenciesArea specializationOne mixSingle screen co-opOnline co-opSingle player

3/23/2009 10:35 AM13What went right?

Using a sound design vendorScaleWorld-class assetsOutsourcing is honest

3/23/2009 10:35 AM14What went right?

Next-Gen CommunicationTotally decentralized productionCommunication complex but effectiveWeekly Conf CallsRegional Team MeetingsIMEmailBug DatabaseWebcams

3/23/2009 10:35 AM15What went right?

Project tracking on a shared *Excel spreadsheetVisible to the entire teamNo black box scheduleLets you iterate before you start

*click here to buy3/23/2009 10:35 AM16What went right?

Audio qualityAmbitions metAcknowledgmentsGANGBaftaSpikeElanBottom lineits a dream game to do audio for!

3/23/2009 10:35 AM17The important bit

What. Went. Wrong??

3/23/2009 10:35 AM18ChallengesTool set1 configuration supportedSteep learning curveUnique terminologySlow build timesBugsLessons LearnedComplex tools take commitmentMonolithic tools = audio tool compromisesProprietary tools dont scale

3/23/2009 10:35 AM19ChallengesTeam proximityEmail tone (humour VS humor)Tools required Lionhead infrastructureLessons LearnedFace = context, context = understandingTools due diligence requiredBeware of tools that manage everything for you

3/23/2009 10:35 AM20ChallengesMemory ManagementEarly assumptions proved false100% over budgetAudio memory prediction is hardLessons LearnedSolve in preproductionBuild to capabilities20 mb is NOT enoughYou CAN squeeze 13 megs of blood from a stoneLeave room or have a plan for DLC

Original budget was 20mb in-memoryWith no load on demand and no streaming for SFX

Final budget was 27 mb, with entity banks loading per region

Music, VO, and hero expressions

Quality 75 MusicQuality 60 SFXQuality 50 Story diaogQuality 30 Ambient dialog

3/23/2009 10:35 AM21ChallengesCo-OpCame in very lateOnline complicated to test2 players on a single screen causes havokLessons learnedCheck all mixes against 2 playerNeed lots of variation2D sounds break everythingNetwork sound messages3/23/2009 10:35 AM22ChallengesReference materialsVid caps, anim renders, docs, etcTime not accounted forDocumentation lapses lateLessons LearnedHave an audio associate producer!Asset wranglerFollow up with devsDept advocate3/23/2009 10:35 AM23ChallengesO.C.Detail - AKA things not heardTV vs Home Theater mixGame Economy (Thanks Pub Games!)Interactive music intensity can be uniqueCo-op cameraLessons learnedNothing, it is totally worth it. (mostly)3/23/2009 10:35 AM24TechniquesTechniquesChange? Everything changesPlayer genderClothes and boots (Leather, Armor, Naked)Good/Evil alignmentPlayer skill = new move setsBlunt/Sharp/Choppy melee weapons with 7 types and 5 levels eachPistols/Rifles/Crossbows with 10 types and 5 levels each9 different spells with 5 levels and 2 typesDay/NightPlayer/HenchmenNPC Heroes diff spells, abilitiesCorporeal/Incorporeal BaddiesHuman/Monster/Giant BaddiesStory - FMV, In-game cinematic, cut scene, scripted3/23/2009 10:35 AM26TechniquesCase study: WeaponsRPG - ChangeRusty Master

The lost cat of bowerstone1 player camera locked2 player what do I want to hear if Im at max perspective?NPC what do I want to hear when near, when far?3/23/2009 10:35 AM27TechniquesListener

TechniquesListener

3/23/2009 10:35 AM29TechniquesCase study: AmbienceBowerstone MarketSeamless time of day Rich atmosphere Clock towerGood Evil

3/23/2009 10:35 AM30TechniquesCase study: SpellsSword of DamoclesPerspectiveRPG

Sword aimSword flySword strikeSword dissolve

3/23/2009 10:35 AM31TechniquesCase study: MusicAction reinforcementCrescendo Music system

3/23/2009 10:35 AM32TechniquesCase study: Character PerformancesReinforce Drama Character PerformanceStats370 000 words100 studio days50 actors4 directors2 casting directors38 hours of voice recording IN GAME

3/23/2009 10:35 AM33TechniquesDSPWaveartsFinal Plug Reduces overall dynamic rangeCustomHarmonic Exciter Creates variationPrinceton Reverb3/23/2009 10:35 AM34Questions?Thanks!Kristofm@microsoft.com 3/23/2009 10:35 AM35Appendix

Team StructureRussell Shaw Head of Music, LionheadComposerMusic managerTools designerThe driving force inside LionheadHolds secret powersSound design

3/23/2009 10:35 AM37Team StructureGeorg Backer Associate Producer of Audio, LionheadVoice-over supervisorAttended all VO sessionsCoordinated VO logistics

3/23/2009 10:35 AM38Team StructureGuy Whitmore Director of Audio (MGS)Head of all publishing audioEnsures that 1st party games raise the barHas production resources and budgetGuides all products in MGSKeeps an eye on all 3 disciplines for Fable 2MusicSoundVO3/23/2009 10:35 AM39Team StructureKristofor Mellroth Sound Design SupervisorMGS Audio DirectorManaged sound design team and processFeature scoping, schedulingSpecialized in systems designSound designed the DogOversees other titles, must balance time

3/23/2009 10:35 AM40Team StructureAudio ImplementationKristen QuebeSpecializing in mechanics sound and systems designAsset masteringSound design

Jeffrey LinsenbiglerSpecializing in world sound and systems designAsset masteringSound design3/23/2009 10:35 AM41Team StructureMGS SoundlabKen Kato Audio Production ManagerManages sound design team / recording schedulesKeith Sjoquist Sound designer / Recording EngineerPeter Comley Sound designerMark Yeend Sound designerKyle Fraser Sound designer3/23/2009 10:35 AM42Team StructureFable 2 Pub GamesMark Yeend Audio DirectorCreated sound design and implemented in XACTSupervised and ported entire project into Fable 2

3/23/2009 10:35 AM43Team StructureSoundeluxScott Gershin Supervising Sound DesignerAll sounds ran through ScottShannon Potter Co-SupervisorManaged project and client relationship. Tracked all assets and deliveries, sound design of farting & burpingSound Design team10 Sound designers3 foley guys4 Asset coordinatorsVO / ADR folksAnd 3 dog trainers

3/23/2009 10:35 AM44Team StructureOther contributorsShoko Iwano Sound DesignNeil Wakefield Audio ProgrammerKostas Zarifis Audio Tools ProgrammerJennifer Stanners Associate producerStan LePard Pub Games OrchestrationAllan Wilson OrchestrationSideUK VO recording and editing

Check spelling of Kostass last name3/23/2009 10:35 AM45ToolsSound DesignProToolsAuditionNuendoMasteringAuditionWavelabSound Forge 9.0CompositionNuendo3/23/2009 10:35 AM46MusicOrchestral line up:16 first violin14 second violin12 violas10 celli8 bass6 horns2 flute (doubling piccolo)2 clarinet (doubling bass clarinet)2 oboe (doubling cor anglais)2 bassoon1 contra bassoon1 flugelhorn (doubling trumpet)2 tuba2 euphonium (tenor tuba)1 harp1 piano (doubling celeste)1 Timpanist2 x percussion MusicCredits:Fable ScoreComposed by Russell ShawOrchestrated and Conducted by Allan WilsonRecorded and Mixed by Peter FuchsAssociate Music Production: Peter FuchsMixed at Phoenix Sound, PinewoodOrchestraOrchestra: Slovak National Symphony OrchestraOrchestra manager: Marian TurnerMusic Co-ordinator: Paul TalkingtonRecorded at Slovensky Rozhlas Studios, BratislavaSound Assistants: Hubert Geschwandtner and Martin RollerSingersThe Pinewood SingersTiffin Boys Choir Tiffin Boys Choir Master: Simon ToyneRecorded at Phoenix Sound, Pinewood.Celtic/Folk instrumentalists Robert White & Brian Gulland