REMADE SOUND DESIGN BY NAILA BURNEY
This is a remade sound design for the Final Fantasy XIII Trailer. Please use good external speakers or headphones, and don't forget to check the version with music on: Remade Sound Design - FF Trailer + Music
Sound sources include original recordings that I did (most of the foley) and others that I created using granular synthesis (for special effects and whooshes in the “spell” at 00:44). It also includes sounds from the Sound Ideas library and from the Game Audio Tutorial book recorded by Andrew Quinn. All samples were edited and processed using effects such as fft pitch shifting, time stretching, EQ, and reverb among others.
The main approach of the sound design was to use various layers of different sounds for each element. For example, the "big" moments (e.g 00:45) have low end layers to produce a more powerful impact. The vehicle sounds were also created by layering at least 3 different samples (cars, engines and dirt) and automating their pitch. The explosions also have several low, mid and high sound layers.
Another approach was to enhance all small details in the video. For example, when the character is inside the car, he passes through a dark tunnel and then continues outside of it through a big avenue. The ambience varies to mark this change (inside the tunnel, convolution reverb is used, and there are no cicadas). I also added a slight creak of leather sound that gives the impression that the character moves. This sound occurs at the same time in which the light on the character's face changes from dark-yellowish light to white, bright moon light (00:13).
In general, the ambience varies accordingly to every perspective of the video: if the character is inside the car, if the spectator sees the car from the outside, if the car is in the tunnel, if it is out of the tunnel, when the character gets to the next location, etc., the volume or other aspects will change, in order to support the image.
In addition, some sounds were enhanced to make the events appear more powerful and magical. For example, when the character is fighting, the glass sounds were combined with electrical sparks (e.g 00:53, 00:56).
In terms of the mood, the character seems to be sad and lonely. Since the video has no music, I designed a subtle tone that represents the energy that the character has (as it is fictional and sort of magical, it might have some sort of faint audible aurora). The tones used are high tonal intervals that contrast with the rest of the sound design. (00:00, and 01:40).
Overall, the dynamics start quieter at the beginning. This way, if the viewer turns a bit up the volume, when the climax hits it will have more of a powerful impact.
Equipment used: Macbook Pro, Pro Tools 9, Sennheiser 280 Headphones, Zoom H4n Recorder.
The main approach of the sound design was to use various layers of different sounds for each element. For example, the "big" moments (e.g 00:45) have low end layers to produce a more powerful impact. The vehicle sounds were also created by layering at least 3 different samples (cars, engines and dirt) and automating their pitch. The explosions also have several low, mid and high sound layers.
Another approach was to enhance all small details in the video. For example, when the character is inside the car, he passes through a dark tunnel and then continues outside of it through a big avenue. The ambience varies to mark this change (inside the tunnel, convolution reverb is used, and there are no cicadas). I also added a slight creak of leather sound that gives the impression that the character moves. This sound occurs at the same time in which the light on the character's face changes from dark-yellowish light to white, bright moon light (00:13).
In general, the ambience varies accordingly to every perspective of the video: if the character is inside the car, if the spectator sees the car from the outside, if the car is in the tunnel, if it is out of the tunnel, when the character gets to the next location, etc., the volume or other aspects will change, in order to support the image.
In addition, some sounds were enhanced to make the events appear more powerful and magical. For example, when the character is fighting, the glass sounds were combined with electrical sparks (e.g 00:53, 00:56).
In terms of the mood, the character seems to be sad and lonely. Since the video has no music, I designed a subtle tone that represents the energy that the character has (as it is fictional and sort of magical, it might have some sort of faint audible aurora). The tones used are high tonal intervals that contrast with the rest of the sound design. (00:00, and 01:40).
Overall, the dynamics start quieter at the beginning. This way, if the viewer turns a bit up the volume, when the climax hits it will have more of a powerful impact.
Equipment used: Macbook Pro, Pro Tools 9, Sennheiser 280 Headphones, Zoom H4n Recorder.
