By Fornass J.E.
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Extra resources for 2 Dimensional counterexamples to generalizations of the Levi problem
Mixing these cut-scenes has traditionally been an easy thing for an audio postproduction studio to do, as these are merely short movie scenes that are played at certain points in the game and can be easily separated from the game itself. However, mixing in-game sounds is vital for an aesthetic balance between pre-rendered cut-scenes and in-game action. Giving a mixer tactile control over every sound played back in the game, in real time, has traditionally been overlooked by game developers and where the biggest qualitative improvements are to be made.
In summary A dedicated post-production audio phase, in whatever form it may take, is not a luxury, but should be an essential phase of production. qxd 11/6/07 4:36 PM Page 39 and experienced within the context of the game play and, not least, when all mastered audio content is complete and up to date in the game. Only at that point can critical tuning and polishing decisions about the audio be made accurately. Music, sound effects and dialogue can all be balanced and given appropriate foregrounding depending on the various narrative gameplay permutations initiated by the player.
These two modes of listening are terms expressed by composer and film-maker Michel Chion, stemming from the ideas of Pierre Schaffer and musique concr`ete in which the qualities of a sound are appreciated and explored in isolation from its source cause: ‘Causal listening […] consists of listening to a sound in order to gain information about its cause (or source)’ and the reduced listening mode ‘focuses on the traits of the sound itself independent of its cause and of its meaning’ (Chion 1994: 25, 29).