Game audio | Projects

Returnal (2019-2021)
Game Of The Year - Develop Star Awards 2021
Nominated for Best Audio Design - The Game Awards 2021
Nominated for Best Audio - Golden Joystick 2021

Nominated for Best Audio - Develop Star Awards 2021
Nominated for Best Sound Design in Gaming - Music+Sound Awards 2021

Studio      Sony XDev | Housemarque - Helsinki, Finland

Platform   PS5

1/5

Supervising Sound Designer - Audio Lead

For the development of Returnal, we collaborated with the amazing Finnish developers at Housemarque. We brought our 3D Audio expertise with the goal to achieve the most immersive experience on PS5, showcasing Tempest audio and Dualsense haptics.
 

I was responsible for the Audio of the title, ensuring Housemarque direction was represented by Audio and Haptics, creatively and technically.

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The overall direction was to craft an unconventional and unsettling atmosphere, as well as satisfying gameplay with lots of feedback to help the players make sense of the challenging combat situations.

‘Unconventional’ meant an exploration of creative ways to express the soundscape of Atropos, avoiding any comfortable stereotypes, while still guaranteeing believability of the world. It was a collaboration between the sound team and the Housemarque directors, who pushed us to go well beyond the ‘safe’ zone! 

 

The believability and physicality of the world is expressed through detailed sonic textures that can make the game feel very tactile and 'crunchy', through the creation of ASMR source material and the combination of sound with haptics. It all comes together as a nuanced and tactile experience, which blends and compliments well with the abstract nature of the atmosphere, music and narrative.

On top of bringing the game's unique aesthetics and gameplay to life through sound, we wanted to craft a tasteful showcase of the latest audio advancements coming with this generation of gaming. 3D Audio immerses the players into the experience, but is also naturally acting as a central element of the gameplay (as opposed to a gimmick). It intuitively helps the players to be better and survive in a truly difficult game. There is a lot of verticality in the level design and combat, which is a perfect match for a three-dimensional audio experience!

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Returnal represented the most ambitious title ever undertaken by Housemarque. It was a really exciting project to be part of, and a real challenge too, like all projects for a new generation of consoles... But also because half of the audio development cycle took place in our homes, due to the Covid-19 pandemic !

We have been blown away by the critical, media and player reception of the audio for Returnal. It was the most humbling experience to see our discipline praised in reviews and online threads, and certainly the best possible reward after such a phenomenal team effort. I am proud of what our team achieved on this title.

For more detail about how we made the sound of Returnal, check out the A Sound Effect article, Tonebenders and Sound Architect podcasts.

Key Responsibilities

  • Responsible for the sound of the title

  • Establishing a unique audio vision in collaboration with Housemarque, and guaranteeing to deliver against it

  • Overseeing and reviewing the work of up to 30 sound designers scattered across Finland, UK, Canada and USA

  • High level production - scheduling and prioritising the audio team's work (with our producers) to deliver our vision against deadlines

  • Structuring the Wwise project and mixing for the best 3D Audio and haptics results on the PS5 system

Selected articles and interviews

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Tonebenders

5th October 2021

Tonebenders Podcast - Returnal

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Kotaku

21th May 2021

Returnal Converted Me To 3D Audio

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A Sound Effect

30th June 2021

Returnal: How its glorious, dark electronic sound was made

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PlayStation Blog

10th May 2021

PS5 3D audio: Returnal, Resident Evil Village creators detail Tempest implementation

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The Sound Architect

26th June 2021

The Sound Architect Podcast - Returnal

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Hardcore Gamer

29th April 2021

Returnal’s Clever Integration of Haptics, 3D Audio Can’t Go Overlooked

Blood & Truth (2017-2019)
Nominated for Best Game Sound Design - Game Audio Awards 2020
Nominated for Best VR Audio - G.A.N.G. Awards 2020
Nominated for Audio Innovation of the Year - MCV Develop Awards 2020

Studio      Sony London Studio - London, United Kingdom

Platform   PS4 - PSVR

1/7

Supervising Sound Designer

Blood & Truth represented the challenge of delivering the first ever VR-exclusive AAA title! All disciplines had to pioneer and push technologies for the VR medium, while delivering high volumes of quality content over a relatively short development cycle.

The audio had two key objectives:

  • The first was to leverage the technology and platform capabilities to create a highly accurate and believable 3D audio soundscape, immersing the player into the grit and grime of the London underworld.

  • The second, to embrace the game’s drama and over-the-top action, putting the player in the lead role of their very own Hollywood blockbuster.

While the audiovisual spectacle of explosions, gunfights and car chases empowered the player, the small details and intricate audio systems enabled the fully immersive experience in VR.


Blood & Truth was exclusively designed and mixed as a binaural 3D-audio experience, using a combination of channel-based, ambisonics and object-based technologies.

 

I was responsible for the audio direction, the mix and the sound design of some key sequences of the title.

Key Responsibilities

  • Responsible for the sound of the title

  • Establishing a unique, research-based audio vision

  • High level production - scheduling audio team work to deliver our vision against deadlines

  • Overseeing, mentoring a team of 7 sound designers

  • Collaboration with in-house audio programmers to design bespoke toolsets and features for innovative audio

  • Audio design: previs to support audio vision, cinematic moments

  • Mixing: Wwise - Ambisonics and objects - binaural rendering for headset, 7.1 for social screen compatibility

1/8

WipEout Omega Collection (2016-2017)

Nominated for Best Music Design - Develop Awards 2018

Studio      Sony XDev | Clever Beans (Manchester, United Kingdom), EPOS (Gothenburg, Sweden)

Platform   PS4, PSVR

1/5

Supervising Sound Designer

WipEout Omega was a dream project for me, as I am a fan of the franchise. Being responsible for the audio direction of this title was a great responsibility (and also a lot of fun!).

It involved remastering/recreating legacy content as well as designing an exciting fresh soundscape to modernise the iconic PlayStation franchise.

Key sonic elements such as ships engines, weapons, ambiences and crowds had all been redesigned from the ground up.

There was also the visceral, critically acclaimed VR experience for which we created bespoke, high-quality content and implementation, based on our VR audio expertise.

​Key responsibilities:

  • Responsible for the sound of the title - creative and technical direction

  • Overseeing up to 6 sound designers - internal and external resources

  • High level production - schedule audio team work to deliver the audio vision against clients deadlines/budgets

  • Soundtrack - dynamic surround up/downmix, dynamic stems sidechaining system

  • Design of new sound effects - mainly ships, weapons

  • Remastering of legacy sound effects and voice overs (WipEout HD, Fury and 2048)

  • Implementation: Wwise, Scream

  • Mixing: stereo, binaural, 7.1 surround (Wwise)

  • Mastering: Sulpha and Wwise

  • Play-testing and audio QA, optimization (Wwise)

  • Talked at Develop 2017- creative process, pre-production methods and best practices

  • Talked at London Music Sync Sessions 2017 - sound design and music in WipEout

PlayStation VR Worlds (2014-2016)
Nominated for Best Sound Design and Best Music Design - Develop Awards 2017

Studio      Sony London Studio - London, United Kingdom

Platform   PS4 - PSVR

1/6

Senior Sound Designer

This project has been a unique opportunity to experiment very early on the VR medium (launch title), through a wide variety of experiences and narrative themes.

 

We have pioneered VR audio for PlayStation, contributing to the platform from a creative and technical point of view. I was responsible for sound design and implementation of various areas (listed below), following direction of Supervising Sound Designer (Joanna Orland).

PlayStation VR Worlds is still considered one of the best VR titles available. It is a collection of 5 different VR experiences:

  • The London Heist

  • Ocean Descent (The Deep)

  • Scavengers Odyssey

  • Danger Ball

  • VR Luge

 

​Key responsibilities:

  • Involved in the development of audio tools and the PSVR platform

  • Audio design: weapons (present and future), vehicles (present and future), destruction, cinematic moments, UI, sci-fi, abstract sounds, VO processing

  • Implementation: Wwise, Unreal, Sony London Studio in-house level editor, Morpheme, Popcorn

  • Procedural asset implementation, especially for weapons and destruction  Go to demo reel

  • Mixing: binaural, stereo, surround (Wwise)

  • Audio for 360° videos (Higher Order Ambisonics, Reaper)  Go to 360 video

  • Linear media - PlayStation VR Worlds announce trailer + promo trailers

  • Play-testing and audio QA, optimization (Wwise)

1/9

Hardware: Rivals (2014-2016)

Studio      Sony Connected Content Group - London, United Kingdom

Platform   PS4

Genre       Online multiplayer vehicle combat

1/9

Senior Sound Designer

 

It was a lot of fun to work on this bombastic, action-packed game.

 

My focus was to give the players a really satisfying and enhanced gameplay experience with audio. It was also a great opportunity to learn through the challenges of an online multiplayer shooting / racing title.

I was responsible for the audio of the whole title, as I was the only sound design resource.

While it remained a low profile title, it has been the most fun experience in my career. Definitely thanks to the amazing people making it.

I absolutely loved making this game with them!

 

  • Audio design: weapons (present and future), vehicles (present and future), destruction, cinematic moments, UI, sci-fi, abstract sounds, VO processing, ambiences, foley, physics objects

  • Implementation: Wwise, Unreal

  • Procedural asset implementation, especially for weapons and destruction

  • Mixing: stereo, surround (Wwise)

  • Mastering: Sulpha (PS4)

  • Play-testing and audio QA, optimization (Wwise)

Microsoft HoloLens - Fragments, Young Conker (2013-2014)

Studio      Asobo Studio - Bordeaux, France

Editor       Microsoft Studios

Platform   HoloLens

Genre       1st person crime thriller (Fragments) | 3rd person action platformer (Young Conker)

1/3

Sound Designer

 

Involved very early in the development of HoloLens, this project has been my first experience with an HMD device and binaural audio.

 

While this was naturally a technical challenge, I found the creative challenges way bigger. Designing sounds for the best support of HRTF, and sounds which would work in Augmented Reality.

 

The AR players were expected to hear their real life environment as well as the games' content (as opposed to VR where players are fully isolated/immersed in the virtual world).

I was responsible for the audio design and implementation of several projects and prototypes, following the direction of Audio Lead (Aurélien Piters).

 

  • Audio design: weapons, sci-fi, ambiences, UI, in-game cinematics, VO, characters, foley

  • Linear video post-production (internal promo/trailers), audio restoration

  • Implementation in level editor (in-house), animations (in-house), scripts

  • Authoring, stereo and binaural mixing (Wwise)

  • Play-testing and audio QA (Wwise profiler, in-house tools)

  • Documentation for clients - design, production (Microsoft)

Kinect Rush: A Disney Pixar Adventure (2011-2012)

Sound Designer

 

This project was an amazing opportunity to work on 5 Pixar worlds.

It was a great responsibility to adapt the soundscapes of those iconic films into interactive experiences.

We were fortunate to work with signature sounds from the movies (Skywalker Sound). It was especially interesting to see how those sounds were designed, and how they could (or couldn't) translate into the game's world.

I was responsible for audio design and implementation, following the direction of Audio Lead (Aurélien Piters) and Microsoft Game Studios Audio Director (Boyd Post)

 

  • Audio design: ambiences, characters, foley, physics objects, destruction, sci-fi, vehicles, UI, in-game cinematics

  • Implementation in level editor (in-house tool), animations and scripts

  • Authoring, 2.0 and 5.1 mixing (Wwise)

  • Extensive use of real time parameters (Wwise RTPCs, Wwise SoundSeed)

  • Animators audio implementation follow-up (in-game animations and cinematics)

  • Documentation for clients (Microsoft, Disney, Pixar) and outsourcing (Dynamedion, Skywalker Sound)

  • Play-testing and audio QA (Wwise profiler, in-house tools)

1/6

Studio      Asobo Studio - Bordeaux, France

Editor       Microsoft Game Studios

Platform   Xbox 360 (Kinect)

Genre       3rd person action adventure

Other / Indie games (2007-2014)

Studios      Asobo Studio, Ubisoft, ADX Studios, 3dar, iTolosa, Odyssud

Platforms   PS4, PS3, Xbox 1, Xbox 360, Wii, PC, iOs, Android, experimental setups and devices

Monopoly Plus - Ubisoft - 2014
Monopoly Plus - Ubisoft - 2014

Animation and UI sound design | in-house Tools: in-house tools / Wwise Platforms: PS4, PS3, Xbox1, Xbox360

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Quicky's World - Nesquik - 2014
Quicky's World - Nesquik - 2014

Sound design, music mastering | freelance Audio not implemented by myself Tools: Unity Platform: iOs, Android, augmented reality

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AeroSpeeder - Student project - 2008
AeroSpeeder - Student project - 2008

Sound design, music | student My very first game audio project. Tools: Blender Platform: PC

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Monopoly Plus - Ubisoft - 2014
Monopoly Plus - Ubisoft - 2014

Animation and UI sound design | in-house Tools: in-house tools / Wwise Platforms: PS4, PS3, Xbox1, Xbox360

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1/10

Here is a compilation of earlier, smaller projects which contributed to my experience as I was discovering game audio or working as a freelancer. 

Hover the pictures for more information about each project.