The Sound of Horror Resident Evil 7: Biohazard

[Music] so the sound of horror present April 7 by Arthur thanks for coming to our talk we are capcom audio team from the resin table 7 and we flew from Japan it's really it's really nice place San Francisco actually really really nice and you're so super happy to give a talk here and yeah hope we will be fine okay okay so okay the next slide here I'm just gonna give a short interaction from each of us so we have my name is Aki Aki Morimoto I'm a composer and we have my name is Kenji Kojima I am a sound of program and I'm Kang Sammy I'm a sound designer and good news we have audio director here sitting here is Vitara Sacco so he's the guy actually

so okay thanks Maru okay so let us just give a short overview on today's topic here at first part we will just talk a little bit of Resident Evil 7 a little talk on the game features and some summary maybe we'll cover a little bits off and the the second part will be a song design and pipelining and here we will break down to a sound effect system workflow music and working with little designer pretty much and that we will each of us will give a little talk on each topics ok and we all have some video clips here to illustrate our audio works and you know the Resident Evil 7 it's an M rated game so it contains intense violence and strong language actually is theater so please be aware for that and we just want to warn you first and also there are some spoilers for those who have not played the game so please be aware for that too okay so let's go so Resident Evil 7 I just want

to start with this short question how many of you have played resin table 7 here Wow great well thank you so much it's really good to see okay so the Resident Evil 7 we have new features it's quite shift from the previous sequel but if we were to point out some of the key phrases or new features in resin table 7 that would be a for-real visuals with the first-person view really big change from a TPS the previous sequel or a fixed camera from the really old great resin table from sequel and we may say this every time when nearest hero comes but it's back to its horror roots so I mean you know we we but I think we really try our best to make hurricane so but yeah this again so in fact it's horrid and okay so just gonna give a little bit of people here worked in audio production for is in table 7 so here's a it's kind of really solid here but we have about 15 people involved in total audio team and I think

that's kind of huge but of course that's the maximum number so at the early production pre-production we have less people like audio director maybe some of the leads and we had more people win gets busier so and the three years of production aprox and including the prototyping gray box testing and vertical slice and we also actually developed a new engine here are it's called re engine in-house game engine designed for Resident Evil 7 Resident Evil 7 re engine so it's very yeah actually very very very straightforward I like it and why is we used vise full or as a middleware and the Kenji will explain this complicated you know the system part and I'm a song designer so I don't know much about it but can't you tell that alright so here we have a smiley guys here it's in our holy stage so that's a lot of people there and we are smiling I guess it's because of our I mean a shipment of the

game right yeah I mean you know we're really happy that the game is shipped and finally we finished you know this video game development and that's really cool so okay oh and also I think I need to but I think I'll do it later okay so the song summary just gonna tell a little bit of our core pillar sound and it's really simple here it's just sound of horror because the game is really scary game so and uh so we really focused on how to scare people by sound and how to how to make like more immersive experience throughout the sound and so the sound of horror is the our core pillar and we have like some like went breaks down we try to like anyhow the creepier mood in the game by sound and the blend of realistic it's for the real visuals so we really needed to be really nail you need needed to nail the real sound by Foley's and stuff and vice versa and but it's dramatic I mean it's the game so we have some cinematic scene as well so there is a

blend of a real drama and the pacing silence is of course important in the horror games as well if the scary sounds like and you know like continuously you know if you have like lots of scary sound then people get used to it so the pacing in the silence is also our some of some things we really exploded in traumatic mercy we have a VR version in the game so that immersive is also a key phrase here and the dynamic interactive it's the again so yeah it's interactive okay and yeah moving on to another part here in the some samurai steel I'm gonna talk a little on some some summaries so we actually Reese catch our a system in the workflow we really thought about efficiency agility accessibility resource management were kind of key word here and and because of our tight schedule here we choose more automated methods and that's yeah we have like

numbers of automated system here but these two are kind of being here the major system here or the auto trigger for movement hood steps props are some of the movement on the props and the utilize of other resources such as effect collisions or meshes to change ambience reverb illusions stuff like that and within you know this automated system it's kind of really a weird to say but the sound implementation are taking care or done at some extent when upper stream assets such as animations are ready for example you know that when that missions already there is no sound usually but within this like a new system with new component behaviors so we have some sound playing you know just us to some extent and that's taken care of medically so I really make things easier and also Kenji prepared some tools that let some designers to polish and you know do more to manually to brush up a set later on so we have you

know boat static way and dynamic ways and I think from next slide I'm gonna hand to Kenji and he's gonna share some details on re engine and our basic sound features okay let me talk about our new engine and the sound system in this portion first I will give a quick overview of our engine our engine is a weighted to Street apart in house came ranging it was specially designed for Dibble meant of origin to evil seven we can produce water irreversible result and display objects of various textures and to attend to the smallest details next will be about the sound system we had two aims to start with I designed the sound system not only basic features for game audio but also to meet these goals

the first frame was the works of sound ruffians automatically when upstream as it's already and the second one was to provide more species in choices for sound designers to purchases Reiter in this way we could get high-quality and immersive sounds with relatively less effort I will show two examples at rate report when I talk about systems and workflow the sound system was powered by wise for basic features a wise is an excellent world video where as you know on passive experience sound designers and composers in our spec you make a contrary to use or futures to improve the quality of game audio more and more I respect their challenges and majesty

and they think it should be sold but sometimes that tend to take lots of time and the effort for game programmers because they get more requests from sound section as I wanted to make this game with not only which experience but also exciting gameplay I wanted sound designer that composers to concentrate on leverages quality and the game programmers to utilize more time for making wave mechanics better I was keep thinking about this issue and decide a pop-top game programmers are no need to consider for consider were know very well about using wise but let's sound designers and composers uterus for potential of wise functions so here was my approach first i sealed wise under the engine next step

was to open public about fourteen point parameters and was step by step states indicate binary I change that to Tianjin even in a complex serious case all of the process for wise was executed at the engine game programmers are known never called wise API at minimum the only digital trigger and to open public parameters the engine to care for the worst part that is how we could get rich sound system the sound system in dari engine equipped many functions for bridge development of action shooter game for example animation sequence FSM actions QuickTime rain generator for environment

or sound monitoring the tools and so on ok thanks Kenji so from next part we will break down two little categories of sound effect music and the system and we will again talk little so from this part I mean I'm going to explain a little bit of sound effect here and how we built our sound design in Resident Evil 7 so first of all I want to share some videos here to illustrate our work here

Bela's Siri I'm sorry mister that would actually cut this word I'm sorry [Music] [Music] [Music]

[Music]

so that's clique number one here and the just gonna explain oh we have to close this right Thank You Kenji so okay the follies well obviously it's your real realistic and we have lots of props that's really real so the sound also needs to be real so we really focused on our quality recordings here and the aim was to create real sound with right the exact resonance and the deep details in each sound and we try to place really many sounds that we hear in the our daily lives such as like noise of electricity draft wind drawers or like really like simple furniture sound something like that and perhaps you know we don't pay much attention in this sound because it's supernatural we are you know surrounded by this kind of sound but we know somehow we know subconsciously how they sound and the variety of the sound this that runs us

so the first step was to create this real real real hyper real atmosphere in the resin Table seven in this way and these real sound rolls were to create much immersive spaces and if you know things already unlikely once you hear the sound you're not familiar with it creates much uneasy and disturbing moods in the game when it accumulates especially and that can actually drive players into a horror stage so we really have this real sound versus this horror dramatic sound so a little more talk on the follies for the folio stage we choose to record sound in larger places so that we had more flexibility and could get various resonance on each sound so to many places we went to Toho studio which is in Tokyo Japan it's a really famous studio and we fortunately actually we do have a fully staged at capcom and we really use that's to studio to and for the microphone setting

are we set three or even more microphones for each recordings all the my microphones were set in different positions to capture different characters on each sound so if it's close you get more direct sound on the other hand if you have a mid-range sound there's more spaces in the ambience so in this case we really recorded a lot of sound here and we actually the cool part of this is we actually collaborated with the Misaki Dada who actually worked in the garage Japanese horror film it's the I think it's 90s or I'm sure but it it's really scary moved here and he was Diwali artist here and he even actually worked in a house Moving Castle and mission so he's really a famous Foley artist in Japan and so the amounts were quite lot here and we have aprox we have 700 props there and that we have some ambience recording for in the Holy stage and you know character movement like footstep Russ and closes and

weapons were also recording basically nepali stage and in game demo yeah so the amounts were really lot a lot and we took our PC actually to the stage at Capcom stage so that we could actually implement really quick and aya and Foley recording for like cinematic scene or in game demo we recorded like simultaneously by watching we have a TV screen in the poly stage so you know just like how they do in a film industry ok so here's some footage of the Foley recordings it's a really short one but so that's a Capcom stage and that's me bit long here and that's my sign up

here's my best part [Music] [Applause] [Music]

so that was like one of the fun part of Holi recordings here and yeah you see that pretty much like danger like you know the scary stuff Messiah took Kara and we did simple stuff okay so continuing on the slide here for the equipment gears pretty early a famous microphones were used here and the we tried some of them but these microphones really worked well and the well the plugins magnetic to was really great and RX falls really great especially we really used lots of rx here well obviously we had a faulty recording and they have really great Dino s and the D reverb function and these were really useful for the props recorded outside the stage such as door sound so okay that's it for the Foley sounds so I'm gonna talk a little bit on the ambience here for the ambience we have basically we have three layers of ambience and these are PS ambience it's

just you know this like really low frequency room tone and we have 3d positional ambience that's like a water drop from water tap or wind sound from window or you know something it's placed in a 3d world and to speak Spooky's and we named it spooky sound are more likely more likely a strange sound like would click or rap sound you hear you may hear in like a haunted house or in Japanese old house you actually hear this kind of sound so and it's kind of scary but and I have some samples for each of those so here's the 3d sound basically to the wind sound really typical and here is some sound from the props it's all mixed refrigerators water and here's some spooky sound

and we have based home for the kitchen and here's the ensemble of all of those [Music] okay so the among of those the spooky sounds were really really effective here most of them are actually random sound but when players are in the area where is filled with all sorts of natural sound the more immersed player get they tend to lose actually their sense to identify the sound they're hearing whether comes from enemy or from by themselves such as footsteps or king just above all bottles or chair or just simple ambience or prop sound so it was really important for us to put many kinds of sound not to only match these

photo-real visuals but to create the sound illusions to clear and it's FPS so it's kind of really hard to identify like which sound actually comes we know that reaction but it's really hard to localize the precise a place so we really tweaked with those techniques and so I haven't actually prepared the extra slide for this but and apart from these ambience and props we also implemented lots of horror sound which typically were placed and triggered by a level designer and the role of these sounds very from creating an anticipation or to simply shock the player and these sounds are something you may not want to hear in the real lives but the you know the sound in the game could give you a clue of what its gonna happen next so anticipation basically and here is some cool slide here it's not written here again you know we have lots of sound in the game but the most effective way to create an anticipation or anxiety was to bring the sound level lower or

make complete silence in it so like you see I mean it makes actually player I mean the people are questioning what's gonna happen next so that's actually our we really tweaked to be the silence a lot especially the music and okay so moving on to reverb and occlusions here we had some simple systems here but a really cool way to do automatic automatically detect detect the parameters and so the reverb and occlusion changes interactively and automatically depending on the space where sound place it's a sound place and when the sound playbacks the system allows sound to tech to the space name which is game object and then an appropriate reverb set for that sound automatically and these functions are also one of our automated system as I as I have mentioned before our utilizing meshes and collisions in the game seclusions change the end occlusions change depending on what object lies between players and sound source the ratio

change by material of the structure would here more clear and if you have made always more muffled like that really basic physics here and and this basic action the reverb parameters were adjusted by mixing engineer at Capcom cassia Takemoto so I think the reverb is really good too in this game okay so here's the example of the occlusion so please pay attention to a mother emerged voice gets muffled I need hide why what done to deserve this except open aho and feed you so yeah that was I hope that explained but really really simple principle we did in

the recent equals seven here I'm just gonna show a little off its kind of handwriting drawing but so the basic principle of occlusions here in the Resident Evil seven at least so we have on the left side we have a room here and when the sound playbacks do you know sound asks where am I you know those questions and the system tells you you are in the room a with the larger and the wooden cupboard room and the it's any player here clear because there is nothing to distract order there is no obstacle between them sounded clear on the other hand you have a similar situation with different setup so the sound plays but there's a male ball between so your muffled so it's really really simple techniques were adopted here but it's really I mean ten you know automatically is thus the cost goes down to one third comparing to re six right okay and because we don't add collisions manually as often as we have done before obviously there are some places that some designer like me needed to add collisions manually but that's that the

numbers were significantly decreased and once I mean that took care of optimization as well so that's a sound effect part and I'm gonna hand to Kenji and he's gonna tell about system okay now let me talk about some of the system and workflow on our game we will give you two concrete example in this part first one is ultimately to sound river this is for sound effect most request ponds with animation assets there are numbers of cases automated sound river in this game footsteps rustling knob crosses he sounds are some of the examples I will hire as a movement sound such as cross rustle and gimmick movements when we was when we have both

approaches dynamic and Static some time dynamical way can be much better and vice versa the system for movement sound uses persky's there are three ways to use birth seeds first job any joint unger ability by any three joints and three stronger ability by any two joints some designers get automated to some triggers by setting the threshold on each wait let me show some example are examples of automated sound trigger [Music]

so you hear the squeaky lunch on sound and that's also automatically generated so there are two cases that how to use automated sound tree was of one time calculation and the pre calculation the former is usage of dynamic and the rater is static way in each cases the source of calculation are down in same assets first sound designers check bursty using burst imager on each game object while prevailing with whistle animations or playing game and sets result of each triggers on acid next they set for the property or bassett on behaviors finally they also can bake it in animation

chickens in this way sound designers can brush up and adjust more justice against more precisely runtime calculation effects and enter character moving including brandy to animation the benefit is there is no work or Sora's traverse even if it has a complex friend brand animation there is one another advantage in doing with operating animations if animation will be changed animation sequence need to change or check accordingly but because of this system as the triggers are calculated to interactively so no need to keep changing it is impossible to pour shot easily we so functional recalculation triggers which are baked in animation chickens

can be added deleted and they are adjustable I'm sure that sound designers do it in the remover tool and finally at the scope of baking can be changed we can use the animation chickens work for to stop runtime calculation temporarily thus because of automated system the work soft sound were free ends automatically when animators process finished and some designers are able to polish them later as needed next keyword is revision em Resident Evil 6 we used collisions by meshes and primitive shapes we used meshes which had been added by environmental artist for only

changing of sounds by materials for example of footsteps hit sounds and so on I'd shown up to that we had used the primitive shapes for changing Weber Ambus by each one and also for obstruction and origin these questions had been added manually by sound designers it's very hard work for some designers because it will often requested again and it could have caused spikes when pressed a lot and things that we had met grocery worked on and spent lots of energy on would constantly go to waste it was right carefully building a brew house a brick by brick and then what someone versus overrate

and build one as a house instead so in region triple7 we change roles we use messages for all local regional usage so we request the environmental artist to cut messages about rooms and we use primitive shapes for operating the effect of meshes it's only for limited where we are basically to reduce rework solve environment or artists ok let me show some examples of changing the ambience and River [Music]

[Music] [Music] [Music] actually in many cases some designers no need to put primitive shapes it was such an inhibition some designers are very happy white cane yeah of course because we needed we need each other you know

manually and window spaces in the area changes we actually need it redo it so it's really really helped a lot great but is everything okay without to any program no the CPU cost for this way is very heavy we get to take care of it so I thought about a way to solve the program there were two approaches thinning out update and updating asynchronously the former is simple I think that update with conservation for sound designers you don't feel gap the rate along consists some steps for strata to regards of sound in behavior is only insecure basically in this timing they don't check phrase abstraction and origin exceptionally generate over environmental sound are

calculated as a sound portion in this space in another way animation sequence update for to trigger or not but don't check press and so on it's only queuing basically the sound module also upgrade asynchronously it's broke off the camera only with buffer synchronization and setting the updates ask actual updating process will be done in coherence or another processes updating the industry is not too easy way it's a hassle but it can be solved we made it possible and get non-blocking sound system we usually have interval with spikes of Corey Jones for sound but there was no trouble in this game of course I needed to take care of spikes

but monstery talk odd because of another reason which can be resolved a lot easier so within this workflow environment or artists can brush up until last moment and industry where some designers works not only are free and automatically but also have some spaces for further modifications and the improvements likewise and again spiked by sound have decreased it contributed a lot to make an immersive atmosphere in the game I have a favorite for bar kill two birds with one stone in region 3 world 7 we manage things sometime in this way we get to two or more benefits with only one solution needless to say everyone is a happier okay

next part is everyone's favorite music so can you keep okay here goes music part ok I'm acute Morimoto I will explain how we develop the music okay this clip explain how the in-game music transistor and how it interact with sound effects such as ambience let's watch

[Music]

[Music] [Music] [Music] [Music]

[Applause] wait wait [Music] I can hear her I can feel her clawing her way back inside [Music]

[Music] the [ __ ] are you Mia so you know strong violence I told you I told you okay on the left side blue area for our immersive realistic world are the concept for the game on the right side we built music ideas that connect to where was this game concept and came up came up with we came up with three keywords which are tones recording sound and analog sound that eventually leads up to a technique called music concrete

when we started developing the game we thought what was the role of the music in this title music especially under squatted music commonly not a pair of 3d world in the game but in this title we wanted to create music that can be perfect match with the game scene and textures as if it could be harder the source music which most of them were not we name we name it this type of music music Atomos to build music atomists we concentrated on the tones rather than typical harmony for example microtones Spector music and sound Oh textures we compose the music using original tones

as a reference to technical music concrete music concrete was developed in France in 1940's this music is generally developed from resonance and textures of sound not always from harmony or basic element of music when we created tones we prepared some keywords that represent the taste of the game high temperature and the humidity represents the idea or atmosphere of the stage in the game the game takes place in Louisiana noise texture and analog sound there are from the key items in the game the character explores mostly in the old dimension so ruined dead

silent drivers from their decay comes from one a new creature called molded the creature is covered with more the so it is called more dead this showed the basic flow of music development in a listener for composing music we made a careful preparation at first we record it elements for making the tones and then we create original sound the library with editing with these stones and finally we compose the music using the original sound library to create

original sound or library several recording sessions with total of 10,000 trucks were war recorded these are just like a sound palette it is like a drawing in campus but in music ok I'm going to briefly introduce about each a recording session I will give you some unique hearing examples plus one its quota tone cross cluster and here goes a super-low Glasser [Music]

okay and we record it's three people's voices in total the cretan the concept is creepy human noise like Japanese horror film grudge you know Kaku [Laughter] [Music] the sound is this screen yeah and next next we record it many kinds of a real organic sound so many unique sounds

recorded by la machine the creative this examples comes from the bean oil yeah okay we built different tones for each character rather than building music team or music piece for each character we used mind map to start up to find out the best matching sound for that specific character this mind map is for Jax who is a quite cool guy from the

Baker family yeah welcome to the family okay okay so far I took the most I talked to most about the recording sound from here I will focus more in creating and creating and how we edit tones we built the original music software named it REM which stands for resident evil music module it runs in contact contact instruments with basic function such as simple editing process effects and so on this system allowed composites to build tones with more flexibility especially because of Lemur control with good usability and very friendly operation and function I have prepared a clip to show how ramp

looks like this is when there are many mix and master windows and different parameter in each option now changing attack speed then let's change the value of the labels next is changing delay and the final part I'm going to share is sterile spread to change narrow sound to wider

spread sound so different it may be this we have bigger appear so there are some - the spreads so we created our original tones utilizing this system okay these are some other prevents which really worked well in music development of erasable we often used sound towards proteins for example crystallizer echoboy tama Decapitator and no matter factory magnetic - is a tape simulator ok one last thing we used we would like to mention it that we used

lots of an arc sound from a tape it helped to boost more meat and warm tones that I think different really helped to build and create a peaceful moment [Music] [Music] this isn't can be heard at the safe room where you don't get attacked from creatures more enemies [Music] okay that's all for music Pat and I were

handed back to okay so our last part we are going to a show a little bit of a little talk on how we worked with a level designer here so here's cool level designer and they are really cool and we have a coach in ecology he's da director there and he actually gave a talk on four o'clock or something he's coffee here he told me he will be here cause she saw oh hi I'm Eddie mess okay so uh yeah we have coffee so we have a good back here okay so we really especially a work worked a really really close with level designer in this project I just want to mention that we do work close with little designer planner in Capcom another project to buddy you know typically this title since it's the horror game the role of the sounds were kind of large so we really I mean we really concentrated on working with level designer here and we actually prepared some systems that

allowed level designer to tweak and readjust the horror sound by themself these tools actually vary from just play one shot sound or remove that sound object or even setting the state of the game to change music or volume of ambience so we had some tools for the level designer as well and here's the basic really really really primitive workflow that I won't show here so basically level designer of course mainly designed the game and by the audio team we had really good relationship with them so we shared our ideas tips especially to make sound like sauce placement to connect well with level designing and stage and because of nature of the sound I think we are really good at good on like tempo timing because sound is linear and we you know deal with the dialogues too so this part we are really a good at so we really atop a lot them and so we also actually was

kind of cool we also she suggested we were to make like complete silence to enhance the horror sound coming up next so that's pacing again and so and so the first we have you know pre-production gray box testing those periods we prepared some placeholders like temporary asset and let level designer use like really free Fridley I mean I mean they couldn't use like they couldn't do like anything with that those sound and within these assets like everyone it's really clear in the team that that we could see like what's gonna happen next and what they want to do and what we wanted to so it was really good to share I mean work in this this type of way and the for the second part is the iteration we have a lot of integration of course in Resident Evil 7 too so we really had to go over work and stuff like that and this is the timing when I mean we see if everything really

makes sense and for that particular places within placeholder and stuff we still don't really make a real asset yet the placeholders is being pretty much being used here but maybe some change has been done usually and really really lots of like gigantic huge amounts of communication and discussions are needed at this point and it's really a cool kind of we are I mean house a team so actually the re7 team was just below our floor so we could just go and talk to them and here it's here is wrong and here it's cool and you know stuff like that so we really had a healthy conversation over there within really nice in-house involvement ok so and the final phase is of course it's pretty clear the actual I said for the audio teams and may you know many refines and many readjustment has been turned up to here so and we sheer hopefully our goals from very beginning to meeting all members of the team so we are kind of clear and it's

really it made us easier to work in in a relatively larger team like this so yeah that was basic workflow here and actually that wraps up our talk here so I just want to thank you once again for being here and it's really great for us to give a talk in GDC and arigato thank you very much and hopefully we will have some time for Q&A but we have put our email address over there too so if you have any questions or like maybe deeper question maybe you guys can ask on the spot will be here at GDC tomorrow too so if you have like simple question that would be much better for us but you know I may need to translate so so if you have any questions please do so

discuss later Japanese no it's America of course yeah at the best scene we like okay would you of course yeah I'll translate most machine choices generally ah so the choice between Meowth joy so there is a scene in Chapter three or I'm you know yeah middle part so you have to choose either Mia that to save me I'm sorry I'm spoiling you have to choose little I mean you have to choose me our Zoe that's the other girl here so

that's yeah that's right yeah that's that's nice party what's your kin G yeah my favorite is so Jack chases Eason yeah for okay yeah that's right that's a really excellent - and my favorite is the garage yeah um you're driving the car and you're actually you know ok Jack by hitting the Carson yes that's cool - oh sorry so is there any other questions I'm sorry I'm sorry sorry for beeping we added questions ever know oh I think I answered my question so please I mean I ask from answer I'm sorry no no dead flags Atlas no it's okay so my name is Mel anymore I'm a composer so thank you guys for coming all the way from Japan thank you very much it's such a pleasure to see you share what's going on with your team there and your great work so it's just a comment oh thank you

so much oh so nice of you so I was wondering I love the game and the sound design is amazing what do you think that was the thing that you guys didn't feel happy about or that you thought you didn't do well and you would like to do better for eight or whatever your next project is okay I think can you answer that part see I don't blame [Music] em propagation direction more definitely yeah more more precise like location like more resistant side of the early reflection and in a system side we want to do that and also I asked Kenji to build more I mean his tool is really amazing it's really friendly use but a little more friend friends I hope thank

you I'm sorry oh you can ask oh I see oh you noticed that okay oh you notice that that's right do you notice that - yes we actually use English intentionally yeah we beat we tried we tried and actually it was a lotteries idea to put the old UI sound on the you know keypad we were actually doing and

you go like a dungeon and you just grab this you know masterpiece or father or something hope I answered my question I mean your question oh I'm really bad at thank you guys so much for being here that was amazing did you guys develop for VR at the same time was it was all just along the same timeline yes actually it's a VR doís more what I thought stuck up its knee yeah it's really yeah okay and so did you guys take any different approaches to that and if I can if you can answer it what you guys use for your audio for the actually the perspect on the audio we didn't actually like be necessarily I mean we didn't focus on the VR side but because every sound is in 3d positions

that actually took care of the VR part but for the most of the VR players they are gonna use headphones so we have Virtual Surround features in the headphone and what else and actually we have some musics are actually binaural by knowledge I think so we yes in some approaches we did but most of part actually our audio workflow took care of the VR versions about yeah we really try to you know Neil I mean we try to put lots of the sound in a 3d world and that actually helped a lot we attention this this program in our afraid so we'll be good that's right yeah yes right yeah we actually thought our every guest actually the problem it's gonna come later on because we weren't sure if we are going to going to build a VR version or not you know it actually you know they are really early phase we don't know about that so we

actually I mean thought the solution for that cool thanks also I'll do a little plug for you guys but uh Resident Evil 7 is Amazon's deal of the day so pick it up at the other I just got it wrong go desk at all booyah he caught on with Ari Misaki hickory shaft and a monk I must get off okay I know a study of the game of Toronto direction to remote starter a brand on Dante Sequoia tie hang on the cell demo by ohad about a meter at all but she of timing today but you know talkin out there but Chile no cuckoo gonna pay so go in optimum Tony Lamanna conscious in America okay yeah breathe so his question was he runs I mean he's very and he runs a studio in Osaka and yes

so yeah we have a big guest here we have a nakanishi signed every directors here so well anyway so his question was that he runs a relatively smaller studio comparing to mme Capcom and he thinks our audio was really nicely done because of the audio director I mean we have audio director and we have you know those working pipeline here but in unlikely like his studio they don't have audio directors so it's kind of something is it sometime like hard to figure out like where to put all the sounds and the quality lines and stuff right so company direct on almost at Orinoco day you know - Renata oh my god it is so to accommodate oku duets on the photo Oh nanny Milan in Indiana I think you will get the right the exact answer with him but I believe I think it's because we have a really good relationship with it with a director and

the older director and of course other late we have an art director and you know all the lists and they have really good me and level designer of course so we have really you know we have these systems to talk like you see like me I mean we see every guy's face every day and there we go lunch with them and this kind of really healthy relationship you know like he made sure yeah hope I answered my max oh yeah yeah we need a more drinking oh yeah that's right okay let's go thank you very much okay that's all for today so thanks oh we are actually passing oh so I'm really I really appreciate thanks for being here and we're super super happy that we could give a talk and hopefully did fine so yeah please ask us any questions if you have any you know any thoughts question suggestion or I mean emails appear and I we have a business card here too so please do so okay thank

you once again you