Nov 26, 2019 I went to a workshop at Call & Response in London. It is a 25:2 ambisonic production art space and studio. I was introduced to ambisonic and 3D sound recording, encoding and production and I was trained to use their system to mix in 25:2. I used Reaper and Blue Ripple Sound O3A Core Plugins which are a set of essential tools that provide all the basics to produce a higher-order ambisonic (HOA) 3D mix. https://callandresponse.org.uk/

Yesterday I attended an event.  AMAUROSIS - Junkerry A 3D audiovisual experience in the dark (blindfolded) investigating what happens when music becomes our emotional guide. A journey that surprises and ignites the imagination. The installation/performance fuses cutting edge spatial sound technology with a beautiful music score to transport you inside the music. An audiovisual finale using 4D sensorial visuals returns you home. https://www.junkerry.com/ I was also interviewe

My first time going to EGX! I watched a really interesting panel about the popularization of game music. I had fun networking and playing tons of new games before their release! The panels I attended included the following people: https://twitter.com/TessMakesMusic https://twitter.com/DorkTunes https://twitter.com/evilnoob https://twitter.com/kcmyoung https://twitter.com/dagadi I also went to see the Bristol Games Hub section and played some awesome new games!...

Oct 6, 2019 Insomnia was created in a 48 hours for Fuse Jam 2019 by: Owen Rees (Programming & Design) Will Powell (3D Art & Design) Joseph Khan (2D Art, Foley Art & Design) Charlie Dart (Writing, Narrative Design & Design) The theme this year was 'Maps and Memories' and each team member had to bring an 'artifact' which was basically a small object. The object was then hidden under boxes and then the team had to decide which box to choose. After discovering the 'hidden arti

I created this spreadsheet using Google Sheets and I recorded and edited all of the sound assets myself. There are various processes which must executed when acquiring game audio assets. Firstly, the recording process which involves understanding microphone suitability, placement and recording techniques. Secondly, the production process which includes trimming, editing the audio and employing production techniques. Finally, the management process which is linked with the dat

I created this game using Unity. This was a project for a university module in my first year of programming. You are an ice cube and there are other big bully ice cubes which are stopping you from getting into the freezer! Find your way through the labyrinth to get back home!

So far this academic year has been really inspiring. I've learnt so much about the games industry from the guest lecturers. I was able to have a Q&A session afterwards as well! Andrew Morgan : http://www.andrewmorgan.org/Andrew_Morgan/Welcome.html Credits: Halo 4 Richard Jacques : https://www.richardjacques.com/ Credits: Mass Effect, Little Big Planet 2, Team Sonic Racing, Marvel’s Guardians Of The Galaxy Bjorn Jacobsen : https://www.cujo.dk/ Credits: DARQ, CyberPunk 2077,

Apr 2, 2019 First time conducting a string quartet! Music by Austin Wintory - Apotheosis Journey Video Game Soundtrack

Dec 15, 2018 I attended a seminar at the Bristol VR Lab. The 3 speaker guests talked about VR/360 audio, it was really helpful learning about workflow in a professional environment, how to organise yourself to create the most effective outcome. One of the guest speakers had worked for EA and the other for LucasArts! They were highly resourceful and explained certain topics about spatial acoustics and middleware such as Wwise.

Nov 30, 2018 Today was my first time attending the Bristol Games Hub! There was a BYOG (Bring Your Own Game) event. I played a variety of games ranging from real-time strategy to first-person shooters. Some of them have already been released on platforms such as the Nintendo Switch and on Steam but others were still work in progress. It was extremely interesting being able to explore the indie game developer community and I have learnt a lot. The images below belong to the ma

I did not create this patch I simply imported it and manipulated the processes to create a different outcome. This patch is for a procedural audio fire it includes elements like crackling, hissing and rumbling. It was my first experience using pd therefore I experimented a bit and tried to reproduce various sounds, some of them sounded similar to the original and others completely different.

I created my own audio stinger, I picked Bandai Namco because not only it's a famous games company but it's an interesting animation and the length allowed me to experiment with compositional techniques. This was a task for testing how to create audio stingers to an animated logo. Bandai Namco owns the rights to the visuals of the video.

I created all of the pixel art using Aseprite. I downloaded it from Steam and it's perfect for creating pixel art and especially pixel animations. My gif logo took me a few hours to get started but it's super simple to use and loads of fun! I also used a free online drawing editor called Pixilart to make some of my other pixel art works. I also made my own font using Aseprite I also created business cards as a part of my new media game portfolio module: https://www.aseprite.o