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FINAL CUT FORZA MOTORSPORT 5


prototyping offline, ‘posting’ videos in Nuendo and figuring out our signal flow, and documenting sends/returns information using Visio. “This led us to multiple-modelled early


reflections, and multiple reverbs based on a send/ return set-up, so wherever a car is on the track, it sends the sound to the environment model based on where it is, not on where the ‘listener’ is. A good example is if you park outside a tunnel, and listen to the other cars go through. You will hear their sound change accordingly, because it’s being sent from where they are, not where you are. Then the distance model accounts for the fact that you may be a fair way from the tunnel via frequency and volume fall- offs. It gave us a really flexible system but we needed a huge number of sends and returns.” Combs adds: “We were able to build this in FMOD and translating our prototyping work from Nuendo/Visio was about as close as a one-to-one transition as I can think of, going almost directly from the DAW into the game. I don’t think that’s very typical in videogames and speaks to our design approach. You’re taking what you’ve built in a linear medium and porting it to a non-linear medium. The only difference is you’re using game parameters to control faders and sends.” However, when prototyping for a new game platform not itself yet fully defined, using a middleware still in development, how do you plan your technical resourcing as to CPU grunt, memory, and streaming? Wiswell: “We had close access to


Forza Motorsport 5 was designed to be the ultimate gaming showcase for Xbox One


the Xbox One Platform Team with a good idea of what the hardware would be and how it would work, with some pretty solid numbers of the type of things we could expect, but a lot of it was a really good educated guess.” Combs: “You end up doing a lot of offline planning. You need to make sure you have plenty of levers and can be adaptive – not necessarily planning for the worst case, but needing somewhat of a contingency. You start out with target memory and CPU budgets and so on, but everything needs to be a lever so when you run into a problem you


have options and can hopefully make compromises without sacrificing quality. It’s all about having a concrete plan but being flexible – then doing everything in your power to get as close as you can to your goals. I think we did a really good job of that. It’s a testament to the new Xbox One itself and the FMOD studio toolset that we were able to port our best-case offline prototypes to the game. It meant being less limited by the game technology – concentrating more on putting together a good sound package, and less on how we built it.” www.forzamotorsport.net/turn10


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