![]() In addition to being on the blockchain, Star Atlas is very ambitious in its scale and design. There are many games out there whose themes are space exploration, combat, etc, and each one tries to market itself uniquely. Star Atlas is meant to be a metaverse multiplayer game, so we’re focusing on designing sound for many players at once, in a myriad of positions. ![]() You need to consider how sounds behave in a three dimensional space, a process our Technical Audio Lead Paul Drauz-Brown has been an integral part of. S: No, for our role it isn’t any different than working on other interactive projects. Is working in this way different to other interactive projects you’ve done? You mentioned that the game is on the blockchain. I’m a composer by trade, so I mainly compose music for Star Atlas, and manage the day-to-day operations of the project as Audio Lead. Within our first year of business, we had started working on virtual reality projects involving spatial sound and ambisonics, which naturally progressed into more interactive spatial audio and music for video games. We got our start in traditional media, doing post and music for film, TV and advertising. we are a team of ten people, but we scale based on the needs of each project. Karim Douaidy: I’m Creative Director and also a partner at Chapter Four. My craft is sound design, that’s also what I predominately lend to Star Atlas, in addition to overseeing the other sound designers on this project. ![]() We offer our skill sets to brands, studios, artists and organizations around the world. We are a creative technology and post-production studio based in NYC with services in video, sound, and music. Sarah Gibble-Laska: I’m CEO and partner of Chapter Four. ![]() JJ Lyon: Hi Both! Could you introduce yourselves? ![]()
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