GamesBeat 2012 is VentureBeat’s fourth annual conference on disruption in the video game market. How Treyarch created realistic human faces.Treyarch studio head Mark Lamia on taking design risks (interview).“We start with reality, and if the real sound is a disappointment, we beef it up,” Jimmerson said.Ĭheck out our other coverage of Call of Duty: Black Ops II: You have to hear the sound of a bouncing grenade in order to get the audio cue to get the hell out of the spot where you’re hiding. In multiplayer, some of the sounds have to be different. “That really changes the character of the sound,” Cowell said. The sound is also different for a gun when it is fired in a hallway or when it is outdoors. You will feel like it can’t possibly get any louder and then it does.” A gun sound coupled with a building falling down creates a much bigger sonic event. “We want a greater dynamic range of sounds. “We have to make all of those things sound huge,” Cowell said. You have a musical score playing, the sound of gunfire, and background sounds such as an explosion or a mortar round going off. One of the challenges is that the audio is layered in a cacophony of sounds. The story is very character driven, and the music has been tailored to each character. The team also works with musicians such as Jack Wall, who is creating the main soundtrack for the game. “It saves on the budget, so you don’t have to destroy a building,” Jimmerson said. They used that to create the sound of girders snapping in a collapsing skyscraper. Jimmerson said that they captured some sounds by putting metals on dry ice to make the noise of metal bending. “We think about the history that happened so that the device got to where it is in the game.” “A lot of our decisions are driven by the plausibility,” Tuey said.
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The big robot can scare the living daylights out of enemy soldiers, so it should have loud sirens on it. The reason is that it is used as a psychological warfare device. We are taking some liberties with the sounds of the near future, but we get there through reasoning.”įor instance, the Claw has a bunch of loud sirens on it.
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Tuey said, “It was really important to us that we are not science fiction. “We still go out in the field and record things,” said Shawn Jimmerson (pictured left), sound designer.
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That’s why they spent about 60 percent of their time in the second year of development making artificial sounds in the lab. So the team manufactured a sound that the robot makes when walking around. They created an oscillator (pictured in the middle) that you could touch and short-circuit to produce different kinds of crazy sounds.Ī walking mech-like robot, the Claw (pictured right), is one example of a weapons system that doesn’t exist in the real world. The team was resourceful and relied on cheap creations. “We soon realized the directions are limitless,” said Chris Cowell (pictured right), lead sound designer at Treyarch in Santa Monica, Calif.