One of the techniques that is becoming commonplace in the current generation of consoles, is the separation of footsteps from Foley and/ or equipment sounds that are then layered and recombined at runtime to allow for different combinations and variations. This allows for an attention to detail on the part of character movement sounds, especially when the payer is in control (to a certain extent) of their costume, equipment, or shoe type.
Ghostbusters - Terminal Reality/ RedFly
-Randomized Foley and Parametrized Spectors
"DS: How did you create the footstep sounds with all of the gear attached? Did you use randomizers on this?
Brian: For the footstep sounds, we recorded the same type of boot used in the films on different surfaces. For the gear, we recorded actual prop proton packs modeled in exact detail as the film pack. To further augment to audio for the gear, we filled up a large backpack with random items and jostled around in the foley booth. We also recorded foley of the flight suit. We ended up using about 5-6 sound effects for each material and applied a very subtle pitch randomizer using our in-house sound tool. The footsteps and the pack rustle sounds were kept separate, as there are times when the player is able to roam the environment without a pack on."
We are living in a cross platform market, and where developers take liberties with their IP's to exploit the strengths of each console so too can we design and implement in a way that leverages our toolsets and techniques to get the best sounding experience for the player.
"Due to the visual and play style difference, Red Fly primarily used the 360/PS3 assets as a base, and applied their own treatment to them to fit their title. Terminal openly shared the sound directory with Red Fly for the Wii version."
"Now to give you an idea of how hard we gambled we ended up switching to WWise with about six months before our first submission.
AudioKinetics WWise provided an AMAZING array of flexibility and power that we didn't have in the previous sound engine. Jimi, Jason, Kidko and myself put a ton of hours in to this project ensuring that our gamble paid off."
"While the road was a bumpy one (incredibly bumpy at times) we created 90% of the sound assets, implemented and scripted them into INFERNAL, and created a dynamic music system within WWise (oh yeah and Jimi did 20 minutes of cut-scenes)."
PKE Meter: "Driven by the RTPC which also slightly drives the volume of the ambient bus."
Goggles: "The "in to goggle" sound causes a previously unheard channel to rise to full volume.This allowed us to create much more dramatic flair without bothering any programming staff."
Ghost Vocalizations: "Ghost vox were handled using switch groups, since states would often change but animations did not."Said Barker"Many of the states and sounds associated with them that we wanted to happen and come across, did not actually have any specific animations to drive them, so we actually ended up going in and hooking up state changes in code to drive whatever type of voice fx we wanted for the creature. This helped give them some more variety without having to use up memory for specific state animations."