The history of the creation of the indestructible cinematics. Part two

    Nicholas Day, Creative Director at Plarium (Western Markets) talked about creating sound for the trailer for Sparta: War of Empires and collaborating with Jesper Kid.






    About a year ago, Vyacheslav Lisovsky and several other people from our art department showed me their achievements. The material was so good that we gave the guys time and resources, and their test of pen turned into our first trailer - “Victory is worthy of death” for the game “Rules of War”.



    About how to find Jesper Kid

    A, it all started when we wanted to add something special to the Conflict: The Art of War game that would not fundamentally change all the mechanics and at the same time affect the perception of the game and create a kind of “wow” -the effect". And then one of the creative directors of Plarium suggested: "And let's find a super cool composer." At first this idea seemed hopeless to me, but we all the same began the search. This is funny, but essentially I found Jesper using LinkedIn. Not directly, of course, but during the search I talked a lot on this social network, got in touch with different companies, found out about their experience, and in the end it paid off.

    First, I met Andrew Lackey, the head of Wabi Sabi Sound, who created sound for Dead Space 2, Left 4 Dead 2, and Team Fortress 2. He helped us find the right people and studio, and soon he started working on the sound. for our projects.

    Secondly, in one of the conversations on LinkedIn, we talked about how hard it is to find a good composer who would be easy to work with. One of my interlocutors said that he was lucky to work with Jesper Kid. I contacted Jesper's agent by mail and sent him the creative concept of Conflict. The composer liked the idea of ​​a social game with a gloomy atmosphere and a plot tied to a corporate war. So we began to cooperate: first, Jesper wrote music for our games, and later began to create soundtracks for cinematics.



    About the sounds

    In San Francisco, there is a studio that has its own hangar, filled with appliances, various objects and mechanisms. You can come there and say: "I need a sound ... of a tank that is fired from a crossbow." And they will certainly find some old tank and crossbow, place microphones and shoot until they achieve the desired effect. In addition, the studio has a huge bank of records - it has been working in the gaming industry for over five years, so you can really find anything there. Part of the mechanical effects for the trailer for the "Rules of War" we recorded there.

    But in “Indestructible” a completely different setting, and we decided to try to transfer the viewer to the epicenter of the battle. That is why it was important for us to create a sound that would set the dynamics and atmosphere. So, having heard about Sparta, Andrew Laki was very happy: “Oh! Battle on swords! I will need to hit on different surfaces and record it! ” Andrew recorded most of the sounds for The Enduring in the courtyard of his house. When we started making the “Making of Sparta” video, we asked him to prepare material on making sounds, and he sent a ton of videos on which he strikes absolutely incredible objects to get the right sound. Andrew is very fanatical about his work: he made the last changes after the work on the video sequence of the video was completed, because at this stage he even better understood the necessary depth of sound.

    About the voice

    Having done the bulk of the work, we suddenly realized that we want to add more voice acting. All voices for us were recorded by Audio Media Productions in New York. The multinationality of the Big Apple allows you to choose actors of almost any type. If the studio receives an order, for example, for a left-handed Englishman born in Morocco with a French accent, then in 10 minutes he will send the contacts of just such a person. Initially, Audio Media Productions created all the screams and wheezes for our projects, and then helped to select the voice actor and record it.



    About the work itself

    Creating the video “Victory is worthy of death”, we did not fully understand how to build a balance between music and sounds. Everything happened by trial and error, and then it seemed to us that the more the better, but Jesper and Andrew, based on their rich experience, suggested where to focus and how to build balance and dynamics. In the process of working on “Indestructible”, we immediately determined which segment would be more saturated with sound and which with more music.

    They started working on the dubbing after they finally formed the animatic. We sent Andrew and Jesper a video file and created a table in which we detailed the dynamics and all the sounds. By dividing these processes, we saved some of the time and could make edits almost on the go. For example, in the video there is a frame where the Spartan cuts the throat of a Persian, who shouts. Being familiar with the filmography of Stephen Seagal, we know that with a cut throat it will not work, so the cry was replaced with wheezing. There were difficulties with the soundtrack too. Initially, he conveyed the Greek atmosphere poorly. And then Jesper wrote to us: “I found a cool instrument, akin to a violin combined with an electric guitar!” Then he invited the musicians to the studio and recorded the part of this instrument live.

    Working in a team that is truly passionate about their job is a pleasure. In this case, even talking on Skype at three in the morning and listening to five different versions of the same soundtrack does not seem burdensome, and the result pleases not only the eye, but also the ears.


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