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An Interview with Will Davis
Yep, it's becoming more common and it's something I've been providing for a few years now, especially with sound effects creation, to provide a sound designer to work on the company's premises. It helps greatly with the implementation of the sounds and provides a much greater cohesion for the project. It's so much nicer for the programmer to be able to sit and talk face to face with the sound people whenever they feel the need, rather than having to wait to set up meetings or trying to explain an effect over e-mail. Do you have a particular business philosophy? Yeah right, a philosophical games musician. My only real guideline is that the client gets what they what, when they want it. One of
three ways really, a nice friendly meeting with the team and brainstorm
with them to create the effects list; I'm simply sent an effects list
and told to get on with it or; I'm sent the game and asked to come up
with the effects list and then create them. I don't mind really, whatever
the client is happiest with suits me fine. That's
easy, the question I ask is: Do they work in the game? It doesn't matter
if the sound is realistic or over the top or even completely wrong if
it works in the game and sounds and feels right, then it works. Sound Ideas and Hollywood Edge are often good starting points but I have built up a huge custom library over the years. Most of the time it's much better to create new custom sounds for each project. Every project, even similar ones are different anyway. Although a games sound requirement might be almost identical to another game, the mood or feel of the game might be different, so the sound effects need to reflect that. How do you charge for sound effects projects? Again
I'm very easy going, either per sound effect, or a single set fee to
cover the project however many fx might be required, or even a monthly
fee. I'm happy with whatever the client requires and is more comfortable
with. Make sure the people you hire can do the job. The amount of times I've been called in to either finish a project off or to convert to different formats is rather scary. No, on second thought, keep doing it, I get loads of work that way! Mind you it would be easier if I was called in at the start. J Plan your audio requirements from as early as you can, if you're unsure, get a consultant in to help. This is particularly important if you're going to have a lot of speech.
A happy
one, full of mutual respect that benefits both parties that allows the
audio process to flow, or failing that, one that has some dialogue! That's
easy. Even now far too many UK companies still think audio is unimportant
and only worth a few hundred pounds, even for a major project. It seems
that in the US, the primary consideration for game audio is whether
the audio is good or bad, in the UK the primary concern is price. God no! I wouldn't be able to pay the bills if I only worked for UK companies! Other European companies, especially those in France, are run along the American line and appreciate the value of good audio. Obviously not all UK companies are this way, just most of them. I like working with US companies best, for the simple fact that they are far more positive, I guess it must be the weather or something. What does your professional future hold? Work wise I'm looking forward to GBA (Game Boy Advanced), Myself and Allister Brimble as Audio Arts are the best on the CGB so were are confident of becoming the best on GBA as well, it's going to be fun. Personally, I'm looking forward to Dolphin as I still play games, and Nintendo just make the best games. Do you have any film or TV aspirations? No, not
really. I'd rather work on the next Mario game than work on the next
Hollywood blockbuster. I'm a games composer and I guess after fifteen
years, at least, a competent one. Games are far more challenging than
a linear film or TV score, after all a film is just a long FMV (Full
Motion Video) sequence. The only differences are that most games don't
have the budget or time for a real orchestra or quality post-production
to get the audio balance right. If I had to pick one difference between
film and game audio, it would be the time spent on post-production,
just taking that extra bit of time to get the balance between speech,
music, ambience and spots just right. I also
invented a new sport, Jet Ski Jousting! Get a couple of jetskis, grab
some friends, make up a couple of medieval looking lances (but padded,
of course) and then charge at each other trying to knock your opponent
off. It's great fun! I'm going to try to get into the next Olympics
if anybody wants to email me for the rules, that's fine, hey perhaps
someone can set up a USA team and we could have international jetski
jousting tourneys. That would be cool! Very strong coffee, a lot of luck and a willingness to be exploited. Find
out more about Will at his website www.will.vg
or shoot an email in his direction at: fire@will.vg Discuss this article in Gamasutra's discussion forums ________________________________________________________ |
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