The future of visual effects in films, TV, and VR; from crossing the uncanny valley in human animation, to light-field camera technology that will change the way moving images are captured.
GDC: In this 2017 session, Doom composer Mick Gordon provides a detailed look into the compositional process, production techniques and creative philosophies behind the hell-raising soundtrack to the 4th installment of the seminal first-person shooter franchise, Doom.
This is one of the best talks I’ve seen on the GDC YouTube channel! In addition to the new Doom game, Mick Gordon has composed music for the new Wolfenstein games and Prey. In his talk Gordon covers a lot of ground, including how he approached the brief, making satisfying bass come across on unsatisfactory equipment, hiding subliminal messages and courage vs. confidence.
Noclip: In the first video in our three-part series, we tell the story of how the 1.0 version of FINAL FANTASY 14 came to be. How FINAL FANTASY 11 inspired its design, the ways in which the game fell short and how Square-Enix and the development team reacted to its failure.
See also: Other posts tagged ‘games’.
The Royal Ocean Film Society: I’ve been asked a lot what the process of making these essays is like, but rather than just droll on about recording voiceover, late night editing sessions, and falling into despair upon seeing the first cut, I want to take these few minutes to talk about how that working process has evolved creatively over the past year, and about where I’m trying to take these essays in the future.
Auralnauts: We provide you with the winning formula that turns any trailer into the blockbuster smash hit of the season it was meant to be.