Star Citizen: CitizenCon 2949 - Shipsounds

4 December 201900:52:011,128 linesWatch on YouTube ↗

Transcript — every row opens the video at that moment

00:00:03
yeah hello and welcome to our talk the evolution of ship audio our talk is probably not as cool as the one in micro tech but it's definitely gonna be louder okay so hi everyone I'm Josh Bell I'm a sound designer on CR G's audio team and my name is Eric lat I'm on the audio call team so we're just kind of you two we're just going to show you a quick video of like a quick video showcasing some of star citizen's ship audio from the past like three months [Music]
00:01:33
thank you Thanks so what we're going to talk about is pure the sound of ships and how we will use it to give you a better game experience and as such we will just focus on the ships we will not to talk about UI sounds or cockpit sorry ship computer voice so it's just about the diegetic sounds of the ships as we hear them in the game oh yeah right so and the biggest step we did in terms of ship audio development was started in early 2018 because at that time the updated flight model was scheduled for development I'm talking about the flight model that was released with 3.5 a
00:02:21
couple of months ago yeah and this point was a really huge opportunity for the audio team to change a lot of stuff because we had a couple of problems with the old technology that we had I mean you're all played or some of you may be played starts it's before 3.5 and you know the ships had sounds at at the time but we were not really happy with them so they were working okay ish but they had a had a couple of problems so so because at that time what were good for arena commander was not good and scalable for a huge vast dynamic universe I've been out talking to talk about what kinds of problems we had back then so we can separate our issues we
00:03:11
had back then between code issues and design issues on the code side thank you yes the audio technology was mostly based on on the old lumberyard audio tech for vehicles and we usually just extended this so we built more features on top of it on top of it and this was working okay for a while but at some point it became quite apparent that we when we went into a couple of like that locks no we basically just it wasn't you know like having ten ships playing at the same time as expect was ten times more expensive than playing one and we had like no smart way to save calculations so you can imagine if you had twenty ships in the scene we had to do all the necessary all the
00:04:00
calculations for every single of that ship and every frame which means that one ship was okay but fifty ships were 50 times more expensive than one ship and this doesn't scale well when you have a big scene also we could not help a lot existing data which means like poor sound designers like George had to spawn a respawn a ship to actually see the changes in the game next oh yeah and then when you work on a code system and you just add features on top of it like we get something that because by Getty code right at some point it becomes so huge and so hard to deal with that it becomes a maintenance problem I remember a specific instance I had to add one single feature to the old system and it took me like three days because it was just very hard to work with the old
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system so but they also design issues right yes one of the main ones was the engine sounds were directly coupled to the particle effect which means that if the VFX stopped triggering for some reason like some bug it would also stop the audio and we get a lot of bugs you know like just wasting our time we know we'd look into it for quite a while and just figure out oh it's not our problem but affect us all you was missing a part was actually missing and it also wasn't great for surround sound support because we could only play sounds from the locations of the thrusters and you know almost all ships than main thrusters and the loudest Firsters are directly behind you so you got this really weird thing in there were five point one system seven point one system where basically the whole zone of the ship was going from behind you which was you know
00:05:35
physically accurate but not you know not cool you know you want to feel like you're enveloped within the ship and there's all this stuff around you it's making it sound yeah also there no conceptual distinction between inside and outside we have some very happy ways of you know playing different sounds for the outside versus the inside and we couldn't really do any really nuanced stuff of the ships it was very basic you know accelerate forwards backwards your left right we couldn't do the cool stuff that we do now like changing the sound of the ship of a time when you hold a certain speed or you know all that kind of stuff and the worst one was just the fact that it was all done in XML for other than dedicated tools so you know you want to make a change to one of the ships you've got to edit 30 different XML files yeah like like in
00:06:25
2003 right yeah so it looked like that right and this is how we looked yeah kind of unhappy with me with the old tech so at this point we took a good look what we had at the moment and we what we wanted to do in the future and essentially we set out some new high level goals that the new audio tag for the new flight model should should offer us right so the first thing is obviously we want more power for the sound designers right we don't know XML editing it was we instead want to use what you see on the on the on the shot there we wanted to use existing tools that we had in the company which means data Forge for data management and the lumberyard editor for in-game editing and we also wanted to massively reduce
00:07:15
the amount of time that it took to set up a single or especially a new shape right yeah so it all comes down to we just wanted to work faster which button which doesn't mean like oh god I have to have to rush right it just means that we wanted to have more efficient towards to use the existing time that we have better yeah it's we're all about you know taking the time that we used to spend you know fixing books and trying to figure things out and spend that actually making it sound good which is what you know some designers were there for really on the technology side we also wanted to improve performance and scalability I previously mentioned the the problem that 15 ships are 15 times more expensive on ship and so this is a typical big space little scene from from star citizen it's we didn't not just like
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spawn 150 ships in the scenes but we wanted to the audio tech to support these kinds of massive environments right with like hundred fifty ships in the scene if necessary and yeah so then we only wanted to of course to only play what is needed because what you don't play doesn't cost any CPU time therefore we wanted to avoid unnecessary arrests unnecessary calculations what's next night yeah the stuff you already said yeah so but if we reworked the tech we also wanted to rework a little bit or take a good look at what we wanted to achieve in the future for the experiencial side of of working with thee wasn't you check it on the ships so this is we were we were really happy with the the core sound design of the ships like on an asset level you know
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like each of the manufacturers kind of had their own sound you know all the ships within them were distinctive like this on their size and stuff so we're really really happy with that we just kind of wanted to you know get you know bring all of the potential out of the sound design that was already there by improving our implementation yeah and we knew quite early that the new flight model would offer a lot of cool new things for us and we wanted to hook into these things so we knew that something like next like the flight dynamics would be included right we would get direct calculations we will get lift calculations and and this would allow us to add a lot of more like nuances in detail to to the audio environments of the ships oh yeah okay yeah the ultimate goal was really
00:09:41
just to not just put audio in there but to enable everybody who is on that ship to actually listen to and know what the ship is doing we wanted to the ship to talk to the pilots and to the crew yeah I mean the bottom line was to make it believable which is not to be confused with realistic it's not all about simulating you know exactly where the component is what sound that would make my stuff's about making it feel like you're in that ship which is not necessarily making it realistic we wanted every sound to be placed for a purpose and to actually come from a specific place in the ship district you know really enhanced this sense of being in a big machine you know like a kind of a kind of sense that you get when you're in like a jet plane or something it's not just you know you can't localize
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where things are you just feel like you're in a big a big heavy hole yeah and the sound is not coming just from the engine that's coming from everywhere around you right because the whole hull is shaking yeah okay so then we ask ourselves how do we create a great flight experience or how do we make flying actually better so what did we do we went into a research mode and check a lot of research and reference materials which means four meant for us we were watching films good films to watch for that kind of stuff is of course Top Gun right who doesn't know Top Gun a lot of the vibration stuff you'll see there it was like inspired by the first month the film about the scene at the beginning where he's in that experimental test plane and he leaves the atmosphere and then comes back in also a nice film for
00:11:15
reference is Sulley because he's flying an f4 phantom and in a flashback scene and there's also a lot of like shaky noises in the cockpit and which we sell the flight experience right okay the other thing is like of course we played other games very stressful and we started to talk to subject matter experts and if you want to talk about flight with people you talk to area knocks technicians people who work with airplanes and with pilots and luckily our community has a lot of pilots we got in contact with chopper pilots with pilots from the Royal Air Force with Royal Navy business jet pilots general aviation pilots so essentially the whole spectrum and we interviewed all of them to tell us eh what do you think what how does it feel in the cockpit what can you hear what can you feel how can we make this thing better yep so essentially we
00:12:03
learned about flying and then we OH which we did not were cave and came up with a for the game plan so we made our planning did our work and then we thought the best thing we could possibly do is to rewrite the complete audios code from scratch this comes with pro and cons right on the concepts of course it's really it's a lot rather long task right also it there's a high initial investment cost in this and when you do this and we work a whole a whole bunch of systems that already in place you break the game right and remember this is a very very unsettling yeah had people message me all the time like what you know why is this ship so quiet this one makes no sound this one makes way too much you know I can't even have my headphones on but hopefully in the game
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of a-flat did you break it if I send an email didn't I please don't book anything for next four months yeah the pearls are the good sides of this are obviously we wanted to build a good friend foundation for the future right we didn't want to waste any more time on Maintenon maintain old code and the good side about this if you make your tools nice right and really nice to work with then you get less frustration on the game designer on this sound designers height and if you also excite the workflows means they can spend so much time of their workday making cool things and not just fighting the tools that we have yeah more time to make it sound good yeah so so what did we done we joined the flat model team so Colson's and crew etc and went to work and yeah and the way how Josh and me work were like we
00:13:46
essentially had to full autonomy on this right we said we gotta okay yeah just do your stuff make it make it cool make it nice and essentially the process was like that yeah so yeah I can't play wind sounds on the canopy class okay let's talk about this huh I do have cooked prototype hey is would that work for you yes answer wind door 12 yeah so essentially I got him a broken prototype and while he was already working with the data I cleaned up the prototype made it nice and shiny and then we went on and we we worked like this for quite a long time this is of course a little bit oversimplified right but it was actually the thing we went into like at some days I sent you like five or six custom builds from the game just with new stuff to try out because we were getting so much like autonomy and Trust to like implement the things that we felt were needed because we were the closest to
00:14:34
the process that was going on you know we kind of came up with ideas that we wouldn't have Ness thank you audio leads thank you yes so contrary to the way we did it in the past we want to have a really layered approach where everything was like siloed each type of sound was like siloed into its own system you know it's to make it easy to debug easy to work on you know easy to isolate something that's wrong so these are trustus which is what we're all the audio is triggered from before the ship audio component which we use to trigger things everything that is like a bit of machinery on the ship that is not a thruster and then we also have things to simulate external physical forces on the ship like vibrations from collisions and drag and then like wind sounds and weather in the future and then obviously
00:15:23
past byes and then just to help sell atmospheric flight that a bit more we added bespoke things for being for flying in a pressurized environment and this this was like the the mock-up like for the first for the first iteration of the new flat model which was released in 3.5 so all that stuff was already in there so the first and now we're going to talk about each system individually and we're gonna show you videos with each of the systems so load in the mix right so you only hear what sounds the specific category of subsystem place in the gamer so the first category is sisters which play sounds on each individual thruster differentiated by type like mavmail retro VTOL and you know the player sounds on that thruster based on what that particular individual
00:16:11
thrusters doing and as we said this was in the past the only way it shaker sounds on a ship and now it's just part of a larger system and these are reactive to a heat health degradation all that kind of stuff and to help solve our like surround sound problem where we only had stuff coming from mainly from the rear we've kind of massively emphasized these and you know we bring in all these other systems to help fill out the kind of to fill out the mix around you such so just to say this again when you see a ship flying far we're like two miles in front of your so you're not hearing the thrusters of the ship you're hearing it like a simplified variation thrusters now are just detailed but when you get close to them they have a lot of detail way more than before yeah now so okay so this is not an adequate no
00:16:59
representation them up first the locations incorrect this is where you typically find the sounds of twisters unsurprisingly on the thrusters yeah and this is a video of just the first as so does in the mix on the Gladius so you're not hearing anything else but the sound coming from the maneuvering thrusters the retro thrusters and the main thrusters okay so the next component were going to
00:18:05
describe is the ship all your component this is the component that is actually interfacing with new flight model and it gives us all like or it generates a lot of noises which are not thrusters little helper like little helper objects in the in the cockpit that try to self experience better next right so essentially the ifcs gives us like a lot of like numbers we can just query and query really really fast which are different rotation rates of the ship the velocity the age of the ship so wear and tear also brace plays a role in here the acceleration the health itself because we want to tell everything on the ship like hey man the ship is quite unhealthy and it's got a die soon so we want every bear on the ship to everything on the ship to sound
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really readily and broken down yeah and the cool thing is we can now we can use all these parameters generated by the ship audio component from the flight model to change the sound of basically anything on the ship so we use this quite a lot to like change the sound of the room sonar the or the ambience based on like the ship health how how powered on the ship is all this kind of stuff then in the in the future you know we can use age and all that kind of stuff and part of this is vehicle audio points which is the sound of everything else on the ship that isn't a thruster so you know we can place these really really precisely in the editor for is in the past so you know we couldn't do that so you know you'd load up the ship level you just kind of you know look around the ship and think if you sat there where would you expect to hear something
00:19:40
from and then you can just you know plunk it right on there and this also goes back to the other thing when you and when you in an airline alright when you're flying you hear maybe the main engines are left or right but the whole thing around you is also doing something right like the airplane banks and so on so you hear something some some creeks maybe in the in the hole somewhere but it's it's not just the engines that make sound and this this vehicle all dew points they they sell the idea that there's more these are essentially proxy points for what the engines are doing without being the engines like what's doing to the frame and all this kind of yeah fame of the ship and this is the main thing that you know allowed us to massively improve our surround sound experience from three point four to three point five yep and on this is where you typically find those on a ship you know so you've got your vehicle audio points here you just
00:20:29
you know as I said you go around the ship and place them where you would expect to hear some things basically and then you've got your ambience room tone which is yeah well just in the rooms around the ship the sound of that room and the stuff within it how many would you place like it depends on the size of the ship well like the Gladius has got like eight and then the thought around the cockpit in the constellation I don't know like well vehicle all your points like 10 but ambience things there's a lot more like 30 40 something - yeah so this is a video with the same like flight pattern just with the vehicle audio points so load in the mix so you're not hearing the first is a vibration or anything like that yeah okay external forces so a big part
00:21:51
of flying is not what the pilot does with a airplane for example but what nature does they are plane then this is really interesting and this was like a thing that was really missing in the past for us so we like based on that like feedback from pilots that we actually created two new systems for fresh ships one is yeah oh yeah okay yeah okay one is the vibration component and one is the oh yeah do you write me feedback component so the vibration component and is the thing that makes your ship sound vulnerable right so you can imagine like if you're getting like a collision or if you getting some some a lot of lift or drag from when you're flying through the atmosphere then this will induce vibrations in the ship and Josh is using
00:22:41
these these these vibrations to create rattles and creaks and stress now noises and so they make you really like feel oh god this is too much for the ship this is gonna like break apart soon right yeah we've also got the environment feedback which is you know used to simulate like what and just to let the pilot know what kind of environment is outside of the ship so we've got like more static things like you know when you're in an atmosphere you're in you're in an atmosphere zone so when you go fast enough we play wind sounds on the canopy and on the on the ship body but also like more dynamically created ones like when you destroy your ship it creates a debris zone and that expands if you find your ship within that then you hear that on your canopy on your ship yeah but basically used for other things it could be used for like submarine well if you if you crash your
00:23:30
ship in the in the ocean I know it doesn't work at the moment that theoretically this component would also create those noises for that yeah so it's set up to be really like divers usually really extensible like you know any any new kind of environment that player could find themselves in this we just have to add a zoom and then you could have played the appropriate sounds for that you put this on the actor as well right oh yeah one day I was just like what would happen if I put the this environment feedback component on on the players head in town in the New York it was like well just try it it might work and there so yes and I just plunked it on the player and then you know put an emitter on each year so now when you stand on a planet and there's wind you can hear the wind hitting the players head and the winds going from the right it's more health on the right year and
00:24:19
same for the left this also works me to jump out of the ship because we get more wind this way yeah yeah so the way this works we have we have set up a long list of like different materials and the size of that material so you know we'll go around and place a vibration point on like a big metal panel in the cockpit of a constellation and we choose like metal large and we want one on the on the glass we know glass medium and then when then when that sound needs to play it will select the appropriate sound for that size of material and that mitt and that material and it's the same thing for the environment feedback points you know so we just go like you know when them glass lodged and when you find yourself in an atmosphere or just you
00:25:07
know play sounds appropriate to that glass panel in the wind and you know we play some all and the body of the ship different sizes of different bits that stick out and all that stuff okay let's take a look at this this is just the year the components or just the sounds for external forces all this stuff is you know crucial to like really kind of grounding the ship and materializing the ship into the game world so you know it feels more real and more physical eyes if you could see the moment when the
00:26:16
canopy opens were then those are the wind sounds on the players years rather than the wind hitting the canopy in front of them so obviously if you're flying through the air like 200 metres per second on even if you got a helmet on and that's flying past your head it would be incredibly low it's yeah oh yeah they were depressed by component so we also separated out this component that was generating passed by noises I mean there's a lot of videos on YouTube or so we're like a little an avatar or like a player stands on top of a planet yeah on the mountain or so and the ship whizzes by right these things were not working properly in the past I don't know if you remember but you would trigger some of these flyby sounds this do things right on high-speed formation flying for example you fly with thousand
00:27:03
meters per second forward and have your friend there and you'd constantly get mm-hmm it was just it didn't work well right in all situations so we reworked the system as well it works now really good and then and then we release it 3.5 and we forgot to activate a checkbox and then we got a little shitstorm at our hands because everybody was saying you broke the flyby sounds yeah we broke them but then we couldn't repair them in a point that you broke again later again yeah we also added additional sounds that trigger just when you in atmosphere that I just came from the ship as a whole because all of you know the vibrations environment feedback vehicle olia points and thrusters all behave differently in atmosphere because they after you know fight through the medium but we just found that that in itself
00:27:52
didn't really completely sell it so we just really had a bunch of sounds for the ship using stuff like terrain height to kind of give the feeling of the sound of the thrusters reflecting off the ground as you get lower and just special effects for low altitude flying and these are just both of these are just triggered from the ship as a whole right there on this video we're gonna show you is just with all of these special atmospheric sounds so loading the mix so you know this is not the thrusters no vibrations no win nothing like that just the kind of special effects that we are based on what kind of atmosphere so another topic that we wanted to
00:29:26
approach with a new technology is performance right yeah so you know to solve the issue we had an the old system where every ship there was no distinction between what was in like we use the term NLP see non-local player character and there's no distinction between what was your ship and what was someone else's ship now we have that distinction and to you know make it so that whereas scalable as possible while still sounding good we have a separate set of sounds for NPC ships that are outside of a certain range you know these are completely different to the player ship sounds but like still per manufacturer per model but um have a different set of sounds until you get within 150 meters of the ship and then you get basically the same experience as if it was your ship so this allows us to
00:30:15
have to calculate less parameters cuz we only need this small subset that we need these we need to make these simplified sounds work and the result is that you know a typical ship that isn't yours will use about 10% of the like processing cost compared to your own ship and this is kind of a philosophy that we use is to like try and go and it was much detail as possible on the ship that you're in and uses little resources as possible on other ships while still making them sound good yeah and another thing that we did a couple of more tricks to improve the performance one thing is like we have different kinds of priority like one priorities a typical priority that we use for figuring out which ship and the sweetness is important the most
00:31:02
important one is just into a comparison between like how much space does it take on the screen where those versus how far is it away so we can make a good estimation of what kind of sound we actually need on the ship and what stuff we we don't need and then when we made these decisions what you're gonna need need to keep we just hardly cut away everything else what do you think just just scream how many how many ships can you hear at the same time in the game just shout five yeah not all of them no we're not going to go back it's like the thing in the film when you hear you know people running you can make out you can make out one person's footsteps two
00:31:50
three four when it starts getting five six you'll just hear a crowd and that's yeah and also this hoops has helped the mixing process a lot because just like tons and tons of ships which are audible they will just create noise in the background that's it's not nice and easy to map it makes you you would think here and more would make it sound bigger or like there was more but it often just makes it sound like a mess and there's less ships okay yeah we mentioned that before we based on that we simply do not update data that we don't need so if a strip is like not audible we don't care about it and suddenly we have all the CPU budget available for something else yes these simplified sounds like play from the ship as a whole we're gonna show you a video with just like just a sort of dogfight scenario where you're only hearing the movement sounds of the
00:32:38
NPC ships nothing else nothing else I play a bit of a work in progress and that's a very new thing but the idea was
00:33:31
just to and the idea was just to you know kind of Nicolas sounds we have to as few important from it as as possible so you can quite easily tell it for ships and I've coming towards you moving away from you accelerating in any direction just from you know kind of modulating a very small set of sounds yeah so yep this is everything we've went through this is ship audio this is uh yeah this is 3.5 like the audio tech or 3.5 and this is everything you've heard but with nothing sewed everything together like in the normal game mix [Applause]
00:35:59
okay so all this mixing sorry there's a couple of other things that we do is dynamic mixing so we what people would often know is sidechain and where you change the volume of one sound category based on the volume of the sound category so example like we decrease the volume certainly of your own ship if an npc ship is making a lot of noise because then we'd assume that that's something you want to know to look at or you know would be important to you also things like you know when you when you fire your weapon will suddenly duck your ship sounds for a split second for you here you know that your weapons fired basically just kind of drawing
00:36:47
attention to what's important and there's more things like you know we know which ships are the closest to you and like a ranked order we know this also combined with the size of the ship like which ships are targeting youth so we can give them a slight volume bump to draw your attention to them whether they're hitting you and even they are whether they're friendly or friendly or an enemy ship you know we kind of assumed you'd want to know about the enemy once more so we bring up their volume slightly and these are all really really subtle things that you kind of wouldn't really notice in isolation but if we were to take from the way the game would sound quite a bit worse yes adding new sounds to a ship is now extremely simple like 90% of the self is
00:37:37
done automatically by all of the ships just inheriting from one master spaceship record with all of the data every ship needs already so you can place the points extremely accurately and quickly in the editor we can audition vibrations in the editor by just saying play a vibration of this force what does that sound like before we've actually gone through the process of exporting the ship and basically from the moment we export the sound from our digital audio workstation where we create all of our assets we can have it on the ship playing in the actual game within two minutes and I recorded a video of me doing that that's just a random sound I just grabbed I just want to stick on the ship just for the purposes of this so I export it and then I import it to wise
00:38:26
which is our you know which is all your tool that we use at sea at AIG and then I put it into the into the into the event then I add a couple of our TPC behaviors on it so what I'm doing is making the Sun wobble a bit when you accelerate quickly pick one from the big list of ship parameters were you rushing it a tiny bit look it is possible to do this quickly if you know if you know what you do cool yep then I've done a lot I built the bank going to the game refresh the audio system and then I choose where I
00:39:17
want to place my sound so you know place it there paste in my play triggers choose which RT pcs are neat which parameters from the flight model I need to use on that point to get what I want save it export the ship go into game mode on the ship then I've solo that sound so we only hear the new sound sounds a bit strange next mission and how long Chuck this previously 10
00:40:13
minutes maybe before yeah all of our tools have generally I've just start balanced in the time as well yeah so with that foundation done we have a lot of things to look forward to so essentially we're not done yet right so we have now a good foundation we can do more extensions of the existing existing system and make them nicely intact with us and one thing we want to do in the future is a title link with the ship power system so if you if you think about like you're in a room and like parts of the room like in a ship let's say the back side of the ship is powered off then we want the audio to reflect that at the moment we cannot do this but this will probably happen over the course of the next year yeah then yeah we want you know sound on each specific ship components so you know you could go
00:41:00
to your shield generator and just by listening to it then you would help give you a hint about that something was wrong with it same with power plants flight support any kind of component that can perform well perform badly we turned off we want to support it by having a sound placed on the component inside the ship from where it actually is and you you've seen maybe on the ship's there are slots like maintenance slots where later like few generators and power generators can be put in so we will hook into that as well another thing that's coming online next year is sound some implementation because we all know there's no sound in space and this might be boring and sound some is the thing that makes makes things audible in space this is like we actually have like a lightweight implementation of that already so if you are in your ship and you turn off your
00:41:48
sensors or take a few helmet you will not you will not be able to all of your senses you'll get a slight change okay so and and we will greatly expand the system over there in the course of the next year oh yeah now we've got all this new technology we want to kind of go back to the ships that were made really really early on and other sounds and I'm really really early on and make like a hit list of ones to kind of extend given all this new technology that we have and that's just like a gradual ongoing process yeah okay also of course we want still to improve the flight experience we think we're on a good path but we're not done with that yet so one thing we do ritmo recently is to do real audio recordings maybe it tell the story about the vibration components and then it was all working really
00:42:37
really well and we had no content to but in it so I have to very very quickly come up with like a whole suite of different stress sounds and rattle sounds to cover the whole range of ship movement and the only thing I had was my filing cabinet in my in my sound booth at work and my saw buffa so I played a synthesizer through just the subwoofer and then kind of strap that to the side of the filing cabinet and put different kinds of things in it and annoyed everyone for like half a day weekend of all of all of the vibration sounds in the game right now all my filing cabinet but not alone we've planned to do some actual recordings of we have a video and the person with the mouse cursor can you click on the lower left side of the screen okay so every every messed up your immersion now yeah no but we will
00:43:47
we will get nicer assets for that in future as well yeah yeah then a nice little private endeavour of - I'm went into flight school and during the first couple of flights already noticed a couple of things right which could be used for the game because you cannot turn off your develop developer brain can we have a click on the top left video please so that's me I had a GoPro strapped to my head and then I mean this is this is like a silent video because I cruise a lot during flying but you get a good feeling about what's important for a pilot right and you get a good feeling about what can be done in the future to make the flight experience better and I also recorded a couple of sounds which made inmate into keenya so you probably go back and recording some GLaDOS at some point because you get very pure wind sounds but yeah so we're
00:44:37
going more out into reality to get some nice source material also we were in an ad show recently and we visited we saw a display of a profile jet fighter right and this one is just like droning out everything around you in terms of audio and I came back really really excited was like Josh Josh to make fake please please make sure flour and make them more growly and all that and this is most directly fed into that's when we came up with the extra level of detail atmospheric stuff so and this is like why the ships in the atmosphere now sound like they are so you just get a lot of good reference materials right so but the most important thing that we can do and can get is your feedback so if you are and unhappy with your sounds or
00:45:24
if you saw it with our sounds and if you want to give us feedback make good or be back please leave us a message at spectrum what we cannot guarantee to answer everything we read everything that you that you write to us right and please prefer spectrum because like this is the this platform is not just for for you it's also first developers to read what you about the community of thinking so we're almost at the end of our talk so as you can imagine we're now in a much nicer place and we have time for questions I think we have time for questions see person with microphone appeared we have time for questions oh I I'm just wondering how are you
00:46:21
gonna sound alien ships what kind of technique we'll use for that okay so code sight it would be exactly the same sound design wise Josh did the bunny defender which was the first bunny one their Spanish ship that we've had in the game flyable is basically just like you just come up with like a kind of it's like I sort of sound Bible you know it's like a few key words from the law and all that sort of stuff to kind of inform what kind of sounds you pick and it was very useful to kind of restrict what sounds we build the whole part from so I was kind of struggling with the binary defender in all honesty for a
00:47:08
little while and then I really dug down at this sound Bible idea picking a few key words picking sounds fit that and then restricting myself to just those sounds and then you know just like put them all in a folder of fifty sounds I can only use these for the whole ship and by doing that you force yourself to kind of you know do something unique for that because you're not using stuff that's already been designed or any of that you know it's about noticing yeah getting a good base for yeah that's things like we use the law and you know how and the art to inform a lot of income of keywords that we follow yeah so great job button on the sound so far I love it
00:47:57
when it comes to Estonia plan to implement a more even event based like effect sort of like and when you're breaking the sound barrier and make what is it called like a sonic boom or for example when you're landing with a a spaceship that had wheels and you're like almost gliding on the surface you're kind of missing that whole feedback from the ground it's trying to plan to implement that okay A to D to the sonic boom stuff what you mentioned that it's a complex thing that is on our to-do list but it's it's not very easy to do because if you want to do properly you need to take an account like different speeds of sound because speed of sound is depending on the temperature on the only and the density of the medium and we don't know
00:48:44
what we do when you for example well think about you have a sound right and then you you accelerate so fast that you get going faster than the sound and then you stop and the sound catches you again is that that might be very confusing for players right also if you if you imagine if you have like a dogfight far ahead of you and you have like this delay between a sound happening or a visual explosion and then you get a delayed feedback there's player expectations so it's not quite clear if the players will accept that I mean we had a we had a chat at some point I was like oh cool this is so impressive right there it's like because we tested that we tested like just like basic sound speed of sound parameters and we had a scene where a ship just exploded and like a second later weird like thing came it was like wow this is
00:49:34
powerful and he was like well this is right so it's it's it's kind of like it depends what you what you experience and then when we're not quite sure where we're gonna go in this direction but it someone ought to do this to to do something about this and about the other stuff like the Eco support so most laughs so far went into into our ship audio system though we have a dedicated audio coder is just looking at vehicle eco support so there's gonna be some some we're looking to we're also going to improve the whole landing experience like you know the feeling of the like the power of the ship but I mean we've really quite sold that yet when you come into land that we're always improving that and they're as four-wheeled when you if ships can ever land on a runway than we love did you mean wheels on ships or wields on
00:50:22
like cars yeah yeah will some will some ships like Ivan a Avenger or if you're using a another type of landing gear where you're like you're scraping towards okay so obviously we want to have better support for that but we're not there yet but it will happen you are there guys great panel a day thing you've always been a big fan of creating sounds in particular always fought ever really good now on though it's a filing cabinet wanna know what you're gonna be using next what's the plan we just want to be you know as a start get more materials and more like actual different office is there's only
00:51:12
so far you can go up in pitching up and down one filing cabinet before it just sounds like a bigger or smaller filing cabinet we want to you know get more materials involved because it's not just metal inside of a ship it's you know all these kind of composite plastics and like the kind of you know if you had like a glass pane that could resonate with you know if it wouldn't be wrapped me but it would kind of hum of kind of stuff also when you land with a glider in the field that's readily that's really readily so we're probably gonna yeah get involved just getting more more more more sizes of materials more materials in there okay stuff yeah thanks okay that was sadly the last question because we ran out of time thank you so much for watching that dude and you're on

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