NieR: Automata
Video Game Sound Design

Implementing Sound Design into this game trailer was more of a side project than anything based for grading. I felt I wanted to look into trying a new DAW (having bought Logic Pro X at home), as I felt working with different platforms would show an understanding of the differences between this and what I’m used to – as well as the ability to adapt to said platforms. As recording came along, I didn’t follow a ‘Sound Asset’ sheet as I had done before, as I kept a physical note of the list of recordings, writing down on a small sheet of paper what the first Tascam sound clip number was, and then began to write down what sounds I recorded first- and continued on. I then just edited the track names as soon as I transferred over to my MacBook before immediately putting them into a folder for this project in my sound bank.
The video itself, I felt was more atmospheric and open as opposed to being ‘SFX heavy’ – I wanted to keep the SFX included very light (somewhat what I had done before with a previous sound design – however this time I included a lot more into it as this was a longer video, and I’ve developed my skills over the past year).
As I started to record more sounds, and implement and place them into the session I had saved on my MacBook (as well as a backup onto my hard drive), starting to understand shortcuts with the DAW as well as finding out how to group tracks together, working my way around the differently laid out EQ’s and other effects such as reverb, delay and pitch shifting. This however, didn’t sit well as I ran into some technical problems with my laptop and couldn’t continue to edit on the DAW. Instead of waiting for it to get fixed, I decided to export all the session data (AAF) so that it would all be transferred into Pro Tools without having to re-place and re-allocate all the sound effects I had already sorted out. Originally I know the team at Platinum Games worked with Pro Tools when recording the music (done by Keiichi Okabe [1] and Keigo Hoashi [2]). The sound design, however was developed inside a game engine, one that seemed to be and in-house engine that platinum games has used for previous games. Much like the implementation of Fmod into Unity and/or Unreal engine.
I started to set the rest of the cue markers so it was easier for me to implement the rest of the sounds I had to record. I however, did not keep a 'sound asset' for the rest of these sounds as I was aware and organized – personally – and was able to add the sounds in as I renamed and converted them into Pro Tools.
Moving to Pro Tools made things run a lot smoother (despite buffering issues led back to running out of CPU) as I was very used to the DAW after the past few years of using it. I knew my way around the plugins, and what was best for each.
I found with a lot of the sounds, I didn't need to do much to them in terms of EQ – there was more of a factor relating to the cutting of the tracks/clips before then placing them exactly where they fit alongside the visuals before then adding any pitch shifting or reverb (to match the room size, the area the sound is going to be played). Despite not knowing the actual room size or what's in the area, you need to look at the visuals and think over "does this sound fit the visuals that go with it". For example, the very first main sound effects take place in a very large hall – theatre for that matter – which looks run down, very empty – nothing obstructing the sound. Since the two characters (2B & 9S) fall from the ceiling, breaking it, I needed the sound to be loud, but not as 'direct' - meaning there's a lot of space, the sound would spread further and would need more reverb added to the dry sound to make it fit with the large hall.
There were open world parts that I felt needed to be more atmospheric rather than focusing on the landscape – any other sound design I would generally want to add in some tone from the place (for example a field would bring in a small breeze unobstructed from any trees or other objects – like I did with my Legend of Zelda Sound Design piece located [HERE]), however – as stated – I really wanted to focus this small project in a less SFX heavy way. I would rather there was music, and a small silent area (which a music change happens as the text on screen suggest things aren't as first seen); rather than a fully fledged sound design project. This doesn't mean, that I won't come back to this. I plan on making another version of this Sound Design where it's more focused on a SFX heavy piece – rather than the atmospheric and cinematic view.
Once adding all appropriate effects and making sure everything sounded fine on a different platform (headphones, speakers and laptop speakers) I felt it sounded good for what I'm capable of – I have a lot more to learn but it doesn't mean that it isn't good right now. I bounced the video to quicktime and then uploaded to Youtube with disclaimers for copyright – meaning that some sounds are not mine, the music is from a royalty free source, and the video is not my own – explaining it's for an educational purpose and I will not be receiving any form of benefit from this in terms of profit. This falls under 'Section 107 of the Copyright Act 1976', meaning I'm in full right of posting the video as it is regarded under 'fair use' due to the educational benefit rather than a personal profit.


In DAW Start

Continuation of project into Pro Tools
