Hyper Vital

Game Cut Scene | Hyper Vital
​Unreal Engine 4

MY CONTRIBUTION

     This piece was rendered with Sequencer in Unreal Engine 4. I worked closely with the Animator to ensure the tone and direction of the scene was consistent with the intended design. I gathered my audio resources while the first and secondary animations were in process.

​     As the animation went into finalization I began scoring the scene from “Work In Progress” renders. Once my work was green-lit, the audio asset was delivered for the final rendering with Sequencer.

Audio Materials

  • Organic Resources: Celery, Cabbage, Corn, Silk Plants
  • Inorganic Resources: Metal Tossed onto Dumpster, Metal Swirls, Welding Sparks, anvil hammering.
  • Animal Resources: Pig Squealing, Sand-hill Cranes, Alligator, Tiger
  • Synthetic Resources: Spaceship Ambiance, Fair Use Alarm, Footsteps

FINAL THOUGHTS

     ​I’m a sucker for creature effects and knew exactly what the game’s creature would sound like when I saw it for the first time. I lovingly nicknamed him “salad cat” because of the raw Foley. Needless to say, we had a lot of fun with it. 
Sound Effects Demo | Hyper Vital
​Unreal Engine 4

Long Arm of the Law

​“Long Arm of the Law” was an 8-month long Master Thesis project at the Florida Academy of Interactive Entertainment. The project consisted a team of 18 developers, of which I was the sole Audio Engineer.
I self-tasked my audio work, maintaining my cue sheets and time estimates for our DD to use in his project tracking as well as made sense of programmer’s blueprints in order to implement everything. 

My contribution

​     I absolutely loved diving into the project’s blueprints and wading through the programmer’s blueprint pasta. The game’s logic was inconsistently implemented at times and I’m glad I really enjoy engine side implementation.
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     It got to the point where I’d recognize every programmer’s contribution. I’d pop in, add the audio functionality, and comment in “lime puke green” so that everyone knew I’d been there.

final thoughts

     This project gave me the time and range I needed to go beyond bare minimum implementation where previous projects had not. I got to add in the finer, juicy cues.

​     My favorite audio cues were the projectile cues. It’s satisfying when bullets whoosh by or when the player gets hit. I even added wind racing when Motor swings or falls at max velocity. I also love when the player picks up little energy orbs. 

regina rex

     ​This piece was a collaboration with several of my artist friends. Each one of us had very specific specializations and working together gave us a top notch portfolio piece that ultimately became our graduate school’s new promotional materials.

AUDIO MATERIALS

  • Organic Resources: Thunder
  • Inorganic Resources: Sparkler, Electrical Tower Blowing Up, Sports Car Engines, Historical Tank, Feet on Gravel, Flamethrower, Lighter, Holiday Log, Metal Swirls, Washing Machine
  • Animal Resources: That DUB Step Kookaburra (you know the one), Hippos, Barn Owl, Gorilla, Eagle, Lion
  • Synthetic Resources: Sub-tone Binaurals, Dead Lifter drums 

FINAL THOUGHTS

​    My work on this piece was done in a single day. Given that all of its contributors and I were in the throes of our Master’s program, it made more sense to wait until all other hands were off of it and that nothing was going to change. It was great practice for fast turnover on a cinematic design and is still one of my favorites.