Department of Media and Communication

Extended Project (Unit 8)

By

Harley Dower

UAL Level 3 Diploma in Creative Media Production and Technology

Games Development

Department of Media and Communication

Canterbury College

Extended PROJECT PORTFOLIO

Academic Year 2016/2017

CONTENTS

CONTENTS2LIST OF FIGURES4LIST OF TABLES4DEFINITION OF TERMS5Unit 8 - Project Proposal66Bibliography8Project Action Plan and Timetable.99CHAPTER 110Introduction.1010The Background of my Project.10Who I am.11What I have learned on my course.12What my project about.15Why my project is important.15CHAPTER 216Literature/Resources Review1616Introduction.16Media sources, literature search and evaluation.16Requirements for my creative media production project.29CONCLUSION.48CHAPTER 349Research Design and Strategies4949Introduction49CHAPTER 456Writing and presenting my research findings.5656Introduction56CHAPTER 565My Project.6565Introduction65Pre-Production65Production65Post-production66CHAPTER 667MY EXTENDED PROJECT - FINAL PRODUCT.6767CHAPTER 768Project Evaluation.6868APPENDICES70Extended project in creative media production Learning Outcomes and Assessment701. Understand the requirements of a creative media production project.702. can use research methods to inform ideas for creative media production.703. can use skills, knowledge and understanding in the completion of a creative media project.704. can evaluate a creative media project.70REFERENCES70

LIST OF FIGURES

Figure 1 Background Knowledge Mind Map11

Figure 2 Who am I Mind Map11

Figure 3 Previous Work Reflection15

Figure 4 Video Resource One ~ https://www.youtube.com/watch?v=-6TmHSONf-c16

Figure 5 Video Resource Two.1 ~ https://www.youtube.com/watch?v=ZgxoJXmloHw17

Figure 6 Video Resource Two.2 ~ https://www.youtube.com/watch?v=7i0o4Z7JegU17

Figure 7 Video Resource Three ~ 17

Figure 8 Video Resource Four ~ https://www.youtube.com/watch?v=IUDTlvagjJA18

Figure 9 Video Resource Five ~ https://www.youtube.com/watch?v=u163wC6mP2A&t=391s18

Figure 10 Audio Resource One ~ Kall Binaural Audio19

Figure 11 Audio Resource Two ~ The Good, The Bad & The Irritating20

Figure 12 Audio Resource Three ~ Sounds Natural20

Figure 13 Text Resource One ~ Amplifon21

Figure 14 Text Resource Two ~ GEARANK22

Figure 15 Text Resource Five Video ~ https://www.youtube.com/watch?v=CjsZfIoihKs23

Figure 16 Text Resource Ten ~ Computer Sound Design26

Figure 17 Text Resource Thirteen ~ The Impact of Sound on the Brain27

Figure 18 Structure of the Industry Infographic30

Figure 19 Equipment Requirements ~ Computer Specs37

Figure 20 Audience Research Values42

Figure 21 Audience Identity One43

Figure 22 Audience Identity Two44

Figure 23 Audience Identity Three45

Figure 24 Quantitative Results57

Figure 25 Qualitative Results62

LIST OF TABLES

Table 1 - Project Proposal8

Table 2 - Project Action Plan and Timetable9

DEFINITION OF TERMS

EP – Extended Project

UAL – University of the Arts London

Unit 8 - Project Proposal

Candidate

Name

Harley Dower

Candidate Number

Pathway

Games Development

Project Title

Heathbald the Cursed ~ An exploration of binaural audio production techniques and their effectiveness in interactive storytelling.

Section 1: Rationale (approx. 100 words)

Through the course of the preceding units I have been able to recognise, explore, and develop my own significant interest in video-game audio - producing several case-studies, dubs, and original productions that have firmly established my general and practical interest. Acknowledging this growing fascination, I have thus decided on audio as the focus of my project.

Henceforth, I will be conducting research regarding such areas as audio design and editing in order to inform my projects production; which will consist of an exploration piece on the potential application of binaural audio within the field of interactive storytelling through video-games and VR.

Section 2: Project Concept (approx. 200 words)

The primary conceptual goal of my project is to produce a demonstration piece on the potential application of binaural audio within the field of storytelling in video-games and VR. The actual production piece will consist of several binaural audio based short story driven episodes, which will be uploaded as an audio file to websites such as ‘SoundCloud’.

Sighting my inspiration clearly, I can the note the audio based video-game, ‘A Blind Legend’, as a distinct creative and intellectual drive behind the design and execution of my own project.

Due to the technical and practical requirements of my project, I will be conducting research in such fields as recording methods, sound design/ theory, audio editing, and psychology as a means of ensuring an informed and learned approach and application during the production phase of my project. For such, I will utilise a combination of primary (surveys/ experimentation/ deconstruction of existing works) and secondary (previous works, articles, and books) research methods to develop the necessary knowledge and skills.

Regarding my target audience, my primary target audience will be a similar audience to that of games like ‘Skyrim’ and ‘The Witcher 3’, which can be seen to be an older audience ranging from 18-37 and is moderately balanced between both male and female consumers.

My role within the project will be to design, record, and edit all the audio needed for the production.

Acknowledging all this, I can state that the resources required to complete this project are as follows: internet access, library access, a computer, audio editing software, volunteers, and recording equipment.

Section 3: Evaluation (approx. 50 words)

As a means of evaluating and reflecting on my work during my project, I will be keeping a logbook; in which I will record what work has been completed, how, why, and to what effect; such that I will be able to identify clear successful and unsuccessful areas of my project while it is still ongoing, thus, allowing for effective and detailed reflection and planning for future work. Furthermore, this will allow me to record my decision-making process and note any distinct changes in my projects direction. In addition to this, I will utilise my peers as means of measuring my works effectiveness with my target audience and providing significant research data that will inform my projects production.

Following my projects completion, I can assess its success through my target audience’s reception and response to my production piece. In addition to this, I will be able to conduct critical comparisons between my own work and other pre-existing successful works that provide a reliable baseline.

Proposed Research Sources and Bibliography (Harvard Format)

Bibliography

amplifon. (2017, Unknown Unknown). The psychology os found in video games. Retrieved from amplifon: http://www.amplifon.ie/resources/playing-with-your-mind/

IMR. (2012, May 6th). Building a field recording system 4: introduction to binaural sound recording. THE LONDON SOUND SURVEY BLOG, p. All. Retrieved April 20th, 2017, from http://www.soundsurvey.org.uk/index.php/survey/blog_comments/1617/

Kall, A. (2016). Kall Binaural Audio Demo [Recorded by K. B. Audio]. Ottawa, Ontario, Canada. Retrieved April 20th, 2017, from https://soundcloud.com/kall-binaural-audio

Lee, J. (2016, March 8th). Storytelling through Sound, Filmmaking in the Mind. Downtown Community Television Center, p. All. Retrieved April 20th, 2017, from http://www.dctvny.org/about/news/16/03/storytelling-through-sound-filmmaking-mind

Loopmasters. (2008-2017, Unknown Unknown). 10 WAYS TO IMPROVE YOUR PRODUCTION. Retrieved from Loopmasters: http://www.loopmasters.com/articles/2031-10-Ways-To-Improve-Your-Production

Pike, C. (2013, March 4th). Listen Up! Binaural Sound. Research & Development Blog, p. All. Retrieved April 20th, 2017, from http://www.bbc.co.uk/blogs/researchanddevelopment/2013/03/listen-up-binaural-sound.shtml

Table 1 - Project Proposal

Project Action Plan and Timetable.

Project Action Plan and Timetable

Week

Date Week

Beginning

Activity / What you are intending to do - including independent study

Resources / What you will need to do it - including access to workshops

29th March

Wednesday to Friday

Produce a reflection piece that details the skills developed thus far.

Create a mind map explaining me as a person.

Microsoft Word, Adobe Photoshop, Internet Access.

19th April

Wednesday to Friday

Write up of three distinct ideas for my Extended Project and develop them further.

Microsoft Word.

26th April

Wednesday to Friday

Industry/ audience research, Demographic/ psychometric research, Equipment requirements, Job analysis, Legal/ health and safety requirements.

Microsoft Word, Internet Access.

4th May

Wednesday to Friday

Literature Review, Research Planning.

Microsoft Word, Internet Access.

10th May

Wednesday to Friday

Designing and Interpreting research (Primary).

Microsoft Word, Volunteers, SurveyMonkey, Audacity.

17th May

Wednesday to Friday

Create and carry out proposal presentation, Refine project goals/ focus.

Microsoft Word, Microsoft PowerPoint, Internet Access.

24th May

Wednesday to Friday

Refine and finalise all previous work prior to production.

Microsoft Word, PowerPoint, WordPress, Internet Access.

7th June

Wednesday to Friday

Write, edit, and finalise the audio script for my production.

‘Celtx’, Microsoft Word, Internet Access.

14th June

Wednesday to following Friday (23rd June)

Record, edit, mix, and master all three audio narrative episodes for my production piece.

Write my final evaluation of my extended project

Recording Equipment, Audacity, Microsoft Word, WordPress, Internet Access.

Table 2 - Project Action Plan and Timetable

CHAPTER 1 Introduction.

Within the contents of this project portfolio is a complete report of my first year ‘Extended Project’ for my UAL Level 3 Diploma in the ‘Games Development’ pathway. The focus of my project is such that I will be researching, exploring, and ultimately producing three 2-3 (or longer) minuet audio narrative episodes utilising the binaural audio recording method to achieve a ‘3D’ immersive effect. These three episodes will follow the character ‘Heathbald the Cursed’ in a low-fantasy world, placing the listener directly into an immersive audio based story that demonstrates the potential application of the binaural audio technique.

The Background of my Project.

· The animus behind my project.

For a significant amount of my life I have had a distinct interest and fascination in audio production and equipment. Throughout my previous work on this course, I have had the opportunity to explore this field academically and practically, producing a number of original ‘dubs’ and detailed case studies. From this I have been able to significantly develop my understanding and ability, placing me in position to strive further and make this the focus of my extended project; another significant opportunity to develop my practical skills within the field of audio design and production.

· My personal experiences that have influenced my project.

The primary inspiration for my project can be seen to be videos such as ‘The Interrogation Chamber’ that demonstrate the potential effectiveness of binaural audio in storytelling. In addition to this, due to the nature of my production piece I will have to act as a script writer, audio designer, production manager, and editor; such that this extended project will provide me with a significant amount of experience in fields directly related to those that I could potentially pursue in the future as a career.

· My projects basic premise.

The basic premise of my project is to produce a three-episode audio narrative that utilises the audio technique of binaural audio to create an immersive story-driven experience that provides entertainment for its target audience.

· What I seek to achieve through my extended project, with relation to my target audience.

In producing these three audio narrative episodes I seek to have created an immersive and entertaining experience for an audience similar to that of ‘Skyrim’ and ‘The Witcher’. In addition to this, I wish to provide a clear demonstration of the effectiveness and application of binaural audio within the field of storytelling.

Figure 1 Background Knowledge Mind Map

Who I am.

Figure 2 Who am I Mind Map

What I have learned on my course.

Figure 3 Previous Work Reflection

What my project about.

Over the last few decades technology within the video-game industry has developed immensely. However, with technological developments in fields such as ‘virtual reality’ (VR), developments in other fields such as audio must occur in order to keep up and provide the best experience for the consumer. One such development within the field of audio production that can be seen to present a distinct application within the field of VR, and interactive storytelling as a whole, is binaural audio – where two omnidirectional microphones are positioned in place of ears and record simultaneously to create a three-dimensional effect. My project, a three-episode audio narrative, will place the listener in the shoes of ‘Heathbald the Cursed’ a forgotten remnant of a lost village within a dense ancient forest. These three episodes will tell the story of how ‘Heathbald’ rediscovered his past and ventured back into his lost home for the last time, confronting those awaiting his return with malicious intent.

Throughout this production my role will be writer, lead sound designer, and editor.

Why my project is important.

Regarding the subject matter and focus of my extended project, I chose to peruse this field of production and creative media as I desired to develop my understanding and practical ability within the industry field of audio design and production, such that I will be able to educate myself while producing a piece that seeks to entertain its listeners.

CHAPTER 2 Literature/Resources Review

Introduction.

Through the completion of this chapter I shall be exploring a number of secondary research sources that will inform and develop my understanding of the theoretical, technical, and methodical requirements of my project; such that the methodology and overall quality of my work will be informed and improved as a result.

In addition to this, I shall be detailing the various requirements of my project, such as health and safety and legal; while also conducting an exploration of my target audience and job roles, such that the focus of my project is improved.

Following this, I shall produce a conclusion of the results and effectiveness of the work produced through the course of this chapter, such that I can reflect on my work thus far and establish an understanding of my project as a whole.

Media sources, literature search and evaluation.

Video Resources:

 

· “How to Make Virtual 3D Sounds! [Binaural, Holophonic] Tutorial”

Figure 4 Video Resource One ~ https://www.youtube.com/watch?v=-6TmHSONf-c

This video posted to YouTube by the user ‘ears4D’ presents an easy to digest tutorial format explanation of a simple methodology for recording binaural audio and limited explanation for editing techniques. This resource serves to provide a preliminary introduction to basic binaural audio recording, such that I have gained a foundational understanding of these techniques and can proceed with further resources to develop this understanding from a solid starting point.

· “Title V: Advanced Audacity Tutorial Part 1” – And part two

Figure 5 Video Resource Two.1 ~ https://www.youtube.com/watch?v=ZgxoJXmloHw

Figure 6 Video Resource Two.2 ~ https://www.youtube.com/watch?v=7i0o4Z7JegU

This two-part video posted to YouTube by the user ‘UHVCBCtitlev’ presents an advanced level tutorial formatted video explanation and demonstration of various tool within the audio editing software ‘Audacity’. From this tutorial, I have been familiarised with the interface and general workflow of the program. In addition to this, I have gained an understanding of tool and techniques such as noise removal, equalisation, compression, and envelopes; such that I can competently apply them within the appropriate situation. Therefore, this resource has provided me with critical knowledge and reference that will significantly improve the production piece of my project in relation to this form of audio editing.

· “Hear New York City in 3D audio”

Figure 7 Video Resource Three ~

This video posted to YouTube by the user ‘The Verge’ presents a distinct demonstration of binaural audio within a real-world location, discussing its various uses and previous material produced with this technology. In addition to this, the video presents a high-end example of how binaural audio can be recorded, with the professionally made mannequin head and specifically designed ear-shaped microphones. This, therefore, provides a tangible reference from which to design my own binaural recording during the production piece of my project; while providing relevant context as to how such audio could be recorded within the mainstream.

· “Virtual Barber Shop (Audio…use headphones, close ur eyes)”

Figure 8 Video Resource Four ~ https://www.youtube.com/watch?v=IUDTlvagjJA

This video posted to YouTube by the user ‘LovelyVirus’ and originally created by ‘QSound Labs’ presents a clear demonstration of binaural audio within a narrative context of a barbershop. From this, I have been able to experience a professionally produced binaural production, such that I have a reliable high-quality reference from which to draw inspiration and use as a form of measure of quality.

· “The Interrogation Chamber – Amazing Binaural 3D Sound Play”

Figure 9 Video Resource Five ~ https://www.youtube.com/watch?v=u163wC6mP2A&t=391s

This video uploaded to YouTube by the user ‘Medielabbet’ presents a high-quality example of the narrative applications of binaural audio and the effectiveness of such. From this, I am able to gain a distinct perspective on the effectiveness of the application of binaural audio, allowing me to analyse the various sound effects and dialogue used in order to determine how I could use similar techniques in my own production piece. Therefore, distinctly improving the narrative and technical quality of my projects production piece, such that my production is more informed and inspired.

Audio Resource:

 

· SoundCloud – Kall Binaural Audio, Alex Kall

[https://soundcloud.com/kall-binaural-audio]

This SoundCloud hosted user can be seen to upload a range of distinct examples of binaural audio, utilising a myriad of settings, from conversations to environmental recordings. From these recordings, I am able to develop my understanding of the versatility of binaural audio, while providing me with a significant number of references from which to draw inspiration. Thus, allowing me to identify any specific sounds/ techniques that may significantly aid in the design and production of my project.

Figure 10 Audio Resource One ~ Kall Binaural Audio

· Twenty Thousand Hertz – “THE GOOD, THE BAD & THE IRRITATING”

[https://www.20k.org/episodes/good-bad-and-irritating]

This recording hosted by the website ‘Twenty Thousand Hertz’ presents a detailed audio illustration of the significant effect of sound on our perception, interpretation, or narratives, and how this can influence our behaviour; with a guest researcher highlighting that there are quantifiable physiological responses to sound that are distinct and relevant (for example, roughness has been found to correlate with alertness and fear). In addition to this, the discussion highlights the importance of such audio aspects as, loudness, pitch, location, and timbre, explaining their significant effect on sound. From this, I am able to gain a significantly improved perspective on the effectiveness and application of sound as a wider facet of human experience; while developing my understanding and source of references from which to draw inspiration during the production piece of my project.

Figure 11 Audio Resource Two ~ The Good, The Bad & The Irritating

· 99% Invisible – Episode 256, “Sounds Natural”

[http://99percentinvisible.org/episode/sounds-natural/]

This recording hosted by the website ‘99% Invisible’ presents a discussion from established audio practitioners within the film/ documentary industry and their views of the various practises surrounding these productions, in relation to the authenticity and ethics of sound recording, design, and use within nature documentaries. From this, I am able to gain a valuable perspective and understanding of the techniques used to record audio that is seemingly impossible to record, such as audio of a caterpillar within an ant’s nest; such that I have learned a great deal about the production methods used in regard to audio in these documentaries, such as Foley artists (sound actors, who recreate sounds expected by the viewer). My project benefits from this resource as I am now better informed in professional audio production, such that I now understand that not all audio in a piece is recorded at the same time as the visuals and that almost all sounds can be replicated with more obtainable resources given the correct knowledge.

Figure 12 Audio Resource Three ~ Sounds Natural

Text Based Resources:

 

· Amplifon – The psychology of sound in video games

[http://www.amplifon.ie/resources/playing-with-your-mind/]

This article posted by the website ‘amplifon.ie’ presents a detailed look into the techniques used in video-games to convey meaning, mood, tone, etc. The article discusses such aspects as pentatonics, non-linear sound, and adaptive music; of which are critical elements of an effective and successful audio landscape for a video-game. In addition to this, the article provides three distinct mini case studies that present as clear effective examples of these techniques, looking at ‘Hotline Miami’, ‘Wipeout 2097’, and ‘Amnesia: The Dark Descent’. From this article, I have been able to develop my understanding of specific audio techniques, such that I can go on to utilise them within my own production, thus, improving the quality and effectiveness of my work. In addition to this, the article has provided me with three distinct examples of which I can use for my own reference in the future when producing my own piece.

Figure 13 Text Resource One ~ Amplifon

· GEARANK – The Different Types Of Mics And Their Uses

[https://www.gearank.com/articles/types-of-mics]

This article posted to the website ‘GEARANK’ by Alexander Briones presents a detail breakdown of the various distinct types of microphones and their specific applications. Within the article the various microphone polar patterns are explained in detail with supporting images, while also going on to discuss various diaphragm sizes and applications. From this article, I am able to significantly develop my understanding of the various microphone types, identifying their function and effective application. Therefore, distinctly informing my equipment choices during the production stage of my extended project, such that I will be better able to utilise the most effective microphone in any given situation and, thus, significantly improve the quality and production value of my work as a result.

Figure 14 Text Resource Two ~ GEARANK

· Novel Writing Help – 9 Rules For Writing Dialogue

[http://www.novel-writing-help.com/writing-dialogue.html]

This article written by Harvey Chapman and posted to the website ‘Novel Writing Help’ presents a detailed list of nine distinct concepts and considerations to take when writing dialogue. In addition to this, the article provides relevant and effective examples of each main point, such that the theory behind these core techniques are visualised for reference. The nine considerations raised are that dialogue should, be in conflict, have a purpose, flow effectively, be concise, distinguish characters from one another, give character agendas, avoid the obvious, utilise subtext, and properly apply punctuation. From this article, I am able to develop my understanding of the techniques used to write effective dialogue, of which will be distinctly utilised throughout the production piece of my extended project, such that this article will significantly improve my writing, thus, ensuring this critical facet of my production fulfils its potential within my binaural audio landscape in regard to the focus on storytelling.

 

· Designing Sound – Sunday Sound Thought #69 – Always be Listening

[http://designingsound.org/2017/04/sunday-sound-thought-69-always-be-listening/]

This relatively brief article written by Ashley Coull and posted to the website ‘Designing Sound’ presents a clear behavioural mentality that should be learned by all aspiring and professional sound designers, always be listening and record everything. The concept behind this behaviour is such that you will become more aware of the different accessible unique sounds in your everyday. From this article, I can learn the importance of always recording, as this will allow for me to gain valuable practice in recording; while enabling me to gather a large library of various sounds which will increase the diversity of my productions audio landscape. In addition to this, while conducting this behaviour I could easily find and record a particular sound I previously didn’t know how/ where to capture and, thus, remove limitations of the assets available to the production of my extended project.

· Engadget – For VR to be truly immersive, it needs convincing sound to match

[https://www.engadget.com/2016/01/22/vr-needs-3d-audio/]

Figure 15 Text Resource Five Video ~ https://www.youtube.com/watch?v=CjsZfIoihKs

This article written by Mona Lalwani and posted to the website ‘engadget’ presents the account and reflections of the writer and their experience with binaural audio applied to a VR demo at an exposition. The writer describes their experience in detail, explaining how convincing and effective the audio of the demo was; so much so that it “had tricked my brain into thinking a machine had pulled nails out from the back of my head”.  From this I am able to reference a first-hand account of the effectiveness of binaural audio when paired with VR, such that I can identify distinct elements of the writer’s experience that allowed for the binaural audio to be so effective and utilise this in my own production. In addition to this, the writer also details a short history of the technology and developments of surround and binaural audio in both cinema and video-games. From this I am able to further develop my surrounding background knowledge of the field and technology I am working with, such that my understanding of its application and function can inform my creative and production decisions while producing my extended project.

· Downtown Community Television Center – Storytelling through Sound, Filmmaking in the Mind

[http://www.dctvny.org/about/news/16/03/storytelling-through-sound-filmmaking-mind]

This article written by Jessica Lee and posted to the ‘Downtown Community Television Center’ website presents a discussion of the importance and effectiveness of storytelling through sound in all formats, quoting numerous reliable sources in reinforcing their point on the subject. In addition to this, the article demonstrates a clear audience interest and desire for well-crafted audio based storytelling, such that my project is affirmed in its potential audience, demand, and reception. Therefore, the article allows me to establish an understanding of my target audience’s interpretation and expectations of audio based storytelling in a general sense that informs my decision making when designing my extended projects production piece, such that I will have a more defined focus in regard to appealing to my target audience, thus, improving my productions overall effectiveness and quality.

· London Sound Survey Blog – Building a field recording system 4: introduction to binaural sound recording

[http://www.soundsurvey.org.uk/index.php/survey/blog_comments/1617/]

This article posted by IMR to the ‘London Sound Survey Blog’ presents a detailed and informative explorative explanation of various technical, mechanical, and historical development regarding binaural audio and how it works, is recorded, and how it is most effectively applied. From this I am able to significantly establish and develop my understanding of the mechanics that allow binaural audio to work in the first place, ‘The Phantom Image’, looking at such factors as sound intensity, time delay, and frequency spectrum; of which I will have to make distinct consideration for when designing and producing my extended project. In addition to this, I have been able to further develop my understanding of the early development of binaural audio, allowing me to clearly establish a line of progression in this field; thus, I am able to better utilise the tools available as I have a distinctly greater understanding of their construction, function, and application when producing binaural audio. Therefore, improving my utilisation of recording equipment, thus, increasing the quality of my recordings and my extended project as a result.

· Prezi – Sound Design Theory by Greg Long

[https://prezi.com/1y1v4lmmclzf/sound-design-theory/]

This presentation on the basics of sound design theory created by Greg Long and uploaded to the website ‘Prezi’ presents an easy to digest succinct explanation of the fundamentals (loudness, pitch, and timbre/ tone) and categories (dialogue, sound effects, music, etc.) of sound in regard to audio production. The presentation discusses the importance, power, and application of these distinct forms of sound, such that I have a greater perspective on their effective application and, thus, will be able to apply this fundamental information to the core of my sound design during the production phase of my extended project, thus, improving its overall quality.

· Loopmasters – 10 Ways To Improve Your Production

[http://www.loopmasters.com/articles/2031-10-Ways-To-Improve-Your-Production]

This article posted to the website ‘Loopmasters’ details ten critical methods/ areas of development to improve the quality of any audio based production. These tips were to learn compression techniques (reducing the variations between one audio channel’s highest and lowest gain levels), reduce ‘muddy’ sound with EQ (equalisation – allows you to remove the high and low ends), not overuse big presents, use reverb modestly, be aware of over-limiting, learn home mastering techniques, tighten up timing, don’t get stuck in loops, embellish sound landscape, and master what tool you have available first. These tips provide a detailed and comprehensive array of areas in which I can aim to significantly improve my own audio production skills; such that future primary research and development is informed by a reliable source, thus, allowing me to distinctly focus on critical aspects of the production process of audio design and therefore improve the overall quality of my project production piece.

 

· Eduardo Miranda – Computer Sound Design: Synthesis techniques and programming

[https://books.google.co.uk/books?id=ajr4_nS3X0gC&pg=PA31&source=gbs_selected_pages&cad=3#v=onepage&q&f=false]

This book written by Eduardo Miranda, available in eBook and physical editions, presents a greatly detail technical explanation and demonstration of the computer synthesising side of audio design and production, such that the book provides detailed breakdowns and theory on the finer details of the field with text, diagrams, and case studies. From this book, I would be able to, when my work is up to a high standard, identify distinct areas in which I could develop more technical computer based audio skills as a means of further enhancing the effectives and overall quality of my extended project production. In addition to this, I am able to identify distinct areas in which to conduct further primary and secondary research, thus, further developing my understanding and knowledge of the field of audio production, thus, informing my project further and developing its complexity.

Figure 16 Text Resource Ten ~ Computer Sound Design

· RandyThomBlog – The Tyranny Of Reverb

[https://randythomblog.wordpress.com/2017/03/23/the-tyranny-of-reverb/]

This article written by Randy Thom and uploaded to his respective WordPress blog presents professional’s observation on the industries apparent over use of the reverb effect and its implication on the quality of audio productions as a whole. This article allows me to gain an insight into a professional practitioner’s view of the industry in general and their opinions on a very common and effective audio effect, such that I can learn from their observation and comments and aim to not make the same mistakes a they have pointed out; thus, improving the overall quality of my work significantly, while providing valuable inside information to develop my perspective of existing practitioners.

· The B-Side – diving Into New Sound Dimensions with Binaural Recording

[http://berkeleybside.com/sound-dimensions-of-binaural-recording/]

This article written by Brendan Redmond and uploaded to the website ‘The B-Side’ presents brief explanation as to how binaural audio was developed, how it is recorded and applied, and provides a comparison between binaural and mono audio recordings. In addition to this, the article ends on a paragraph discussing the potential future in regard to its application in modern media, providing future context for the aims of my extended project. Moreover, from the article overall I am able strengthen my understanding of the development of binaural audio, providing significant background information that informs my creative decisions, and develop my perspective of binaural audio in comparison to other more traditional forms of audio production, such that I will have a greater comprehension of the distinct unique potential, applications, and effectiveness of binaural audio in regard to audio based storytelling, the focus of my extended project.

 

· Amplifon – The impact of sound on the brain

[http://www.amplifon.ie/resources/impact-of-sound-on-the-brain/]

This article poste to the website ‘Amplifon’ presents a moderately detailed breakdown of the effects of sound on the brain, discussing the various sections of the brain and how they respond to sound, (e.g. Thalmus – relays sensory data and helps regulate sleep, Broca’s area- empathy, pain and awareness – affects language comprehension and generation, and Amygdala – processes memories and emotional reactions).

Here is a screenshot from the article where various physical and cognitive brain functions are explained in regard to sound:

Figure 17 Text Resource Thirteen ~ The Impact of Sound on the Brain

Following this, the article discusses how audio can provoke and play with emotions, with significant effect, while explaining how this is interpreted by the brain. From this article, I am able to establish a clear general understanding of the mechanical and cognitive brain function behind perceiving, interpreting, and responding to sound; such that I will be able to utilise this information during my production as I will be able to identify what sounds to use in order to evoke the desired emotion/ response from my listeners.

In completing this literature review I have gathered and reviewed a large number of secondary requires relevant to the subject matter of my extended project. From this I have been able to greatly develop my understanding of a large number of topics, such as recording, editing, and design, while also deepening my background knowledge of the topic, e.g. psychology of sound. As a result of this, my extended project production will be significantly benefitted in regard to my understanding of sound theory and audio design, such that the quality and effectiveness of my productions design and construction will be distinctly improved.

Requirements for my creative media production project.

Industry Research

Through the completion of the following task I am to gather information surrounding and develop my understanding and knowledge base of the structure of the games industry and how this is relevant to my extended project as a whole.

· How my industry is organised/structured:

Figure 18 Structure of the Industry Infographic

In regard to audio within the industry itself, a clear structure can be seen throughout its history. Such that, manufacturers and platform holders have and continue to act as the driving force behind the hardware developments and capabilities of games devices in regards to audio. From this, developers and publishers can secure rights to produce games for this hardware, allowing them to establish and push what is sonically possible. Therefore, illustrating a clear relationship between hardware manufacturers and developers.

 

· How my work fits within this organisational structure:

Demonstration of application/ need/ benefit of binaural audio to the current trajectory of the mainstream industry.

Regarding the aforementioned industry structure, my project could serve to demonstrate the significant practical applications of binaural audio within the development of more immersive products. For example, the current trajectory of the mainstream industry, VR, presents a clear need and desire to manufacture and produce the most immersive experience achieved to date. Therefore, as my project aims to provide a distinct example of the immersive nature of binaural audio in relation to storytelling; my project can be seen to fit highlight a need within the industry, manufacturers, and developers alike, for this technology. In addition to this, my project can also serve as an educational piece within the industry, providing a distinct project from which to gain an understanding of the technology, production methods, and applications; such that it could inform future industry practitioners.

 

· Why my work would be considered mainstream or independent.

In regard to my project, I believe that my work would fall within the independent category. Such that the work I am producing is of a specific personal vision that aims to explore an area of the audio industry typically not recognised by mainstream productions. In addition to this, the final production of this project does not aim to be sold as a product, but rather experienced and shared within its niche, thus, showing this not to be a mainstream production produced with the overall goal of economic gain.

However, it must be noted that due to the relationship between the subject matter of my project and the current prevailing trajectory of the mainstream industry, my work could be seen to have a possible mainstream need.

 

· Examples of organisations that would:

· Produce/publish your work and why (consider specialist production houses/publishers)

Below are a few examples of organisations that would publish work in the same vein as my project:

1. Cloudhead Games – An indie developer studio known for making significant innovations in VR application, with a significant focus on immersion.

(Cloudhead Games, 2017)

1. HTC Corporation – A significant hardware developer within the field of VR, responsible for the ‘Vive’; of which can be seen to be one of the most effective and successful VR headsets on the market.

(HTC Corporation, 2017)

· Owlchemy Labs – An indie developer studio responsible for some of the most downloaded VR games on the market, utilising the dynamics of the technology effectively and demonstrate a distinct competence in immersive VR development.

(Owlchemy Labs, 2017)

 

· How/where it could be distributed and why (online, hard copy, exhibitions, festivals etc.)

Below are two key examples of how/ where my project could be distributed and why these would be used:

1. SoundCloud – A highly popular online audio distribution and sharing website, allowing for users to upload original audio productions with public access and community feedback. Therefore, due to the nature of my project I believe this to be a significant platform on which I could publish and distribute my work online. In addition to this, my project piece would be easy to access, allowing all whom would be interested to engage with the piece. Thus, enabling the educational aspect of my project, such that a large audience will have free access to the production pieces and be able to engage through messaging and develop their own understanding.

(SoundCloud, 2007)

1. CLYP – An audio sharing website that allows for users to upload and share all forms of audio recording, music, conversations, effects, etc. Therefore, due to the nature of my project I believe this website to present a significantly effective medium through which I could publish my production piece; such that it would be freely accessible.

(Clyp, Inc, 2017)

 

· How and whom would regulate my work.

In the situation in which my work would be published within a video-game, or similar product, the following are two regulatory bodies that would ensure the product complies with any and all broadcast and production laws within the country:

1. PEGI – The ‘Pan European Game Information’ is a widely recognised regulatory body that works to provide lawful and effective, authentication, and regulation within the games industry in regard to age ratings and publication content. This company ensures that all video-games within Europe are correctly rated, and any potentially offensive or otherwise noteworthy criteria are clearly communicated to customers.

(PEGI S.A., 2017)

1. ERSB – This can be seen to be a distinctly similar company to the previously mentioned PEGI, however, ERSP (Entertainment Software Rating Board) acts on a larger worldwide scale; such that nearly every largely published production within the industry will seek authentication from this company to ensure proper regulation.

(ERSB, 1998)

 

· Why my work would be seen to be targeted toward a mainstream or niece audience.

Regarding the nature of my project, in its practical production and presentation, it can be seen to have two distinct main audiences, niche, and mainstream.

My project would reach a niche audience as it presents itself to be a distinct demonstration piece from which audio enthusiasts can experience the potential application within immersive media.

Conversely, my project would reach a mainstream audience through its potential mainstream industry application, regarding VR development. This would be the case as mainstream audience engaging with new mainstream production will potentially experience binaural audio, the focus of my project.

 

In completing this task, I have been able to further develop and solidify my understanding and perception of the games industry in regard to my project, such that I am more aware of the structures and processes involved in a production. In addition to this, I have been able to further focus the main target audience for my production piece, such that further research will now be distinctly more focused and, thus, more effective in informing and developing my project.

Detailed Job Analysis

Through the completion of this task I aim to explore and evaluate a number of specific job roles relevant to my project, such that I will gain an understanding of the real-world job roles within the relevant industry and the requirements of such.

· Personal Job Role

Title: Lead Sound Designer

Synopsis: The lead sound designer is responsible for the overall design and decisions made surrounding all audio aspects of a game. In addition to this, they must co-ordinate with all other sound designers, engineers, etc. in order to maintain a cohesive team and vision; while collaborating with the other leads of the production team as to incorporate all aspects of the game together. In addition, the lead sound designer is involved in all facets of design, production, editing, and implementation of audio.

Qualifications: Qualifications in such things music, audio engineering, sound design, recording technology are crucial in establishing your understanding and your critical knowledge in all areas of sound.

Skills: Audio editing, tools such as Wwise, audio design, operation of recording equipment, communication, organisation, and management skills.

Experience: Extensive experience with all aspects of recording and editing, and experience with original design, composition, etc. Experience in managing and coordinating a team is also valuable.

Knowledge: sound design, music/ sound theory, implementation of a wide range of equipment, tools, and resources.

Personal Attributes: Calm, patient, organised, creative, disciplined, and learned.

Existing Practitioners: Glenn Jamison, Peter Hajba, Yuji Takenouchi

(gamesindustry.biz, 2017)

· Associated Job Roles

Foley Artist:

Synopsis: A Foley Artist is an individual who creates and produces sounds, such as wind or footsteps, during a performance in response to a pre-existing visual, e.g. a clip of an animation cycle. Foley artists utilise a large range of objects and materials to recreate sounds that typically would be difficult to record, while ensuring every sound will be unique to the project being worked on.

Qualifications: Audio engineering, sound design, recording technology, sound theory.

Skills: Performance skills, sound production (making sound with object and props), creativity, operation of recording equipment.

Experience: Extensive experience in sound production, recording, design.

Knowledge: Knowledge of a large variety of sound, their nature, effect, and applications, how these are recorded and performed.

Attributes: Creative, experimental, persistent.

 

Audio Programmer:

Synopsis: The audio programmer works to develop tools and methods to implement and integrate sound into the game, writing code to manipulate and trigger audio, such as sound effects and music; all while under the supervision of the audio lead.

Qualifications: Degree in computer science, and/ or games development, qualifications in mathematics, audio engineering, coding (e.g. C++ etc.).

Skills: Programming (languages such as C++), mixing audio, performance optimisation, 3-D positional sound.

Experience: Extensive experience with computer code, audio mixing and project development.

Knowledge: Computer systems, optimisation, mathematic, coding.

Attributes: Learned, organised, disciplined, and flexible.

(Get In Media, 2017)

 

Voice Actor:

Synopsis: A voice actor is an individual who provides an audio performance of their or a fictional character’s voice. Much like a physical actor plays a character, a voice actor plays a video-game character, reading, and recording all lines of dialogue for that character/s.

Qualifications: Drama, performance arts.

Skills: Acting, voice manipulation and sustain.

Experience: In voice performance, accent changing, sound recording.

Knowledge: Sound recording processes, articulation, enunciation.

Attributes: Calm, creative, focussed, imaginative.

 

Through the completion of this task I have been able to gain a significant understanding and insight into the professional roles within the audio sector of the games industry, such that my understanding of the specialties and skilled workers required for such productions is distinctly improved.

Extended Project Equipment Requirements

Within this piece, I shall present and detail the various equipment, hardware/ software etc., requirements of my project, such that all resources required for its completion are explored effectively.

· Consumable Resources

In regard to consumable resources (i.e. stationary), my projects need for this form of equipment will be very situational; such that the production of my project does not directly demand access to any specific consumable resources. However, given the situation in which a specific sound is required to be recorded, such as a bone breaking, I would be required to utilise an alternative, such as snapping celery sticks, as means of producing this sort of sound. Therefore, it should be noted that there may be specific consumable resources require for the production of my project, however, the exact nature and specific need of these resources is not completely known prior to production as of yet. Noting there to be some tangible need for such resources however, I will state that any that will be needed and used would be readily available from any convenience store for less than £5, if the resource was not already owned within college or domestic residences.

· Technological Resources and Equipment

Below is a list of the various technological resources and equipment required for the production of my project:

· Styrofoam Mannequin Head – This will be used to house the two microphones used to make the vast majority of all the audio recordings needed for my project. Such mannequin heads are readily available from sites such as Amazon for approximately £4 - £10. (Amazon.com, Inc, 1996-2017)

 

· Dual-Capsule Omnidirectional Condenser Microphone – This will be used in conjunction with the mannequin head and ‘Zoom H1’ recorder as the primary recording device for my project. Such microphones are also available on sites such as Amazon for approximately £35. (Amazon.com, Inc, 1996-2017)

 

· Zoom H1 Handy Recorder – This recording device will be used as the primary recording device that will allow me to take recordings and move them onto a computer for editing and the production of the final piece. Such recorders are available on sites such as Amazon for approximately £80. (Amazon.com, Inc, 1996-2017)

 

20. Microphone Stand – This stand would be used to hold the mannequin head in place while recordings are taken, allowing for me to be elsewhere if required. Such stands are available from sites such as Amazon for approximately £15 - £20. (Amazon.com, Inc, 1996-2017)

 

1. Computer – For the editing and finalisation of my production piece I will require a suitably spec’d computer. Such computers are freely available for use at my college, with my own personal computer acting as the primary basis of work. My computer is a custom-made unit assembled by Cyberpower Systems (CYBERPOWERPC, 1998-2017) with the following specs:

Figure 19 Equipment Requirements ~ Computer Specs

· Software Requirements

Below is a list of all the software required for the completion of my project:

1. Internet Browser (Google Chrome) – This is widely used effective, efficient, and reliable internet browser that allows for easy internet access; thus, allowing me to access any required online resources. The minimum requirements for such a browser are a computer with Windows 7 or later and a SSE3 capable processor, e.g. Intel Pentium 4, or later. (Google, 2017)

 

1. Audio Editing Software (Audacity) – This is a freely available open source audio editing software that will allow me to conduct all required audio editing to produce my final piece. This software can be downloaded from their official website: http://www.audacityteam.org/. The system requirements for this software specify a computer with a processor of 1GHz or faster, 2GB RAM, 16GB hard disk space (32-bit)/ 20GB (64-bit), and DirectX 9 or higher. (Audacity, 2016)

 

· Word Processor (Microsoft Office Word) – This standard high-quality word processor will allow me to record, collate, and evaluate my work effectively within a common format. This software is provided within the larger software package, Microsoft Office; of which is freely available to students and is currently installed on both my home and college computers. (Microsoft Corporation, 2017)

 

· Services Required

Below is a list of all the services required for the completion of my project:

1. Internet Access – This will be used to conduct research, contact college lecturers, and otherwise aid the production of my project. In addition to this, internet access will allow me to download all required software previously stated. Such internet access is provided for free at my college and paid for at home, with my home internet being provided by BT Group for approximately £40 a month. (BT Group, 2017)

 

1. Cloud Storage (One Drive) – Online cloud storage will allow me to safely backup any and all files associated with my project, providing me with a necessary level of security that prevents large amounts of my work from being lost during production. Such cloud storage is provided free by the Microsoft Corporation in conjunction with my personal Microsoft account. (Microsoft Corporation, 2017)

 

· Messenger (Facebook) – This messaging service will allow me to communicate with any other people I may require to perform as actors for the production of my project piece, thus, allowing for the production process to be planed clearly with all correspondents. (Facebook, 2017)

 

In completing this task, I have been able to clearly identify the various resources required for the production stage of my project, such that I am now more acutely aware of how I will be producing my work, thus, significantly benefiting my project overall as I am more prepared.

Legal/ Health and Safety Requirements

Through the completion of this task I aim to gain a distinct understanding of the legal requirements surrounding the production of work similar to my project within the games industry, while also carrying out a health and safety assessment in order to gain a perspective of the possible risks and hazards involved with the production of my project.

· Project Legal Requirements.

Throughout the course of my project I will have to take specific actions in order to comply with legal regulations surrounding the field I propose to work in. One such requirement will ensure that all resources and pre-existing material, such as statistics or other broadcasts, used during any stage of my project, research to production, must be properly referenced; such that all valid sources are afforded the accreditation legally deserved.

In addition to this, while using other products and materials as references, inspiration, or for any other application, it is imperative that my own work does not directly copy, mimic, or otherwise plagiarise another individual’s or company’s property.

Moreover, in a broader sense my project, if it were to be publicly broadcast/ distributed, must comply with all relevant Ofcom regulations on UK broadcasting within ‘The Ofcom Broadcasting Code’ (Ofcom, 2017).

· Required Paperwork.

Through the course of my project I will be required to fill out and be able to present certain documentation. One such piece of documentation is that of my Harvard referenced bibliography, of which provide the sources of all information, inspiration, etc. of my project. In addition to this I will need to conduct a health and safety assessment, such to illustrate my awareness of any risks and hazard surrounding the production of my project.

· Copyright.

Copyright is an individual’s or company’s exclusive ownership of any particular literary, musical, or artistic work, etc., such that they, and they alone, hold the right to make any form of copy, license, or otherwise exploit such work. This owner ship is legally bound for the duration of the author’s life, continuing for seventy years after death. (Dictionary.com, LLC, 2017)

In regard to my project, I will have to ensure that no copy written material is used within the final production piece of my project. In addition to this, I will ensure that any resources used during research and production are properly referenced as to give the accreditation legally deserved by any copy written piece.

A further consideration that must be made during my project is that of trademarks. Trademarks are any symbol, logo, title, slogan, or name etc. that is legally associated with a specific product or company etc. Therefore, during my project I must ensure that I do not use, or otherwise mimic or replicate, any such pre-existing trademark, as to prevent any potential legal issues with my production.

In addition to this, all published music, unless royalty free, carries its own legal ownership; such that I will be required to seek permission to use any such music/ audio in my own work, or rather avoid using such music/ audio in order to avoid copyright infringement.

· Health and Safety.

Potential Risks:

For the great majority of my projects production I will face little in the way of distinct health and safety risks. However, I must still consider my working environment. My work will require me to be sat for prolonged period looking at digital displays, potentially causing back problems/ injuries or eye strain. In addition to this, I will face potential risk to my hearing as I am working with a large assortment audio throughout my project. Moreover, with large amounts of electrical equipment there is always a risk of fire or electrocution.

In addition to this, when conducting primary research, such as recording on location, I could face health and safety risks in the form of cars, if in an urban area, or potentially physical injuries from falling etc., if in a more rural environment.

Solutions/ Precautions:

In order to prevent any injuries or lasting damage caused while working at my work station, I will ensure that all electrical equipment is properly installed, cooled, and otherwise maintained before, during, and after my project. In addition to this, I will take regular breaks to prevent back problems and eye strain, as well as maintain cognitive function. Moreover, I will monitor the volume levels of all audio played during the production of my project, preventing me from being exposed to any potentially harmful audio that could damage my hearing.

Regarding primary research, I will ensure that I maintain a vigilance around me while working, as to ensure that I do not expose myself or put myself in any potentially harmful situations or locations.

· Ethical and Legal Considerations:

In order to ensure that the production of my final outcome is both legal and ethical, I plan to correctly and prominently reference and sources used during my project in the form of citations and a bibliography. In addition to this, I will ensure that none of my work contains any potentially harmful, or insulting, legal, religious, ethical, or political etc. messages or otherwise distinct reprehensible material within my production.

In completing this task, I have been able to significantly improve my understanding of the legal obligations of a media production within the games industry, thus, developing my industry knowledge and allowing me to identify valid health and safety considerations for my production. Therefore, ensuring my project to follow all legal guidelines and prevent injury.

 Demographic and Psychometric Research

Through this task, I shall be exploring the demographic and psychometric target audiences of my project, such that this will enable me to develop an understanding and clearly state the target audiences of my project.

 

· Main Project Audience

The main target audience for my project can be seen to be two distinct groups of people. One such audience, is that of the developers involved with the development of immersive VR video-games, such that my project connects with the industry need for immersive audio within such games. In addition to this, another audience my project is targeted towards would be that of individuals with a significant interest in audio production, for example, students and aspiring audio engineers/ designers, that could use my project as a piece of research to develop their own understanding.

 

· Demographics

A demographic refers to the analytical factors of a target audience, such as age, gender, and occupation; such that you are able to measure and subsequently describe entire audiences numerically as a form of quantitative data. This form of audience analysis is typically used to gain a quick general understanding of a large group of consumers, allowing producers to identify key aspects of a target audience they wish to appeal to/ engage with, and how many potential customers exist within their countries of operation. Moreover, demographics inform producers of the core aspects of their audience, allowing them to ensure their product effectively engages their target audience.

 

· Psychometrics

The psychometrics of a target audience describes their qualitative aspects, such as a groups attitudes to certain topics. This form of audience analysis allows producers to identify key personality traits, attitudes, and preferences that can inform their productions in such a way that enables the producer to develop their product with more depth of personality in mind, thus, producing a more effective product overall.

 

· Audience Research

Following the core themes and genre of my projects production piece, adventure/ fantasy, I am able to identify distinct pre-exiting works that can provide an example of the audience that these types of productions attract. For this I have utilised the website ‘YouGov’ to gather information on the typical age, gender, etc. of the audiences of these pre-existing works.

Firstly, I decided to use the ‘Lord of the Rings’ book series as a preliminary informant of audience demographic as the series in modern media can be seen to be the progenitor to most common fantasy productions. Bellow this information can be seen presented clearly:

From this I am able to gather that the primary audience of the ‘Lord of the Rings’ books is a young male audience with neutral political interests.

Following this, I continued to look at other more recent video-game and TV productions within the same genre, sighting ‘Game of Thrones’, ‘Skyrim’, and ‘The Witcher 3: Wild Hunt’ as distinct references. Bellow you can see this information presented clearly:

Figure 20 Audience Research Values

From this information, I can gather that the typical viewership ‘Game of Thrones’ is a distinctly young male audience with a left wing political leaning. While the audiences of the two video-game productions can be seen to be a distinctly older gender balanced audience with a similar left wing political leaning. Therefore, I am able to extrapolate this information to my own production piece and predict it to attract a similarly older, gender balanced (slight male leaning) audience.

 

· Audience Profiles

Identity #1

Figure 21 Audience Identity One

Name: Rodriguez, Emmanual

Gender: Male

Age: 34

Occupation: Sound Designer

Income: £36,000 (Yearly)

Education: Music (A-Level), BSc Sound Engineering (Hons)

Hobbies: Music Festivals, Video-Games, Jogging, Reading

Likes/ Interests: Experimental sound design, Immersive experiences, Psychology, VR

Dislikes: Sports, Silence, AAA productions

Attitudes: Introverted, Self-motivated, Professional, Obscure

Lifestyle: Work orientated, Healthy, Domestic

· Profile Evaluation: The above profile presents a professional working within the games industry as a sound designer, thus, explaining their interest in the material of my project. Moreover, their education, hobbies, and lifestyle detail the professional audience of which I wish to target with my project.

(CinemaSense, 2017) – Image Reference

 

Identity #2

Figure 22 Audience Identity Two

Name: Bentley, Irene

Gender: Female

Age: 20

Occupation: University Student/ Part-Time Retail

Income: £475 (Monthly)

Education: Music (A-Level),

Hobbies: Video-Games, Music, Piano, Photography

Likes/ Interests: Sound recording, Modern technology, History, Binaural audio

Dislikes: Mainstreamers, Sports

Attitudes: Extroverted, Creative, Accepting

Lifestyle: Disciplined, Social, Heavy studier

· Profile Evaluation: The above profile presents a student aspiring to work within the audio sector of the games industry, thus, demonstrating them to be a prime example of the second target audience of my project, those with an education interest in the project topic.

(LandingTree, 2017) – Image Reference

 

Identity #3

Figure 23 Audience Identity Three

Name: Clark, Gary

Gender: Male

Age: 27

Occupation: Personal Trainer

Income: £20,000 (Yearly)

Education: Standard Secondary GCSE’s, Level 3 Public Services

Hobbies: Sports, Video-Games, Reading

Likes/ Interests: Cutting edge technology, Mainstream games, Fitness

Dislikes: Isolation, Unfriendly user interfaces, Inactivity

Attitudes: Positive, Extroverted

Lifestyle: Active, Lots of free time, Social

· Profile Evaluation: The above profile presents a young adult with no professional or educational ties to the games industry or audio production, but demonstrates a mainstream interest in video-games. Therefore, making this type of individual demonstrate the audience of people that will passively consume productions similar to my project through mainstream development of VR technology.

(Luschen, 2015) – Image Reference

 

In completing this task, I have been able to develop my understanding of the various methods used to assess and understand an audience; while also allowing me to gain a more focused idea of my own target audience, such that future work will be more informed of this fact and allow for more effective research and production as a result.

Required Skills and Techniques

Through the completion of this task I shall be identify and explaining the various skills and techniques required of me to ensure a high-quality production piece for my extended project, such that I am able to plan for future development of these skills and techniques through practice, experimentation, and general research.

 

Skill –

A ‘skill’ can be seen to be an action that an individual is able to perform well/ with expertise; such that the individual is experience and well-practiced in this activity and performs to a high standard. (E.g. microphone operation, audio editing.)

Technique-

A ‘technique’ can be seen to be a specific methodology that an individual carries out regarding a specific task applying their ‘skills’ creatively and effectively. (E.g. narrative, panning microphone, dialogue.)

 

· Skills I will be required to utilise during the production of my extended project:

 

Microphone operation:

In order to capture the required audio clips and dialogue I will be required to have a competent approach and handling of operating and utilisation of my microphone equipment, such that recordings are clear, useable, and as desired.

Audio Editing:

Following the completion of the recording phase of my production, I will be required to demonstrate and utilise a high standard of audio editing skill in order to apply my recording effectively, such that a cohesive piece is produced that is effective in conveying its desired meaning and narrative.

 

· Techniques I will be required to utilise during the production of my extended project:

 

Research:

Prior to and during the production phase of my extended project, I will be required to demonstrate a deliberate and effective application of both primary and secondary research techniques, such as surveys and experimentation, in order to ensure an informed and learned approach to my production piece, thus, enhancing its effectiveness and overall quality and detail.

Writing:

Prior to recording any dialogue, I will be required to write it effectively in such a way as to convey narrative, character, and tone without detracting from the immersion and enjoyment of the listener. This will ensure an effective and immersive experience that is enriched by well-written dialogue that complements the themes, tone, and other facets of the sound landscape.

Storyboarding:

In addition to writing, I will be required to storyboard each scene of my audio narrative episodes, such that I have clearly identified each required sound and its purpose within my production, such that there is not too much noise and each aspect of the audio landscape is deliberate and as effective as it can possibly be.

Microphone movement:

In addition to competent microphone operation, I will utilise the technique of microphone movement, where applicable, as a means of creating a sense of progression and space within my audio narrative, thus, enhancing the immersion of my listeners and therefore their overall experience and my productions effectiveness and successfulness.

In completing this task, I have been able to identify distinct skills and techniques I will be required to apply effectively during the production of my extended project, thus, allowing me to understand their purpose and establish and understanding of the areas in which I need to be most deliberate and learned in as to ensure a high standard of work throughout my production piece.

CONCLUSION.

In summary, I have found significant inspiration from sources such as ‘YouTube’ etc. These inspirations include, but are not limited to, audio demonstrations such as ‘The Virtual Barbershop’ and ‘The Interrogation Chamber’ that present clear examples of the application and effectiveness of binaural audio such that I have been inspired by the range of uses and possibilities of this recording method and, thus, designed my extended project to explore these possibilities in the field of audio storytelling. In order to achieve the goal of my extended project I require access to a series of resources, such as recording equipment and computer access; in addition to voice actors, audio editing software, and the technical skills to operate and utilise these resources effectively.

CHAPTER 3Research Design and Strategies

Introduction

Through the course of the following third chapter of my extended projects portfolio I shall be detailing and breaking down the design and execution of my primary research activities; such that the design and goals of such are clear, understandable, and easily replicated if needed. Firstly, I shall present my audience survey research.

Survey Research

[*Introduce Surveys Purpose and Target Audience*]

Survey Goal –

Develop an understanding of an audience’s interpretations, experiences, and general opinions of both binaural and general video-game audio.

Survey Questions:

[General Video-Game Audio Opinions]

1) On a scale of 1-5 what degree of importance do you give audio when playing a video-game? (With 1 being no importance and 5 being great importance.)

[Please tick next to your answer]

1 [ ]

2 [ ]

3 [ ]

4 [ ]

5 [ ]

2) Could you name a few games, if any, that you would describe as having “good” audio?

[Please type next to the arrow]

·

3) Describe, in the best way you can, what makes the audio in those games “good”.

[Please type next to the arrow]

·

4) Could you name a few games, if any, that you would describe as having “bad” audio?

[Please type next to the arrow]

·

5) Describe, in the best way you can, what makes the audio in those games “bad”.

[Please type next to the arrow]

·

· Purpose/ goal of each question

Question One:

Allows me to quantitatively measure the average audience opinion of the importance of general video-game audio, such that I have a statistical reference for when I assess the audience and impact of my work.

Question Two:

This question allows me to identify and identify any potential common answers that will provide a quantitative result; while also proving specific audience backed examples of “good” audio usage, of which could inform my own production.

Question Three:

This question provides me with more qualitative data, such that the opinions of the surveyed will inform my production on the qualities and aspects of audio that an audience notice and enjoy, thus, improving my own work.

Question Four:

This question allows me to identify and identify any potential common answers that will provide a quantitative result; while also proving specific audience backed examples of “bad” audio usage, of which could inform my own production, preventing me from make the same mistakes.

Question Five:

This question provides me with more qualitative data, such that the opinions of the surveyed will inform my production on the qualities and aspects of audio that an audience dislike, thus, improving my own work.

· Improvements that have been identified

I. Include questions that are more specific in their scope and goal, e.g. ask about more specific games or genres/ themes that are relevant to my own production, such to produce more useful data.

II. Use more specific terminology, such that the focus of each question provides detailed and relevant information.

Improved Audio Survey

Q1) On a scale of 1-5, what degree of importance does audio have in regard to your enjoyment when playing a narrative based/ adventure video-game? (With 1 being no importance and 5 being great importance.)

[Please tick once in the appropriate box]

1 – [ ]

2 – [ ]

3 – [ ]

4 – [ ]

5 – [ ]

Q2) What aspects, such as music, dialogue, and effects, do feel are most effective in narrative/ adventure games such as ‘Journey’, ‘The Witcher 3: Wild Hunt’, ‘Quantum Break’, and ‘Skyrim’? (Noting what game you are referring to; other games are applicable.)

[Please write next to the arrow]

·

Q3) In detail, could you describe what it is about these aspects and their use that makes them as effective in such games as you have described?

[Please write next to the arrow]

·

Q4) What aspects, such as music, dialogue, and effects, do feel are the least effective in narrative/ adventure games such ‘Journey’, ‘The Witcher 3: Wild Hunt’, ‘Quantum Break’, and ‘Skyrim’? (Noting what game you are referring to; other games are applicable.)

[Please write next to the arrow]

·

Q5) In detail, could you describe what it is about these aspects and their use that makes them less effective in such games?

[Please write next to the arrow]

·

Q6) On a scale of 1-5, how important/ effective do feel music is in regard to narrative/ adventure games such as ‘Journey, ‘The Witcher 3: Wild Hunt’, ‘Quantum Break’, and ‘Skyrim’? (With 1 being no importance and 5 being great importance.)

[Please tick once in the appropriate box]

1 – [ ]

2 – [ ]

3 – [ ]

4 – [ ]

5 – [ ]

Q7) On a scale of 1-5, how important/ effective do feel ambiance is in regard to narrative/ adventure games such as ‘Journey, ‘The Witcher 3: Wild Hunt’, ‘Quantum Break’, and ‘Skyrim’? (With 1 being no importance and 5 being great importance.)

[Please tick once in the appropriate box]

1 – [ ]

2 – [ ]

3 – [ ]

4 – [ ]

5 – [ ]

Q8) On a scale of 1-5, how important/ effective do you feel dialogue is in regard to narrative/ adventure games such as ‘Journey’, ‘The Witcher 3: Wild Hunt’, ‘Quantum Break’, and ‘Skyrim’? (With 1 being no importance and 5 being great importance.)

1 – [ ]

2 – [ ]

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Q9) Describe, in as much detail as possible, what it is in regard to dialogue, or absence thereof, that is effective in such games? (Looking at such things as tone, mood, narrative, and immersion/ experience)

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· Purpose/ goal of each question

Question One:

This question allows me to quantitatively measure how critical audio within narrative/ adventure games is to an audiences overall enjoyment; such that I will have a statistical representation that displays the importance of video-game audio in general relation to the specific genre/ style of video-game that my project is built around, thus, providing constructive and relevant information.

Question Two:

This question allows me to quantitatively record the various aspects an audience find to be the most effective within narrative/ adventure games; such that this information will inform the production of my project as I will be able to ensure that the most appreciated aspects of video-game audio are developed effectively within my own piece, thus, improving its overall quality and effectiveness in reaching my target audience.

Question Three:

This question allows me to qualitatively record and understand the audience’s opinion and interpretation of what they feel makes these specific aspects effective; such that I will be able to utilise these techniques/ applications within my own production and, thus, improve its overall effectiveness.

Question Four:

This question allows me to quantitatively record what specific aspects of video-game audio an audience feel is the least effective for narrative/ adventure based games; such that I will be able to prevent my production from featuring too much/ any of these features, as to improve the overall quality of my work.

Question Five:

This question allows me to qualitatively record and understand what it is about these specific aspects of video-game audio that the audience finds unappealing and ineffective in regard to narrative/ adventure games; such that I will have a more informed and detailed understanding of why these aspects are ineffective and, thus, have a greater understanding of how I can avoid making these mistakes during my production.

Question Six:

This question allows me to quantitatively measure how important and effective the use of music is within the audio scape of narrative/ adventure based video-games; such that I will be able to determine which critical aspects of the audio production to focus on more than others, as to ensure the most appreciated and enjoyed aspects of video-game audio are properly developed in my own production.

Question Seven:

This question allows me to quantitatively measure how important and effective the use of ambience is within the audio scape of narrative/ adventure based video-games; such that I will be able to determine which critical aspects of the audio production to focus on more than others, as to ensure the most appreciated and enjoyed aspects of video-game audio are properly developed in my own production.

Question Eight:

This question allows me to quantitatively measure how important and effective the use of dialogue is within the audio scape of narrative/ adventure based video-games; such that I will be able to determine which critical aspects of the audio production to focus on more than others, as to ensure the most appreciated and enjoyed aspects of video-game audio are properly developed in my own production.

Question Nine:

This question allows me to qualitatively record and understand the audience’s perspective and interpretation of dialogue within narrative/ adventure based video-games; such that I will be able to ensure that the dialogue within my own production fulfils these key aspects in a way that effectively connects with my target audience.

CHAPTER 4 Writing and presenting my research findings.

Introduction

Within this fourth chapter of my extended projects portfolio I shall be presenting and analysing the results/ data collected through the application of the previously detailed research; such that the effectiveness and meaning are explained clearly and related back to the goals and themes of my project as a whole.

Survey Results

In conducting my survey research, I selected a sample size of eleven individuals all of whom fitted within the target audience of my project production; these were peers and other students from the media department. These participants can be seen to be individuals who enjoy video-games and have a general interest in media design and production, thus, presenting them as ideal participants for my survey as they fit within my target audience such that I will therefore be able to gather significant detailed data that will distinctly aid my projects development. Moreover, I did however find that one participant chose to not answer the qualitative questions of my survey and answered ‘Neutral’ on all multiple choice quantitative question, thus, this data was not useful and therefore I have decided to leave it out of my result breakdown.

Below are the bar graphs produced to present the quantitative results of specific questions:

Figure 24 Quantitative Results

Figure 25 Qualitative Results

Interpreted Research Data.

Based on the information and data gathered from my survey research I am able to identify distinct elements of my production that I will need to focus and avoid in order to ensure its effectiveness, quality, and audience reception. One such element that can be easily identified from my survey data is that the audio element ‘dialogue’ can be seen to be a significantly appreciated, valued, and effective asset within the genre of narrative/ adventure based video-games to my sampled audience. Considering this, I will need to endeavour to ensure that my production piece not only includes and features dialogue, but is also of distinct written, executed and applied quality as to meet the expectations of my target audience. However, from the qualitative information gathered I now understand that dialogue can be over-used and distinctly decrease the effectiveness of the overall experience, thus, I must be acutely aware of this factor while writing and producing my production as to avoid this mistake. In addition to this, I can identify that music is seen in distinctly different lights by my audience with a significant number stating music to have ‘great importance’ while others state ‘little importance’ or ‘neutral’; thus, demonstrating a distinct delicacy in the application of music within my chosen genre and as such I shall deliberate on whether to include music at all, and if I do, use it carefully. Moreover, I there is significant 705 of my surveyed audience that state that the ambience holds ‘great importance’ regarding my chosen genre. Therefore, I shall endeavour to include distinctly high quality and effective ambience within my own production, as to meet and satisfy this clear audience expectation and desire, thus, improving the quality and effectiveness of my production.

Organised and Expressed Ideas – Refining my project ideas based upon the knowledge acquired.

As a result of the information gathered from my survey I have made some distinct changes to the design and format of my project. I will now be producing three or more two to three minuet audio narrative episodes, such that I will be able to satisfy the clear audience desire for pacing and structure. In addition to this, I shall be including more dialogue and ambience to my production, such that my production will feel more holistic and more effective in expressing the desired tone and narrative. Sighting these developments, I believe that the quality, effectiveness, and overall design of my extended projects production has significantly benefitted from this research, and as a result I shall continue with further research as detailed bellow.

Planed Further Research

Regarding further research, there is a distinct number of areas that still require constructive research conducted in support of them, such as editing techniques, and recording methods, etc. In order to fulfil this, need I plan to conduct further targeted experimentation with specific sounds, e.g. hard effects, dialogue, and ambiance; as these areas are some of the most critical facets of my production, and as such I will need to be experienced and learned enough to produce, record, and edit such sounds as effectively as possible, thus, ensuring a high standard of work.

In addition to this, I could also conduct focus group sampling and reviews of some early prototypes of my production further into my project. Data gathered from this, regarding audience experience, opinion, etc. will further guide the production of my project, such that I can identify areas of my work that my audience feel needs improving/ removing etc. and, thus, improve the overall quality and production value of my work. Furthermore, this will also allow me to measure my productions effectiveness regarding its entertainment and exploratory intention at an early stage, and identify further elements to include/ remove in order to enhance the effectiveness of such.

Conclusion

In completing this task, I have been able to establish my pre-existing knowledge of my field of work, and identify key areas in which I need to improve; thus, allowing me to plan, conduct, and evaluate primary research that directly informs and aids both my technical and audience knowledge. In addition to this, I have been able to identify and plan further primary research I need to conduct as a means of further strengthening my position prior and during the production stage of my extended project. Furthermore, my survey research has allowed me to gain a valuable insight into the expectations and desires of my target audience, such that I am now able to design and produce my project as to meet these expectations and, thus, improve the effectiveness of my production in regard to my target audience.

CHAPTER 5 My Project.

Introduction

In this chapter, you should present the level of self-direction, personal initiative, and commitment necessary to progress ideas and find solutions, and the practical, theoretical, and technical comprehension, appreciation, knowledge, and proficiency necessary to achieve identified goals. The ability to plan and organise work within a given timeframe and the efficient production of outcomes both individually and collaboratively.

Pre-Production

· Produce Pre-Production Portfolio, which will formally define your project (location survey; risk assessment; treatment; script; budget; schedule, character bibles, design documents etc depending on your project.)

· Identify your role - directing (managing the team) crew, actors, games designer, concept artist, Foley artist, sound design, model maker, camera, yourself etc depending on your project

· Collaborating and working as a team – do not worry if you are working on your own!