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SONIC DESIGN | FINAL PROJECT — GAME AUDIO


Week 11 – Week 14 | 01/07/25 – 27/07/25
Emily Soh Ching-Ling | 0359478
Bachelor of Design (Honours) in Creative Media
Sonic Design | Section 01 | VSA60304
Final Project — Game Audio

TABLE OF CONTENTS 

1.0 LECTURES 

*Sidenote: All lectures have been completed in Project 1 — Audio Fundamentals.

2.0 INSTRUCTIONS 


3.0 FINAL PROJECT — GAME AUDIO 

Instructions: 
  1. Select one silent gameplay from the list provided.
  2. Create the SFXs for your chosen video.
  3. Requirements:
    1. ☒ Downloading audio.
    2. ☑ All audio must be created by you.

3.1 PRE-PRODUCTION

Audio Assets List & Audio Storyboard

Figure 3.1-1: Audio Assets List, Week 11 (03/07/25)
*Highlighted red = Foley that was recorded but not used in the final video.

Figure 3.1-2: Audio Storyboard, Week 11 (06/07/25)

For this project, Hollow Knight is my gameplay video of choice. Since I've previously played and done a project on Hollow Knight before, this is familiar territory. To prepare myself for the upcoming production, I watched gameplay clips and the sound creation process of professional foley artists.

3.2 PRODUCTION

Audio Recording

Figure 3.2-1: Recording Studio, Week 12 (11/07/25)
Featuring Qistina and Mr Razif

Figure 3.2-2: Recording Room & DAW Set-up, Week 12 (11/07/25)

Qistina, Arata, and I shared the recording studio. Mr Razif introduced up to the equipment and showed us the ropes. It took about three hours to complete all of our recordings.

The mic was angled towards the floor so we could sit and have a stable surface to mess with the props. We took turns being in the recording room and helping each other at the computer. The DAW took some time to get used to (since the interface is quite small and I had to squint), but I fell into the rhythm with some practice.

Unfortunately, I couldn't bring water into the recording room and some of my props were inconvenient to bring, so I recorded the remaining foley at home using my phone. 

Figure 3.2-3: Unedited Audio, Week 12 (11/07/25)

3.3 POST-PRODUCTION

Editing Audio Assets

Figure 3.3-1: Audio Editing Journal, Week 14 (23/07/25)

Additional Notes:
  • As mentioned in the Audio Assets List, I recorded the water on hot stove foley for the charged lumaflies, but didn't end up using it, as the mesh fabric against sieve + tin foil crackling foley were enough to create my desired effects. 
  • As for the shaking coin bag foley, I had intended to use it for the geo falling to the ground SFX; however, upon editing, it did not sound like coins falling and bouncing, so I scrapped that and re-recorded a replacement (dropping coins on the floor foley).
  • Some of the audios (e.g. mc_footsteps, mc_landing) were given an additional Reverb before exporting because the echo didn't translate as clearly after application in the waveform editor.
  • For the tin foil crackling foley, I tried to keep the hand sounds as minimal as possible during recording; however, it will inevitably leak through since my hands are directly manipulating the foil. To remedy this, I went through the waveform and cut out parts where you can hear my hand + "papery" sounds (I wanted the audio to be as crinkly as possible).

Figure 3.3-2: Edited Audio Assets, Week 14 (23/07/25)

Combining Audio Assets + Silent Gameplay

Figure 3.3-3: Edit Audio to Video, Week 14 (23/07/25)

Since Adobe Audition had an "Edit Audio to Video" function, I combined the edited audio and silent gameplay there and exported it in Media Encoder.

3.4 FINAL SUBMISSION



Figure 3.4-1: Final Project — Video, Week 14 (26/07/25)

4.0 FEEDBACK 

4.1 WEEK 14

General Feedback: 
  • When designing audio, first watch/observe similar projects to gauge the loudness.

5.0 REFLECTION 

This has been an eye-opening experience. Working with professional sound mixing equipment was not something I thought I'd ever do, so I'm glad I had the chance to try it out. Creating the Audio Assets List was the most challenging part of this project. Finding the right items to create uncommon sounds (i.e. the electric sound) required turning my home upside down and lots of experimentation. The post-production process, fortunately, went much smoother due to the extensive prep work already done, but it still took trial and error to make the effects sound natural. If it's bad, it sticks out like a sore thumb; if it's good, you don't notice it at all. Makes me appreciate the effort foley artists and sound designers put into (often) unnoticed work.

Overall, I would give this a 7/10.✌

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