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Audio Middleware the Essential Link from Studio to Game Design
AUDIONEXT B Y A LEX A N D E R B R A NDON Audio Middleware The Essential Link From Studio to Game Design hen I first played games such as Pac Man and GameCODA. The same is true of Renderware native audio Asteroids in the early ’80s, I was fascinated. tools. One caveat: Criterion is now owned by Electronic W While others saw a cute, beeping box, I saw Arts. The Renderware site was last updated in 2005, and something to be torn open and explored. How could many developers are scrambling to Unreal 3 due to un- these games create sounds I’d never heard before? Back certainty of Renderware’s future. Pity, it’s a pretty good then, it was transistors, followed by simple, solid-state engine. sound generators programmed with individual memory Streaming is supported, though it is not revealed how registers, machine code and dumb terminals. Now, things it is supported on next-gen consoles. What is nice is you are more complex. We’re no longer at the mercy of 8-bit, can specify whether you want a sound streamed or not or handing a sound to a programmer, and saying, “Put within CAGE Producer. GameCODA also provides the it in.” Today, game audio engineers have just as much ability to create ducking/mixing groups within CAGE. In power to create an exciting soundscape as anyone at code, this can also be taken advantage of using virtual Skywalker Ranch. (Well, okay, maybe not Randy Thom, voice channels. but close, right?) Other than SoundMAX (an older audio engine by But just as a single-channel strip on a Neve or SSL once Analog Devices and Staccato), GameCODA was the first baffled me, sound-bank manipulation can baffle your audio engine I’ve seen that uses matrix technology to average recording engineer.
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Foundations for Music-Based Games
Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games.
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Design and Development of a Mixed Reality Application in the Automotive Eld
Politecnico di Torino Department of Control and Computer Engineering (DAUIN) Master Degree in Computer Engineering Design and development of a Mixed Reality application in the automotive eld Supervisors: Author: Prof. Maurizio Morisio Giovanna Galeano December 2017 Contents 1 Mixed Reality1 1.1 Real Environment . .2 1.2 Augmented Reality . .2 1.2.1 Augmented Reality (AR) Categories . .2 1.2.2 Key Components to Augmented Reality Devices . .3 1.2.3 AR headsets categories . .4 1.3 Augmented Virtuality . .5 1.4 Virtual Reality . .5 1.4.1 Virtual Reality (VR) Categories . .5 1.4.2 Key Components in a Virtual Reality System . .6 1.4.3 Key Components Inside of a Virtual Reality Headset . .7 1.4.4 Performance parameters . .8 2 Context 11 2.1 Technological scouting . 12 2.1.1 Automotive eld . 13 2.1.2 Other examples . 17 3 System design 23 3.1 Helmet-mounted display design features . 25 3.2 Devices Comparison . 28 3.2.0.1 Final considerations . 29 3.3 Architecture design . 32 4 Development environment 35 4.1 Game engine components . 36 4.2 Game engines for Mixed Reality . 37 4.2.1 Unreal Engine 4 . 37 4.2.2 CryEngine . 38 4.2.3 Unity . 39 4.2.4 Unity as nal choice . 41 4.2.4.1 ARToolkit SDK . 42 4.2.4.2 Vuforia SDK . 43 4.2.4.3 Wikitude . 44 1 5 Prototype design and development 46 5.1 HoloLens hardware review . 46 5.2 Hololens inputs . 48 5.3 Hololens emulator . 49 5.4 Development basics .
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A Standard Audio API for C++: Motivation, Scope, and Basic Design
A Standard Audio API for C++: Motivation, Scope, and Basic Design Guy Somberg ([email protected]) Guy Davidson ([email protected]) Timur Doumler ([email protected]) Document #: P1386R2 Date: 2019-06-17 Project: Programming Language C++ Audience: SG13, LEWG “C++ is there to deal with hardware at a low level, and to abstract away from it with zero overhead.” – Bjarne Stroustrup, Cpp.chat Episode #441 Abstract This paper proposes to add a low-level audio API to the C++ standard library. It allows a C++ program to interact with the machine’s sound card, and provides basic data structures for processing audio data. We argue why such an API is important to have in the standard, why existing solutions are insufficient, and the scope and target audience we envision for it. We provide a brief introduction into the basics of digitally representing and processing audio data, and introduce essential concepts such as audio devices, channels, frames, buffers, and samples. We then describe our proposed design for such an API, as well as examples how to use it. An implementation of the API is available online. Finally, we mention some open questions that will need to be resolved, and discuss additional features that are not yet part of the API as presented but will be added in future papers. 1 See [CppChat]. The relevant quote is at approximately 55:20 in the video. 1 Contents 1 Motivation 3 1.1 Why Does C++ Need Audio? 3 1.2 Audio as a Part of Human Computer Interaction 4 1.3 Why What We Have Today is Insufficient 5 1.4 Why not Boost.Audio?
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Game Engine Anatomy 101, Part I April 12, 2002 By: Jake Simpson
ExtremeTech - Print Article 10/21/02 12:07 PM Game Engine Anatomy 101, Part I April 12, 2002 By: Jake Simpson We've come a very long way since the days of Doom. But that groundbreaking title wasn't just a great game, it also brought forth and popularized a new game-programming model: the game "engine." This modular, extensible and oh-so-tweakable design concept allowed gamers and programmers alike to hack into the game's core to create new games with new models, scenery, and sounds, or put a different twist on the existing game material. CounterStrike, Team Fortress, TacOps, Strike Force, and the wonderfully macabre Quake Soccer are among numerous new games created from existing game engines, with most using one of iD's Quake engines as their basis. click on image for full view TacOps and Strike Force both use the Unreal Tournament engine. In fact, the term "game engine" has come to be standard verbiage in gamers' conversations, but where does the engine end, and the game begin? And what exactly is going on behind the scenes to push all those pixels, play sounds, make monsters think and trigger game events? If you've ever pondered any of these questions, and want to know more about what makes games go, then you've come to the right place. What's in store is a deep, multi-part guided tour of the guts of game engines, with a particular focus on the Quake engines, since Raven Software (the company where I worked recently) has built several titles, Soldier of Fortune most notably, based on the Quake engine.
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1 in the Beginning the Basics
SMR_man_int_A_PrntrSprds.qxp 10/3/06 4:25 PM Page 1 TABLE OF CONTENTS Chapter 1 In the Beginning Introduction ...........................................................................5 About this Manual.................................................................6 System Requirements............................................................8 Installation .............................................................................9 Tutorial .................................................................................9 The Sid Meier’s Railroads! Web Site......................................9 Starting a Game.....................................................................9 Saving and Loading a Game ...............................................10 The Options Screen .............................................................11 Chapter 2 The Basics Introduction .........................................................................13 The Main Menu...................................................................13 The Tutorial .........................................................................13 Setting Up a Game ..............................................................14 The Main Screen .................................................................18 The Game Map....................................................................20 Moving Around Your World................................................25 Laying Track........................................................................26 Depots..................................................................................32
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Computer Games 2011
Computer Games 2015 Game Development Dr. Mathias Lux Klagenfurt University This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 You’ll need for grade A ... • A concept (1-2 pages) • The actual game (level) • A postmortem document (2 pages) • A short video of the game (level) • A final presentation Organizational • Mo, 22.06.2014, 12-14, E.2.42: Student Presentations – 10 Minutes to show your game! – Create a video!! A Demo Game ... • Based on libGDX • Is Apache v2 licensed – Including most of the assets https://github.com/dermotte/memory-game-android https://play.google.com/store/apps/details?id=at.juggle.games.memory Collision Detection • Collision occurs before the overlap • So an overlap indicates a collision • Example Pool Billard Before Computed Actual Bounding Boxes src. M. Zechner, Beginning Android Games, Apress, 2011 Triangle Mesh • Convex hull, convex polygon • Tight approximation of the object • Requires storage • Hard to create • Expensive to test src. M. Zechner, Beginning Android Games, Apress, 2011 Axis Aligned Bounding Box • Smallest box containing the object • Edges are aligned to x-axis and y-axis • Fast to test • Less precise than triangle mesh • Stored as corner + width + height src. M. Zechner, Beginning Android Games, Apress, 2011 Bounding Circle • Smalles circle that contains the object • Very fast test • Least precise method • Stored as center + radius src. M. Zechner, Beginning Android Games, Apress, 2011 Bounding shape updates • Every object in the game has – position, scale, oritention & – bounding shape • Position, scale and orientation are influenced by the game play – Bounding shape has to be update accordingly src.
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Game Developer
>>PRODUCT REVIEWS ENDORPHIN 2 * CLAYTOOLS SYSTEM AUGUST 2005 THE LEADING GAME INDUSTRY MAGAZINE >>SID WILL PROVIDE >>BUSINESS LEVEL >>HDR FOR OPEN GL BUILDING MODDABILITY GROWING PANDEMIC ENLIGHTENED ME INTO CIVILIZATION IV STUDIOS SMOOTHLY WITH SCIENCE POSTMORTEM: DOUBLE FINE’S PSYCHONAUTIC BREAK So real it renders fear. Idea: Create the most gripping and realistic stealth action game on the market. Realized: With Tom Clancy’s Splinter Cell® Chaos Theory™, Ubisoft™ wanted to continue setting records for the visual gaming experience. That’s why they chose Autodesk’s 3ds Max software to model and animate the game’s realistic characters and backgrounds. By providing a highly creative and stable platform, 3ds Max helped Ubisoft artists continue their impressive work on Tom Clancy’s Splinter Cell series that has already sold 10 mil- lion copies worldwide. 3ds Max’s robust, work- horse capabilities also helped Ubisoft stay on target with their grueling production schedules. As a result, Ubisoft met their highly anticipated launch and garnered a 9.9 out of 10 by Ofﬁ cial Xbox Magazine because of the game’s amazing looks and lifelike play. From taking out the competition to taking out the warehouse guard, Autodesk software helps today’s top developers realize their ideas to compete and win. To learn more, please visit autodesk.com/3dsmax Autodesk and 3ds Max are registered trademarks of Autodesk, Inc., in the USA and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. © 2005 Autodesk, Inc. All rights reserved. Tom Clancy’s Splinter Cell® Chaos Theory,™ image courtesy of Ubisoft.
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© 2010 1C Publishing EU S.R.O. All Rights Reserved. Other Products and Company Names Mentioned Herein May Be Trademarks of Their Respective Owners
© 2010 1C Publishing EU s.r.o. All rights reserved. Other products and company names mentioned herein may be trademarks of their respective owners. Developed by The Farm 51. All rights reserved. Uses Bink Video. Copyright © 1997-2010 by RAD Game Tools, Inc. Uses Miles Sound System. Copyright © 1997-2010 by RAD Game Tools, Inc. NecroVisioN: Lost Company uses Havok®. © Copyright 1999-2010 Havok.com, Inc. (and its Licensors). All rights reser- ved. See www.havok.com for details. This product contains software technology licensed from GameSpy Industries, Inc. © 1999 - 2010 GameSpy Industries, Inc. GameSpy and the „Powered by GameSpy“ design are trademarks of GameSpy Industries, Inc. All rights reserved. NecroVisioN: Lost Company - Manual Installation��2 MinimumandRecommendedSystemRequirements��2 ACallofDuty��4 AttheTrainforFrance��4 YourWarBegins��Here��6 MainMenu��6 ContinueGame��7 ChallengeRoom��7 Multiplayer��7 JoinGame��7 StartGame ��8 Modes��9 PlayerSettings ��10 PlayerProfile�� 11 Options
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Throne of Darkness Quick Reference
Copyright © 2001 Click Entertainment, Inc. All rights reserved. The use of this software product is subject to the terms of the enclosed End User License Agreement. You must accept the End User License Agreement before you can use the product. Use of the Sierra online gaming network is subject to your acceptance of the Sierra terms of Use Agreement. Throne of Darkness is a trademark or registered trademark of Vivendi Universal Interactive Publishing and/or its wholly owned subsidiary in the U.S. and/or other countries. Windows is a registered trademark of Microsoft Corporation. Pentium is a registered trademark of Intel Corporation. All other trademarks are the property of their respective owners. Uses Bink Video. Copyright © 1997-2001 by RAD Game Tools, Inc. Uses Scanline Processing System (SPS). Copyright © 1996-99 by Housemarque Games, Inc. Uses Miles Sound System. Copyright © 1991-2000 by RAD Game Tools, Inc. MPEG Layer-3 playback supplied with the Miles Sound System from RAD Game Tools, Inc. MPEG Layer-3 audio compression technology licensed by Fraunhofer IIS and THOMSON multimedia. +44 (0)1268 531222 Direct Sales +44 (0) 1268 288049 Sales Fax +44 (0)1268 531222 International Direct Sales (0118) 987-56 03 Technical Support Fax (0118) 920-9111 Technical Support http://www.clickgames.net World Wide Web http://www.sierra.com Online Technical Support 2 THRONE OF DARKNESS TABLE OF CONTENTS Getting Started . .4 Troubleshooting . .5 Support Contacts . .6 Tutorial . .7 Story Line . .10 Game Menus . .14 Controlling Your Characters . .15 Developing Your Characters . .22 Daimyo Interface . .26 Priest Interface . .27 The Blacksmith .
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Sound Technology in Games Outline
Sound Technology in Games Kenny Weiss Graphics Lunch Series Spring 2007 Outline • Audio Pipeline, Hardware and APIs • AdiGAudio Games • Sound in Virtual/Augmented Reality Environments Console Gaming • Will not cover: – HRTF – Audio Synthesis • Analog to Texture synthesis 1 Motivation: User Immersion • “Game audio is judged against all audio played on that syyjstem. We must not just meet those standards but exceed them.” [Marty O’Donell 2002 about Halo] • Sound “serves the story, creates a mood, … and can be the key to bringing the visuals to life.” [LoBrutto,1994] • 20% of perception is acoustic [Dobbler et. Al. 2002] • Screen space limited – Can hear what is going on around you and what is approaching you from off screen Aural Rendering Pipeline: Goals • 3D localization – Head related imp ulse response • Room Simulation – Room related impulse response • Speed and efficiency – Balance number of sources against real time constraints • Output – Stereo, Surround Sound (e.g. Dolby 5.1, 7.1) 2 Aural Pipline Basic Elements Enhanced Elements • BffBuffers • Directi onalit y – Primary • Doppler Shift – Secondary • Effects • Sound Sources • Listener – Position – Orientation – Velocity Adapted from [Dobler 2004] Aural Pipeline: Functionality • Playback • Volume/Gain – Play – Adjustable – Pause • Smooth fades –Stop • Panning / Positioning – Rewind – Relative vs. absolute • Relative more practical – Loop • Frequency • Notifications – Resampling – Important for synchronization – Pitch shifting 3 Aural Pipeline Images from: [Naef, 2002] Aural Pipeline:
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Voice Recording: Equipment
Computer Games 2011 Sound & Physics Dr. Mathias Lux Klagenfurt University This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Agenda • Motivation & Introduction • Digital sound & your computer • Recording & Production • FMOD – Code examples Motivation • Sound is critical to success – No game without sound … – Sound design is a profession • Diverse hardware – Headphone – Speakers (2, 2.1, 5.1, 7.1) – Hifi || !Hifi Examples • Dead Nation? • Little Big Planet? • Musikspiele? – GH, RB, SS … Agenda • Motivation & Introduction • Digital sound & your computer • Recording & Production • FMOD – Code examples What is sound? What is sound? • Multiple sounds at the same time? What is digital sound? • A digitization of the wave. – Either a recipe for reconstruction – Or a discrete approximation Sampled sound • Wave gets sampled x times a second – E.g. 48.000 times -> 48 kHz sampling rate • Obtained values are stored – E.g. 256, 240, 13, -7, -12, -44, …. – Quantization to e.g. 2^8 levels -> 8 Bit • Possibly from different sensors – Stereo -> 2 channels Sampled sound • Example: 8 kHz, 16 bit Stereo – Sound wave is sampled 8.000 times a second – Samples are stored in 16 bit numbers • That’s Pulse Code Modulation (PCM) – Often used in WAV files … – Also as input from microphone or line in Sampling Rates • With sampling rate x we can approximate frequencies up to x/2 • Assume frequency 1 – sampling rate of 1 -> “0” – sampling rate of 2 -> “1,-1” Quantization • Reduces the possible values of the samples to a certain value – 8 Bit -> 256 levels, etc. What do we want to capture? • Humans can hear – From around 16 – 21 Hz – To around 16 kHz – 19kHz – 16 bit is enough (CD), 32 bit even better Types of sounds • Samples • MIDI • Loops Types of sounds: Samples • Rendered sound • Typically sampled and edited from “real sounds” • Can be altered with effects – Possibilities limited, e.g.
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