So knowing Unity is a great place to start, but when working with developers who are very adept at modifying engines to suit their needs, the implementation becomes quite unique to that situation.
Using Unity and Wwise is something the team was familiar with but the caveat there is that every developer - whether they’re working with Unity or Unreal - has their own way of using the engine, like they do timelines their own way or animations in a particular way or VFX in a specific way. We have a significant amount of experience with Wwise, as well as other audio engines. KL: We ended up using Wwise and that was a choice that was already made ahead of time. Since the game was created with the Unity Engine, were you using Wwise or FMOD for implementation? We have established a process that allows us to be a team that can drop in to help fix specific content issues or tech issues, or take on entire games as an external sound department. All of the developers are working from around the world. That works well because Moon Studios is decentralized they don’t have a common facility. We were an entirely outsourced audio department. KL: That’s one aspect we’re really proud of, that we were essentially the entire audio department from conception to execution. I could really move at a quick clip and know that the music tracks would be dropping into place.ĭid Formosa Interactive handle the in-game sounds as well as the cinematics? It became easier for all of us to fit what we were doing around the music as those mixed tracks came into the game.
Once the live instruments were added, the dynamics and treatment felt great. At times, it would be very literal, like here’s the reverb I’m using and other times it would be an explanation of the type of sound he was going for. He even shared with us some of his processing techniques, like reverbs in particular, so we could mirror those in the ambience, so the color and types of sounds would be complementary to one another. It was good to be in touch with Gareth quite a lot. The game is very impressionistic, so in terms of ambience that is the approach we took. The goal for ambience was to find ways to complement the music. I wanted to support the music most of the time, unless of course it was a moment when sound was forward in the mix. In terms of ambience, I always thought of how it was subliminally supporting the music.
Here, Audio Lead Guy Whitmore, Audio Lead Alexander Leeman Johnson, and Senior Sound Supervisor Kristoffer Larson talk about the opportunities and challenges of furthering Moon Studios’ creative vision and contributing something special to this game series. And Ori’s story progresses like you wouldn’t believe (I won’t ruin it for you!).įormosa Interactive took on the role of the audio department for Moon Studios, handling everything from cinematics to implementation. It’s the same adorable Ori but with many new abilities, new weapons, new locations, and new boss encounters. Moon Studios’ release of Ori and the Will of the Wisps has been one bright spot in bleak March, delivering a sorely-needed dose of ‘aBut if Blind Forest was a rainbow-sprinkled donut then Will of the Wisps would be a dozen of them.
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