Crit Feedback(s) and Reflections.

Presentation 13 March: https://docs.google.com/presentation/d/1bi4_y1JHYPeFP_z3A3yjX9OMoIamnfN9r6WMiCY7xjs/edit?usp=sharing

In this presentation there are examples of the work I was trying to do with Max RNBO and implementing it in unity, allowing for real-time synthesis of sounds that the player can interact with. Included is a video of me testing this in unity, as well as an example of procedural audio, a wind effect that generates a realistic wind sound with controllable parameters at a fraction of the size of the audio files that would be used to repliacate this in something like FMOD.

Our feedback from this crit was to try to collectively work together on some sound as the current work we had shown was mostly work conducted as individuals. This was mostly as we were experimenting individually while waiting on the VR students for a general idea of the sounds that would be in our scenes. I agree with this. We aim to have a collaborative Foley session and to work with each other’s files more, especially as we only just set up the google drive (I set it up just before the presentation).

The defining of specific roles is something we have struggled with, especially with the size of our group, and we have only been working on Rosa’s environments currently as we haven’t met Clara yet.

CRIT with Matthias and Serra.

For this crit we attempted to show some gameplay of the game and the early sounds that had been implemented, however, Rosa’s computer was working very slowly so instead we played audio files from the drive, and showed the most recent screenshots. We played the Music box composition and the music I made for the painting. We said how we wanted to spacialse the different instruments around the music box as if the instruments were playing the sounds themselves. Matthias said instead to make the sound non-diagetic, however, I think we disagree with this and will continue to do it the way we plan as we collectively decided this makes more sense to us. He did however suggest adding more environmental sounds to the music box to make it more interesting, such as the mechanical sounds of gears inside the room (as if it were a real music box). I agree with this and think it will add a lot to the environment, grounding it in the kind of wooden gear/clockwork that I think we had originally imagined as a group.

Monday 22nd – Last Crit :

https://docs.google.com/presentation/d/17TBGPdfFfaTlN6B9zhiuIjj5D5-11ur1zgd2EicVQ_w/edit?usp=sharing

For this last crit, we focused mostly on giving an overview of the concept of the project and then let Rosa show off some gameplay of the unity project itself. There were a few things that didn’t go too well. Quite a few of the sounds were earlier versions that Rosa hadn’t replaced yet, the volume of sounds was also weird and the scripting in the painting had many issues (playing sounds at the wrong time, and somehow ‘overdriving’ the sound). These issues should be solved in our upcoming mixing sessions, though we might have quite a lot of work to do and will need to take up quite a lot of Rosa’s time as she is the only one with the project. I did find the focus on environmental issues as part of the painting kind of funny as I don’t think any of us on the sound team knew about this or discussed it as a concept, however, it still works with all the sounds being used.

The feedback Ingrid gave us was encouraging and restored some faith as an out looker on the project. I was happy that she mentioned that we had collision sounds in the game as I had spent time describing to others on the team that this would add to the interaction and provide a more ‘haptic’ response. Another sound that we need to add (per suggestion) is sounds that lead to the puzzle pieces and clue elements.