![]() I think it’s made it easier for designers and programmers to collaborate and communicate – all the designers and programmers on the audio team for Sleeping Dogs became very familiar with it, and how best to realise their designs within its framework. From an audio design point of view, it’s incredibly rich and varied.ĭoes using Wwise change the role of the audio programmer? For which aspects? It’s a dark and often violent open world action game where you can be involved in dramatic foot chases, close quarters hand to hand combat, intense gun battles, and high speed car chases, all within the space of a few minutes. You follow the story of Wei Shen, an undercover cop, as he infiltrates one of Hong Kong’s most ruthless triad gangs, taking it down from the inside and exacts bloody revenge for a death in his family. Jon: I was an audio programmer at Radical in Vancouver working for their Advanced Technology Group on their next-gen engine for Prototype, and before that was a gameplay audio programmer at Codemasters in the UK working on the Colin McRae rally series. ![]() I was working at a space technology firm on satellite imaging systems. Scott: I came from a non-gaming programming background, and didn’t have a lot of first-hand experience with interactive audio. Saki: I came from working on various games at EA as a composer, sound designer and, eventually, audio lead. Background Can you give us a bit of your background before you started on that game?
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