Tools and Software: Cubase, Reaper, Pro Tools and more

One of the first questions on the panel related to the software that the panelists use in their work. While some have been using Cubase and Nuendo for decades, others have switched to Reaper due to its flexibility and affordability. Zelić emphasized that he uses Pro Tools for production and sound processing, highlighting its advantage in working with teams around the world, as it allows for easy sharing and compatibility: “When someone sends me a Pro Tools session from South America, I can open it without any issues, which is a significant advantage for international projects.”

Krstajić also uses Cubase but has experimented with other software like Logic and Digital Performer, while Grubačević notes that he still uses Sonar, an old software he sticks to due to years of habituation. Although opinions on software are divided, everyone agreed that the choice of software is often a matter of personal preference and working habits.

Sound Design and Sound Implementation: Key Techniques for Film and Games

A significant part of the discussion is dedicated to sound design and the ways in which sound is implemented in games compared to films. Zelić described the challenges he faces in creating sound for films, where dialogue is often the focus, while other sounds and effects are secondary: “In Croatian films, dialogue is the most important, and everything else must be supportive. It often happens that towards the end of the process, attention shifts to fine details, such as footstep sounds or background noise.”

In games, on the other hand, sound has an additional function – a guide for the player. Manojlović emphasized the importance of balancing sound in video games so that players receive key information through auditory signals: “In games, sounds like footsteps, gunshots, or signals that you have hit another player are extremely important. We must group sounds and set priorities – for example, if a player is injured, we reduce environmental sounds so that they can hear key information.” He also highlighted that techniques like side-chain compression are often used, which automatically reduce one sound when another, more important sound appears.

Music in movies and video games: Interactivity vs. linear narrative

One of the key differences between music in films and games is the level of interactivity. While film music is linear, in video games, music must be adaptable and interactive to change based on the player's actions. Krstajić explained that stems and different layers of music are often used to allow seamless transitions within the game: “Music in a game can last five minutes or an hour and must be designed not to repeat and become irritating to the player.”

Manojlović added to this topic, emphasizing the importance of collaboration between composers and programmers to properly implement music in the game: “In games, it is important for composers to know software like WISE, as they need to understand how the music will be implemented in the game. This way, they can better tailor their work to the interactive demands.”

On the other hand, Grubačević described how working in films is more focused on definitively finishing soundtracks and how composers often participate in the final sound mix. He highlighted the importance of a good relationship with directors, as the final decision on how the music will sound depends on the director's vision: “I always participate in the sound mix and go through every detail to achieve a balance between music and dialogue.”

Criticisms and adjustments: Constant improvement of sound and music

One of the topics that sparked interesting reactions among the panelists was criticism and adaptation during the sound and music creation process. Krstajić admitted that over the years she has learned to accept the critiques of the director and other team members, as she is aware that she is in service of the final artistic work: “In the end, I work for the director or for the game, and it is important to understand their vision.”

Although going through numerous revisions can be frustrating at times, the panelists agreed that communication is key. Zelić emphasized that it is important to remain flexible and open to changes, especially when faced with criticism at the end of a lengthy process: “You have to be ready for compromise and adaptations, and sometimes that is a psychological challenge.”

The post Zvuk i glazba u filmovima i videoigrama – Panel na konferenciji Blender: Film & Games first appeared on IndieGames.