adaptive mixing in frostbite

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Page 1: Adaptive Mixing in Frostbite
Page 2: Adaptive Mixing in Frostbite

HDR Audio

Adaptive mixing in Frostbite

Page 3: Adaptive Mixing in Frostbite

David Möllerstedt, Head of Audio Stefan Standberg, Audio director

Battlefield: Bad Company™EA – DICEaudio<@>dice.se

Page 4: Adaptive Mixing in Frostbite

Agenda• Battlefield Heritage• HDR Audio Principle• Focused Sound Design• Frostbite™• Battlefield: Bad Company™ Runtime Demo• Summary• Questions

Page 5: Adaptive Mixing in Frostbite

Battlefield heritage• Sandbox experience, gameplay driven design, open

ended, free roaming, multiplayer online• All out destruction in Battlefield: Bad Company™

increasing the challenge• Other alternatives; duckers, snapshot mixers, scene

defines, don’t solve the problem

Page 6: Adaptive Mixing in Frostbite

HDR Audio Principle• Measure loudness at Listener position – Scale all sound

sources accordingly

• Handle the dynamic range from the quietest sound noticeable to the pain threshold, Some 130 dB

• Functions similar to HDR lighting

Page 7: Adaptive Mixing in Frostbite

0db

140db

12db

30db

55db

120db

35 db

Time

Hdr off example

Page 8: Adaptive Mixing in Frostbite

0db

140db

12db

30db

55db

120db

35 db

TimeMasked

Hdr on example

Page 9: Adaptive Mixing in Frostbite

Focused Sound Design•Cinematic approach

Page 10: Adaptive Mixing in Frostbite

Focused Sound Design

Page 11: Adaptive Mixing in Frostbite

Focused Sound Design•Prioritize, instead of compete for dynamic range•Play the right sounds, not all sounds•Vital to the sandbox architecture of Battlefield

Page 12: Adaptive Mixing in Frostbite

Frostbite™• DICE’s game engine Frostbite™

• Tight system integration, audio one of the core components

• Destruction integral part of the engine

• Developed for Battlefield: Bad Company™ and to be used by future projects at DICE

Page 13: Adaptive Mixing in Frostbite

Frostbite™

Page 14: Adaptive Mixing in Frostbite

Frostbite™

Page 15: Adaptive Mixing in Frostbite

Battlefield: Bad Company™

Page 16: Adaptive Mixing in Frostbite

Loudness• HDR Audio functions as a culling algorithm• This is a positive side effect• Priority is set according to loudness, loudness is a good

approximation for ‘importance’ especially in FPS game• We set loudness values to create any desired effect

Page 17: Adaptive Mixing in Frostbite

Not Compression• HDR Audio does not have a specific “sound”

• HDR Audio is not compression, all sounds are played uncompressed

• The effect and thus the sound is sometimes similar

• HDR Audio works on logical loudness values and does not touch the actual audio waveform

Page 18: Adaptive Mixing in Frostbite

Boundaries• Not the Silver Bullet

• Special situations still need attention

• First Person focus

Page 19: Adaptive Mixing in Frostbite

Summary

“HDR Audio Make Loud sounds sound loud, and quieter sounds sound as loud as loud sounds”

Page 20: Adaptive Mixing in Frostbite

Summary• Automatic mixing solution• Handle Infinitive dynamic range• Transparent sound

Page 21: Adaptive Mixing in Frostbite

Sounds Interesting?• We are always looking for talented and devoted persons

to join our audio teams

• jobs.ea.com

Page 22: Adaptive Mixing in Frostbite

Questions• Who has the first question?

Page 23: Adaptive Mixing in Frostbite

Thank You

Please, fill in the questionnaire