WEBVTT
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[hacking computer sound]
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I really like the section of this map.
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Yeah. And we talked in the mix.
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We can just turn it down.
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[loud video game sound]
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That got me.
That's a good one. Yeah.
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That got me real good. That worked out nice.
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Yeah.
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[suspenseful music]
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[hacking computer sound]
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Nassim, you ready for me?
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No.
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All right.
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So we're here in one of the audio bays and I'm here with our
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audio director. Nassim.
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We don't really argue about this too much,
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but I believe that the music, it's not just music, right?
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Yeah. The thing about music for this type of game
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is that it serves as a tool,
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and we really wanna blur the lines between
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ambience and music.
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We wanna serve music as a tool to go ahead and support a
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scene. But similarly, we want to set a mood.
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And for a game like ours, mood is everything.
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[loud metallic thud]
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There's different kinds of motors
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and machines in the game
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and we'll say make them scary.
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You could just make a motor sound like a motor,
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but you could deepen it or whatever.
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And so, we try and think of scary for everything we do.
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What makes Callisto protocol scary? It starts with tension,
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making sure there's creepy stuff going on.
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There's weird sounds in the background.
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The music that's awful [eerie sound], you know,
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we've been looking at games,
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but it's more the movies that will start new trends.
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[hacking computer sound]
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First saw it in Sicario 2, believe it or not.
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[deep beat sound]
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One of the trend that we started seeing is the low sound
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that would Mmm, Right.
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A lot of baritone downers.
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Just an ominous use of a base tone or a cello.
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It really sets the mood. It seems to be the trend lately,
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and we kind of vibed with it and rolled with it. Yeah.
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[ominous sound]
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I think it certainly matches the,
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the soundscape or the landscape a little more.
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You think that's gonna go well with the uh,
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[deeper ominous sound]
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That's cool.
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Yeah, let's play it some more.
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We'll keep it, we'll keep it down a little bit lower
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so we hit a win still.
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[deeper ominous sound]
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Let's go for a walk.
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Seeing a mountain in the background, or going on this when
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that sound goes on.
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When it crests.
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Yeah. Would be great.
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I don't know if we can time it that well though. Can we?
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Totally. We have all, we have all our music in stems,
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so the higher frequency stuff is one stem.
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We can use triggers when we go over specific landscapes to
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play these lower kind of brams. [ominous sound]
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Doesn't, doesn't that sound like, Oh man,
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I'm seeing something different I haven't seen before.
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Yeah.
Like what is this thing.
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Exactly? Is this an alien?
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Is this alien tech? Is this human made?
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What is this stuff?
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[high pitched eerie sound]
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This one has some low hits on it.
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That feels like an interior to me.
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Gotcha. Well let's take a listen to something else.
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[deep eerie sound]
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Maybe it's, it's kind of,
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[deep suspenseful sound]
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Well, that's pretty neat.
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It's got some little.
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I dunno if that's an exterior though. That's a good one.
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So let's.
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Let's heck out another.
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Yeah, Okay.
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The first thing Glen and I ever talked about
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was music and how important music was to the horror genre.
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Glen is super passionate about the genre, and music is maybe
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the most effective tool from an audio perspective to apply
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tension, foreshadowing, lead up, build up, and you know,
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craft special moments.
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[Zombie grunts sounds]
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[loud thud]
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There's two types of doom drones that we're kind of using to
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make tension while in combat.
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Some are a little more intense than others,
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and what's cool about these is that we have these in
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separate layers, so we could choose at what point in combat,
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depending on how much progress you're making to start,
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like unlocking some extra layers.
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[high pitched sound][grunting sounds]
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Sound effects are a layer.
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Then there's a layer of the music.
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And music doesn't always mean like beautiful music.
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It is composed, but it can be weird and,
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and it really sets the tone.
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[deep brassy sound]
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We were lucky enough
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to get an apprehension engine made for
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the studio and specifically for the title.
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This cool device was actually made by a bunch of sound
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designers that served other Hollywood horror movies over the
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years. [High piercing sound]
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So they took it upon themselves to build this concoction,
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this device, which is half instrument [airy sound]
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half noise maker.
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I've only heard about it using Hollywood, so I,
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I don't know of any game that's that's used it yet.
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[hypnotic sound]
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You wanna hear some apprehension engine.
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Oh, you bet.
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Check this out.
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So we got longer ones and we got shorter ones that we hope
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to sprinkle.
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[apprehension engine sound]
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It's got a bit of an arrival vibe.
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Which we want more horror. Yeah.
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And then we have shorter cues that we just play as little
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brands or splashes.
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[deep eerie atonal sound]
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I'm particularly fond of this part of the instrument.
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It almost sounds like violins.
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Have you seen the Ozarks?
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Yes. You're. Yes
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It kind of has that.
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That vibe to it.
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Yeah.
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I don't think it's quite us, but keep going.
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What's cool about these types of elements is that we could
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play 'em on top of like other textures.
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So sometimes we just have these textures and on top of that.
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[Whooshing textured sound]
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It sounds like something's alive.
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Kinda.
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Way deep in that.
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A vocal element, hey,
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almost for tunnels would be relatively useful.
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I love the apprehension engine, man.
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It's beautiful.
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What a good find.
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It's awesome. I'm really happy we have it. Yeah.
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At first we were kind of randomly putting it through the
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game.
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Now we're kind of triggering them so that we know exactly
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where that sound is gonna come up,
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so it adds something to it. Okay.
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Let's make it a little bit louder as you get to the door or
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get some apprehension engine in here.
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[startling sound]
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Well, we talk a lot about timing.
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When you have a scare moment, we usually have a stinger.
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You have to be within a 10th of a second of it.
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So timing is everything.
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Film is linear,
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which is awesome in the sense that you could plan everything
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out and the composer knows exactly where to place his
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pieces.
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The beauty about interactive audio is we have a lot more
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control of what we decide to play when,
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[eerie sound]
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and we work with the composers to break apart the different
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segments and the different layers and stems so that we can
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choose when to emphasize a specific brams or a specific
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stinger. We play the game,
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we identify key moments and we break it apart and we're able
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to have more control.
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[eerie sound]
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[loud thud] Based off our conversation Last week,
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I wanted to make sure that we really emphasize a stinger on
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this next scare.
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[suspenseful sound]
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Here we go.
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[loud metallic thuds]
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I think because the door is so
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loud,
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Loud, chunky.
that feels like a nine,
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and then you go to a 10 so it doesn't feel like enough
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contrast.
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Gotcha.
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Does that make sense?
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Yeah. I think we should turn down the door,
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and maybe up the stinger so we carve out room for it.
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Yeah. This is the fun part, but with horror Man,
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it is all about timing. Right?
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We can't miss a sound by, you know, a hundredth of second.
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It's just, it won't sound. Right
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Sync is absolutely everything at this point.
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All right, let's go.
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I gotta remember where he lives.
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[loud piercing sound]
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There it is.
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[loud eerie sound]
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So I would turn the tell down.
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Gotcha.
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It was so loud,
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but I didn't know what to be scared of cuz nothing hit me.
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If you turn the tell down and keep the,
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the hit where it's at, it'll be scary.
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Gotcha.
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Right now it's like it gave it away a little bit.
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Good notes.
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Yeah.
I can fix that pretty quick.
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Being honest with you, if gameplay didn't want it,
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I would just take the tell out altogether, but.
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It happened so quick for other enemies.
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The tell is useful cuz you know they're coming here.
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Here it's, we want, we kind of wanna surprise the player.
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Yeah, because they have time.
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Yeah, yeah. Exactly.
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Well, don't take it out until I talk to design.
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Yeah, gotcha.
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But, if you could turn it down, keep the, [grunting]
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there's like kind of a monster sound before,
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but it needs a stinger. He can be scary every time.
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No doubt.
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[gunshot]
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The hardest part with,
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with audio is it comes in so late cuz it has to come in
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after almost everything's in because how do you put a sound
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to something if it's not in the game yet? Right.
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Let's say an an artist puts a drip in the level,
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we gotta have a sound.
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So, we need to have almost everything in.
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Now, mostly your monsters have been done
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by that group down in Hollywood that just does monsters.
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Yeah.
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So we were really lucky to partner again with David Farmer
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from Sky Sound.
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Right, right.
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Who really helped us with a bunch of
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creature vocalizations.
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[blood gushing sound]
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That stinger could go way up.
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Oh, way up.
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Yeah. I was thinking the same thing.
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Matter of fact, it was very quiet leading up.
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Agreed.
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I think all things blood worm for that scene need to,
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to go up like plus nine.
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In the mix because it's quiet.
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We can just turn down the footsteps.
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So we're gonna do that anyway.
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Yeah
When we do the make.
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what's cool,
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we have it actually set up in such a way where we could
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actually control fully dynamically.
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So if it's a really, really loud room,
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lots of steam, like big machinery,
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we could actually crank it up so it cuts through the mix.
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This is the,
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Okay. All right.
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This is a quintessential example of a quiet environment
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where we could control that and bring it down.
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Yeah. Okay.
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You know what I like doing with, with Nassim is, you know,
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he's got machines around and it's like make them scary.
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Your room's really loud now, right?
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Did you get to that yet?
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We're still working on the gear room.
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The whole idea with the gear room is we want to make it
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uncomfortable.
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Uncomfortable. Yeah. Yeah
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Just massively loud.
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Essentially what we're doing there is we're actually
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positioning every element of the gear room.
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The cool thing about that is,
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if as I'm getting pushed by these enemies closer to these
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menacing gears, that's gonna be the focus of the sound.
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[clinking sound]
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It actually is gonna work out pretty nicely.
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You know how that's gonna sound on headphones? Well,
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you were listening to it on headphones.
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Working with Glen's been awesome because
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Glen has hired directors that have had
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a fair amount of experience doing
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this genre and these types of games.
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And so, while he has an overall vision,
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he essentially works with his directors to kind of
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materialize that vision and oftentimes we bring ideas he may
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have not had.
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Oh yeah, Yeah,
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And everything falls into place.
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There is a lot of going back and forth.
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It's one of the places that I,
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I just love to spend time working on and the audio team is
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fantastic. I could tell 'em up front.
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Nassim gets it, gets it to his team.
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I'm just doing 10% of the tweaks after that. See ya man.
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Thanks.
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[static sound]
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[beeping sound]