 | |
| Day 1 (subject to change) |
| | |
| 9:00 — 9:15 ................. | Welcome and Introduction |
| 9:15 — 10:15 ................ | Introduction to Game Audio: How Games are Different from Anything You've Worked on Before. This session provides an introduction and exploration into the many ways in which video game music and sound design are fundamentally different from linear media such as television or film. It also covers what to expect when working on a game, and how being part of a game team is very differnt from being hired to score or do sound design for more traditional media. |
| 10:15 — 11:15 .............. | Essential Game Audio Tech 1: The technology behind game sound, both its capabilities and limitations can have a profound impact on how game sound is created and put into a video game. Knowing these gives the composer or sound designer the ability to set a high bar, but not promise more than they can deliver. This session will cover the essential issues in game audio technology and how they affect what is and isn’t possible when creating game sound and music. Digital Audio, Game Sound Compression, Inside a Game Console, How Console Technology Affects Game Music & Sound Design are some of the topics covered. |
| 11:15 — 11:45 ............. | BREAK |
| 11:45 — 12:45 .............. | An Interactive Underscore I: This two-hour session by Paul Lipson will follow the creation and implementation of an interactive musical score for a major console game. Beginning with how to work with the designer to map game levels to music, the session will cover all elements from compositional and aesthetic challenges of composing non-linear music, through the planning, recording and production phases. |
| 12:45 — 2:00 ............... | BREAK |
| 2:00 — 3:00 .................. | An Interactive Underscore II: In the second hour, Paul will cover issues with integrating the interactive score into the game itself including taking linear assets produced in traditional DAW's such as ProTools and integrating them into an interactive score format using the FMod interactive music tool and working with the programming team. |
| 3:00 — 4:00 .................. | Essential Game Audio Tech 2: This session will cover more advanced topics in game audio technology. Covered topics include interactive Mixing, how run-time DSP is used in games, how 3D and Real-time Surround Sound are used and how Environmental Effects are applied to games as well as industry tips.
|
| 4:00 — 4:30 ................. | BREAK |
| 4:30 — 5:30 ................. | Keynote Address:
San Francisco: Chance Thomas |
| 5:30 — 6:00 ................. | Wrap-up / Q&A |
| | |
| Day 2 (subject to change) |
| | |
| 9:00 — 9:15 ................. | Introduction to Day 2 |
| 9:15 — 10:15 ................ | Game Audio Tools. Game audio production and integration requires specialized tools let you take music stems or sound effects create in commercial applications (such as ProTools) and put them into formats suitable for a game to use. This session will cover the concepts and features of these specialized audio development programs. |
| 10:15 — 11:15 .............. | Interactive Sound Design Sound design for games is sometimes referred to as Interactive Foley. This detailed session will cover the challenges of advanced interactive sound design, showing how tools such as FMod provide for variability and interactivity when creating sound effects.
|
| 11:15 — 11:45 ............. | BREAK |
| 11:45 — 12:45 .............. | Getting Inside The Mindset Of The Casual Game Market: Understanding how to create music and sfx for casual games, comes from understanding that market. To really connect with that market means fully understanding it and creating audio that speaks to that audience. Producers and developers will be highly impressed with audio professionals that understand the market they are selling to and how to create audio soundtracks that make an impact in their market. In this session, learn the defining factors that make the Casual Game Market what it is and how an audio professional should be thinking when they are creating audio for that platform. Also, from the perspective of the developer, learn all the technical components that are essential for an audio professional working in casual games to ensure that they have success.
. |
| 12:45 — 2:00 ............... | BREAK |
| 2:00 — 3:00 .................. | Roundtable: The State of the Art in Game Music and Sound. The Game Music and Sound industry is still relatively young. Only recently has technology reached the point where composers and sound designers visions are beginning to be able to be realized. This panel will discuss what's on the current cutting edge of the industry and how current games are pushing the boundaries. |
| 3:15 — 4:15 .................. | Roundtable: The Business of the Game Audio Industry: This roundtable covers how many aspects of the business side of the game industry are similar or different from other industries. This panel of experts will cover the range of issues from royalties and reuse to copyrights and multiple platforms. |
| 4:00 — 4:30 ................. | BREAK |
| 4:45 — 5:45 .................. | Roundtable: Going From Film to Games. Many composers or sound designers coming from a TV/Film background get tripped up doing their first game. This panel of people who have both come from traditional media and hired from traditional media discuss the pitfalls they typically see when people first move into games, and some ways of avoiding them. |
| 5:30 — 6:00 ................. | Wrap-up / Q&A |
