Tattoo Sound + Music's Billy T Talks Growls And Snarls For Far Cry

Tattoo Sound + Music's Billy T Talks Growls And Snarls For Far Cry 3

Apparently there have been strange noises emanating from Tattoo Sound + Music of late. A snarl here… a growl there… the occasional yap. No need to panic, however, as the hullabaloo isn't from a recent zoo outbreak or wolf-pack but instead radiate from the studio of hotshot sound designer Billy Turchinetz as he puts together the creature vocalisations for Ubisoft's Far Cry 3.


Contracted for five weeks of audio design, Billy was tasked with creating blasts of destruction and impacts, along with working on the true "from the ground up" sound design of the Ink Monster and his Minions. We spoke to Mr Turchinetz about the methods involved in putting together the elements of a video-game's audio and how it differs from TV / Cinema.
 

How did you get involved in the Far Cry 3 project?

I got a call from my friend Tony Gronnick, Audio Director at Ubisoft Montreal. He mentioned he would need some help on a video game. When I asked him what game and he told me Far Cry 3, I sh*t my pants.
 
What audio in the game did you create? Are there specific characters we need to listen out for?

I was contracted for five weeks of audio design creating sounds of destruction and impacts along with, and most importantly, the Ink Monster and his Minions. The Ink Monster is a 100' tall fire breathing monster and the Minions are like zombies on amphetamines. These were the only otherworldly enemies in the game so it was a great opportunity to do some true "from the ground up" sound design.
 

How does creating audio for gaming differ from that of TV / Cinema? Is it a particular art?

Well, for TV and Cinema you are working to a linear piece of video. Basically synching the sound effects with picture. In the gaming world you may or may not have game capture video as a reference. As there are many different scenarios that a player can experience I have to create various individual wave files. The game engine triggers these files appropriately to the situation.
 
What's the process for creating the audio? Are you given a list of sounds that need to be made and then go about making them or is it more organic?

The developer/audio director supplies an asset list, which is basically a spreadsheet of deliverables. For instance, the destructibles were broken down into surfaces and size. The Ink Monster is a great example of how I was able to create a unique and organic voice. When I asked Tony for direction he said "Make it BIG". I said "Perfect."
 
The general public, and gamers in particular, are getting more and more advanced in regards to their AV setup at home, with surround‐sound and high‐end speakers becoming more of a norm. Does this affect the way you create the sounds? Do you like the fact that the audience can appreciate your work more completely?

Absolutely. Since I first started in the business sound was important but was restricted by RAM processor speed etc. The audio capabilities of current game engines are mind boggling. Rendering 5.1 panning, reverb, volume and EQ in real time brings a reality that was never possible before. Higher sample rates and bit depth has allowed the audio to take a larger role in the gaming experience.
 

The game features some pretty terrifying noises. Does creating them give you the willies?!

Haha! Funny you ask!

While creating the Minion pain vocalizations I used as part of the sound a recording of pigs at a slaughter house. After playing back a few samples at a high volume the hairs on my arms stood up straight!
 
Are you a gamer yourself? What games do you like to play?

Yes! I have been a rabid gamer since DOOM. I got engrossed so deeply that I ended up building my own maps, using my own music and sound effects.
 
Have you ever cast yourself as a noise in a game? Can we expect to hear a trademark Billy T yelp if we stub our toe mid‐campaign?

Not in any commercial releases. However, there is a possibility some of my DOOM levels included some whimpers and screams from yours truly. ;-)
 
Do you communicate much with the other aspects of the audio production (music, other audio FX)? How is it when you first hear the sound in‐situ?

Working on Far Cry 3 the music did not follow the same production schedule. As far as I know, the sound designer and composer rarely work together. I did not have the pleasure of hearing the end result until I actually played the game. I was blown away by both the audio, stunning visuals and game play.

Though when I'm working with TA2, I work closely with the Audio Directors. I'll have a music track to work with and I can see what else is going into the piece and react to it. And they can react to my designs, so all the elements really complement each other in the final. Works wonderfully.
 
Would you like to work in the videogame field more in the future?

Once again, absolutely! It was one of the most satisfying projects I have ever had the pleasure of working on. The folks at Ubisoft Montreal were fantastic.
 
What's next on the cards for you?

I am currently working on an indie game with a company in Texas. Ubisoft has recently opened an office in Toronto and I look forward to possibly doing sound design for them in the near future.

Posted on 28th January 2013