JS: The Gears cinematics are really great and they’re a blast to work on. How did you deal with them in the sound design side? And what about the process in the cinematics? I also designed and mixed the cinematics.ĭS: There’s a lot of story on the Gears of War in-game cinematics. Kevin Riepl did the music and I did the vast majority of the sound design and dialog designs. The sound for Gears1 was done pretty much just by him and me there really wasn’t anyone else involved in a large capacity. The work that Mike does as an integrator of my sounds is vital to the process and is a very large part of why the games sound so good.
But then, content is only part of the chain. Mike is a good sound designer and musician in his own right, but at Epic he’s an audio director, so he deals with a lot of the implementation and logistics of the games so not as much of the design or music. Mike hired me to do the UT3 trailer and consequently for Gears of War. They hired Mike Larson as their audio director at the tail end of UC2 sometime in 2004. I would work directly with Cliff during those years. In fact, they didn’t have anybody when I first started working for them they contracted out all audio content and the LDs implemented audio. JS:Well, Epic hasn’t always had a traditional audio team like most developers. I hadn’t seen the game at that point but I figured it would be pretty good being from Epic, so I accepted and that was it.ĭS: How was your relationship and collaboration with other members of the audio team? and what about the rest of dev teams? I turned around that trailer in a couple of days and they all seemed to really like it because they offered me the lead sound design gig for Gears of War just a few days later. I didn’t hear from them for a while after that until they needed help on an E3 trailer for Unreal Tournament 3 (then called UT2007). I did a lot of work on that game and continued to do odds and ends for them on games like UT Championship 2, and Unreal 2. Heh… I was a bit consumed by the original UT just a few months prior, so you could say that I was a bit of a fan. I offered to do it and I think my ability to match it proved to him my value because he then started asking me for original sound designs, which I was happy to take on. I met Cliff Bleszinski during those sessions and the topic came up of the dialog processing, which he needed matched to the previous game’s dialog. She used my studio to record her voice actors from time to time and luck of the draw landed the UT2003 recording gig in my lap. I was living in San Diego and was working with voice director Lani Minella.
Jamey Scott: I started doing sound design work for Epic in 2002 for Unreal Tournament 2003. Hope you enjoy it!ĭesigning Sound: How did you get involved with Gears of War? Here is an interview I had with Jamey, talking about his work on Gears of War 1 and 2 from Epic games.
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