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C3Sound
C3Sound
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I can tell you how I organized sounds for a game made in UDK - "Premonition" from VFS Game Design - its been how ive done game sessions ever since.

The session contains one type of asset. Say feet. A marker placed at the beginning - marks the type of surface - gravel. The layers are cascaded down with some work tracks etc. Then an aux for bouncing and processing layers to the single mono track called Feet_Gravel. The file name will ultimately be changed to whatever the programmer needs it to be for implementation. Once its all done, I make a marker after that set of regions. Ill name it say, Grass. This follows the same process and so on until you have a session of cascading groups of surfaces divided by markers. Track Group them, set views, hide and inactivate track groups by surface type to free up more tracks, and voila! Session-o-feet. This works for all other types of alike sounds that are grouped together, for example: Spaceship_Engines, Monkey_Vocalizations, Swords_SFX, etc.

Linear cutscenes I do the exact same thing just with a movie track. You never deactivate the movie track as you will only ever need to use 1. A video for each marker section.

If you want to grab a more in-depth explanation/pictures of session layout, implementation practices, variation processing etc - go to www.c3sound.com and check the Game Audio tab in the portfolio section.

UPDATE:

THIS IS NOT A TEMPLATE FOR FILM - JUST GAME SFX AND MULTIPLE SHORT IN-GAME CINEMATICS!

I can tell you how I organized sounds for a game made in UDK - "Premonition" from VFS Game Design - its been how ive done game sessions ever since.

The session contains one type of asset. Say feet. A marker placed at the beginning - marks the type of surface - gravel. The layers are cascaded down with some work tracks etc. Then an aux for bouncing and processing layers to the single mono track called Feet_Gravel. The file name will ultimately be changed to whatever the programmer needs it to be for implementation. Once its all done, I make a marker after that set of regions. Ill name it say, Grass. This follows the same process and so on until you have a session of cascading groups of surfaces divided by markers. Track Group them, set views, hide and inactivate track groups by surface type to free up more tracks, and voila! Session-o-feet. This works for all other types of alike sounds that are grouped together, for example: Spaceship_Engines, Monkey_Vocalizations, Swords_SFX, etc.

Linear cutscenes I do the exact same thing just with a movie track. You never deactivate the movie track as you will only ever need to use 1. A video for each marker section.

If you want to grab a more in-depth explanation/pictures of session layout, implementation practices, variation processing etc - go to www.c3sound.com and check the Game Audio tab in the portfolio section.

I can tell you how I organized sounds for a game made in UDK - "Premonition" from VFS Game Design - its been how ive done game sessions ever since.

The session contains one type of asset. Say feet. A marker placed at the beginning - marks the type of surface - gravel. The layers are cascaded down with some work tracks etc. Then an aux for bouncing and processing layers to the single mono track called Feet_Gravel. The file name will ultimately be changed to whatever the programmer needs it to be for implementation. Once its all done, I make a marker after that set of regions. Ill name it say, Grass. This follows the same process and so on until you have a session of cascading groups of surfaces divided by markers. Track Group them, set views, hide and inactivate track groups by surface type to free up more tracks, and voila! Session-o-feet. This works for all other types of alike sounds that are grouped together, for example: Spaceship_Engines, Monkey_Vocalizations, Swords_SFX, etc.

Linear cutscenes I do the exact same thing just with a movie track. You never deactivate the movie track as you will only ever need to use 1. A video for each marker section.

If you want to grab a more in-depth explanation/pictures of session layout, implementation practices, variation processing etc - go to www.c3sound.com and check the Game Audio tab in the portfolio section.

UPDATE:

THIS IS NOT A TEMPLATE FOR FILM - JUST GAME SFX AND MULTIPLE SHORT IN-GAME CINEMATICS!

Source Link
C3Sound
C3Sound
  • 2.4k
  • 17
  • 27

I can tell you how I organized sounds for a game made in UDK - "Premonition" from VFS Game Design - its been how ive done game sessions ever since.

The session contains one type of asset. Say feet. A marker placed at the beginning - marks the type of surface - gravel. The layers are cascaded down with some work tracks etc. Then an aux for bouncing and processing layers to the single mono track called Feet_Gravel. The file name will ultimately be changed to whatever the programmer needs it to be for implementation. Once its all done, I make a marker after that set of regions. Ill name it say, Grass. This follows the same process and so on until you have a session of cascading groups of surfaces divided by markers. Track Group them, set views, hide and inactivate track groups by surface type to free up more tracks, and voila! Session-o-feet. This works for all other types of alike sounds that are grouped together, for example: Spaceship_Engines, Monkey_Vocalizations, Swords_SFX, etc.

Linear cutscenes I do the exact same thing just with a movie track. You never deactivate the movie track as you will only ever need to use 1. A video for each marker section.

If you want to grab a more in-depth explanation/pictures of session layout, implementation practices, variation processing etc - go to www.c3sound.com and check the Game Audio tab in the portfolio section.