Pro-audio magazine

for the post production and games sectors

Latest Issue

Dialogue is Simply a Sound Among Other Sounds. Or Is It?
Games have always relied on words and ideas to conceive their worlds and animate them with life. Dialogue needs to be not only aware of the narrative in the overarching story but also what is happening in the nearby area. We speak to Fred Proud of SIDE Audio, James Stant and Robert Mann of Frontier Developments and Rhys Young of Hoot Studios about the main challenges of creating dialogue for games.

Creating Tools that Don’t Exist… Yet!
Like many things in life, we are led by passion and chance. This is exactly how Audiokids was formed and Undertone released. Audiokids, known as Davide Favargiotti, Fabrizio Cheloni and Mattia Persico, began because as sound editors, they needed certain tools to be able to do their job better, only they didn’t exist.

A Very Particular Set of Skills
Gemma Nicholson, post supervisor and founder of Post Super, talks about how she got started in the industry and why she started the worldwide platform for film and TV post production managers.

Bringing Developer Stories to the World
Anthony Hales, Technical Director of SIDE, oversees the entire technical output from the studio through post production and editorial. Hales has worked on “AAA” game titles including Cyberpunk 2077, Assassins Creed Valhalla and Hitman III amongst others. Hales talks about his work at SIDE.

Outspoken Audio Delivers Better Dialogue, Faster.
It is incredibly rare to see new dialogue recording software emerge into the audio world, especially into such a tight niche as gameaudio where proprietary pipelines are the norm; but this might just be the first of a kind commercially available software toolset aimed directly at benefitting gameaudio processes, and slowly smouldering away on some of the largest franchises you can think of.