|
In doing research for a blog entry about recruitment agencies, I have come across a lot of job adverts for "Lead Audio Designers". Firstly I should define what this job is - this below is just one example of the requirements for this role, but it is a common example.
First of all the role summary
(Insert UK based developer here) "are searching for a full-time Lead Audio Designer with both the talent, and experience required to take the reins on one of our exciting new ‘AAA’ game projects.
You will collaborate closely with your fellow project team leads, and use your knowledge of audio design to realise a creative vision and audio sound scape for the game that is a stand out in its field.
Responsibilities will include leading and managing a team of sound designers to define and deliver the audio direction for the game; optimising the way sound is executed, with a goal of setting a new standard for video game audio.
This role requires an exemplary track record that includes project life cycle audio leadership on at least two highly regarded current-generation game titles."
I've made BOLD this last line to bring up a point. This is rather a big ask, as not many companies will have had two highly regarded current-generation game titles released. I can think of a few, which means that only a few people can even consider applying for this job, and another thing you can take from this statement is that the company is looking to take someone away from another successful company. It leaves no scope for a talented sound designer looking to make the step up, which is naive.
Next up Role / Responsibilities
Role Responsibilities
-
Work with directors & management team to define and realise the audio vision of the game
-
Set benchmarks for sound design quality for both internal and external teams, ensuring playback is as intended and fit for commercial release
-
Work with the Production team to manage the audio design project roadmap. Lead feature and milestone planning, identifying audio goals & provide full task breakdowns and estimations
-
Line managerial responsibility for the Audio Designers, including training and guidance on the proper use of audio tools
-
Create prototypes and sound intentions proving audio set ups and technical choices while identifying needs
-
Create sound effects and audio assets using pre-recorded material or methods like synthesis, recording, Foley recording etc.
-
Create, define and maintain work flows, structures, documentation and organization of all content relating to audio tools, work flows, guidelines & best practices
-
Work with Lead Audio Programmer to explore technology research & development, and define audio software, hardware & tools requirements
-
Work with programmers and designers to ensure top quality audio content is delivered within game design requirements, technical limitations and on schedule
-
Create briefs for 3rd party audio suppliers such as sample providers, V/O & external audio production
-
Conduct appraisals for the Audio Design team
-
Assist Production & Directors with Audio recruitment and team career development planning
Now on the face of it, this is a reasonable ask of a Lead Audio Designer.
There is one line in this RR list that is the main point of this article and that is : "Create sound effects and audio assets using pre-recorded material or methods like synthesis, recording, Foley recording etc."
When you considered that this role in all other aspects is managerial, then its surprising to see the RR of a Senior / Junior sound designer slipped into the middle section, and its at this point that ALARM BELLS start to ring.
It immediately tells me that expectations are divided within the company as to what the Lead Audio Designer should be focusing on. When you consider all the other points listed in the RR, you would wonder when the employee would find time to actually do some professional sound work.
You see, I 100% know that doing sound design (at any level), is an ALL or NOTHING job, you can't allocate 30%-70% split, or 50/50. Because creativity isn't a tap, that can be turned on and off.
Plus in terms of management, on a daily basis things come up, things that interrupt getting sound design work done.
But coming back to expectations, as the Lead Audio Designer, peoples expectations will be set relevant to the individuals positional relationship to the other employee. So anyone under the Lead Audio Designers care, with have certain expectations, and their management will also have some, as will the Lead Audio Designers, direct peers.
This puts the Lead Audio Designer in a very precarious position because if they fail to live up to anyone’s expectations then a seed of doubt can set in. The biggest issue is when review time comes around, and different people at senior management level have different perspectives. If say for example, the Lead Audio Designer has done a great job of managing the production, then they will have the support of the producers, designers, coders, and staff. BUT! if they haven't had enough time to demonstrate creative work, then The head of audio, and the creative director may question the Lead Audio Designers basic abilities.
I discussed this issue with other department leads. In particular Lead Artists, and Lead Animators at one of my old employers, and they said to me that in their role they were NOT expected to do any production work, and to focus solely on the managerial side. (and prototyping)
So why does the Lead Audio Designer get the added pressure? Well usually because the people who decided the roles of audio employees don't seem to fully understand the implications of what they are asking to be done. If a Head of Audio is involved in this RR spec. I would be extremely suspicious of them. As they should know that layering too many expectations upon a fellow employee with result in burn out, or a failing in expectations.
I know some people will feel that you can balance the managerial with the creative production, but I challenge you to prove it. Unless you have been in that experience yourself, because only those people have the first hand knowledge. I'm not saying its impossible to do, what I'm saying is that they shouldn't have to.
So to sum up, beware of advertised jobs that expect the "moon on a stick". If you go for a role, and interview for it. Really press the point, and ask them about Lead Artists, and Lead Animators, and ask why they need a manager to do production work as well. I urge you to be very careful about firms like this, because if it goes wrong, they will blame you and you will have nothing to show for your hard work, trying to do an impossible job, for people who don't really understand that they are wrong.
|
Must call foul to be honest.
The concept of a lead just being managerial is a outdated way of thinking, I've operated as a lead on many occasions and consider it part of my role to lead by example and handle at least one large aspect of the soundscape.
It can be done I along with many other have proved it.
You just need good time management.
I operated this way on Black, and as Audio Director on Brink where I did all sound design, creative music direction, fpc, casting, tools etc.
At an award winning studio like DICE for instance an audio director is expected to handle large portions of the sound design and collaborate with all disciplines as well as leading a team.
In my years in this industry I've never come across a lead artist or animator who just leads, and this is working at some of the most highly regarded studios in the world.
The days of AD's and Leads swanning around watching other people do the work have gone mate and the industry is the better for it !
I used to hate nothing more than being managed by someone who couldn't do or ever do the job that I was doing, despite them directing the gig.
Just my honest opinion!
"I used to hate nothing more than being managed by someone who couldn't do or ever do the job that I was doing, despite them directing the gig."
I find this point of view very interesting, because I didn't suggest in my blog, that the person not be ABLE TO do sound design work, it is a given that they can do it, and demonstrate this as part of their portfolio, and by way of doing prototyping, and concept sound design, they do lead by example.
But I must say, hating being managed by someone who couldn't do the job you were doing is very odd, because we are managed by producers, and creative directors all the time. So...really? I guess it depends on what you mean by managed.
Plus your tone here, "The days of AD's and Leads swanning around watching other people do the work have gone mate and the industry is the better for it !"
This tells me of some resentment you hold to past managers, which is fair enough I suppose, we have all worked for ejits in our time, but don't tar everyone with the same brush. I've worked with some very good Lead Audio Designers (meaning a step below Head of audio for the whole company, and a step above Senior / Junior Audio Designers), who have not been scheduled specific production work, yet have managed the production excellently.
I will agree though that if the expectations of management, and creativity tasks are balanced (as you have achieved), then its a great situation to be in, but I am not convinced that splitting focus brings the best out of people, being able to do a thing, isn't the same as it being the best thing to do.
But my blog post is more about being careful when applying for jobs, and in the job example I gave, there was a very large shift towards the managerial, with only one line dedicated to the creative, which gives me reason for caution.
There is no magic formula, and my advice was only to be aware of what you maybe getting yourself into, and to find out as much as possible about the working role, before committing to a life changing move, usually to another city (or country in some cases).
One last footnote, I'm only referring to the UK industry, so far my experiences with European, American, and Asian companies has been much more transparent.
Regarding my leads swanning about line, In hindsight I should have made it less flippant !
I believe in employee empowerment and ownership and that's how I manage staff.
The team member " X" is given a task/chunk of work and they are trusted to complete that work to a high level of quality on time.
It will be then reviewed by the me as the lead/AD and the team member at stages during the estimated time to complete said task.
Using the "under-promise and over deliver" mantra can pay dividends
Apart from catching up for 15 mins per day that is all the managing that is required.
I've had excellent results from graduates evolving into happy, empowered team members using this very technique.
People like the trust and the ownership that it imbues.
It's not a day one process but something that evolves through a period of time
In regards to audio development I find it hard to believe that there are any 100% production guys or gals out there still.
Why you ask ? : )
Because managing a small to mid size team is not a 8hrs a day 5 day a week job if your entirely focused on production.
If it is you're not managing staff correctly and spending to much time in meetings ! a wise man once said "Meetings are for people with nothing to do"
I managed (with the help of an AP) a team of 25 odd people from concept to first playable in just over a year whilst also finding time to be the sound designer on one project and the AD on two others.
This isn't a boast it's come from reading about how other industries handle managing large teams and applying it to video game development.
I would also argue that there is more than one area of creativity in the that job description
"Work with Lead Audio Programmer to explore technology research & development, and define audio software, hardware & tools requirements"
Implementation is at least 70% of the great sound in game pie and involving audio programmers with the creative aspects of audio development can pay dividends, so IMHO this is also creative.
It's a interesting discussion to be sure and I've had a lot of push back from previous companies at these practices initially, but they can work.
They also allow the lead to get a bit of sound work done, which is most probably what they got into audio in the first place for :)
But there is a lot more to making a "AAA" game, and even within the scope of "AAA" there are also smaller and larger games.
You know this may well be more of a project specific issue, because the ALARM BELLS that ring are about projects that are just so vast (in particular in the scope of dialogue), that one Lead Audio Designer, just cannot commit to too many responsibilities.
You must know what I'm getting at here, especially with Dialog, mega scripts, multiple story threads, motion capture (with live dialogue recording and facial capture), 40+ individual characters, 100+ different actors to cover all voices. Multiple languages within the core game. Incidental non repetitive dialog. Script writing, script management, casting for motion capture as well as VO, recording, editing.....argh the list goes on and on.
Now add in sound design for a hugely complex semi realistic game. (Open world!! Aye, now you know what I'm getting at, don't forget the car modelling.
Oh, and a game score...
Perhaps, given what I have just said, I should of made the point that it depends on the size, and scope of the production. :)