COMPOSING FOR GAMES COURSE SYLLABUS COURSE OVERVIEW

Transcription

1 COMPOSING FOR GAMES COURSE SYLLABUS Course Name: Composing Music for Videogames Course Number: X Units Reg. No.: U8239 Instructor: Lennie Moore Meeting Schedule: 7:00pm-10:00pm Thursdays, 12 Meetings 1010 Westwood Center, Room B05 COURSE OVERVIEW This course will teach an in-depth program of composing music for videogames. Teaching style will include lectures, audio/visual demonstrations, handouts, composition assignments, and appearances by guest artists. Topics will include: In-Game vs. Cinematic Scoring Budgeting/Project Management Contracts Technology/Tools for asset creation and processing Music Engines/Compositional techniques specific to videogame music Electronic music creation vs. utilizing live musicians Mixing Composing for different game genres (MMORPG, FPS, RTS, Educational) Audio formats and delivery of assets for different console formats (SKUs) such as XBOX/XBOX 360, PS2/PS3, PC, Gamecube, handheld devices (Gameboy, Nintendo DS) Guest artist lectures by working videogame composers Students will have weekly composition assignments to create their own adaptive music similar to works created for current videogames. They will also have the opportunity to compose MIDI/digital music with any tools they feel comfortable using (DP, Logic, Cubase SX, Nuendo, Reason, Ableton Live, etc.).

2 COURSE OBJECTIVE This course is designed for composers interested in exploring the challenges of creating music for videogames. The course will present a basic overview of the composition techniques, organization, and delivery formats that are unique to the videogame industry, along with lectures, audio/visual demonstrations, and guest speakers. Students will be shown some of the latest audio hardware and software technology for the creation and processing of audio assets. Students will be given composition assignments where they can test their skill in creating adaptive music. The goal of the course is to provide each student with a basic understanding of the distinctive qualities required to compose music for videogames, and to give them hands-on experience creating content for this medium. READING/RESEARCH S Handouts will be provided to supplement the lectures in areas like budgeting, software tools, sample libraries, softsynths, reference books, and websites. The handouts will only act as a supplement to the material presented. Attendance is required for the student to get the most of this unique opportunity. GRADUATION REQUIREMENT Successful completion of this course will include the following: a final exam in the form of an adaptive composition, completion of in-class excercises/assignments, and class attendance. EQUIPMENT SUPPLIED BY INSTRUCTOR PC laptop used for Powerpoint presentations, audio/visual examples of music in and outside of gameplay. EQUIPMENT NEEDED FROM UCLA EXTENSION A/V DEPARTMENT Projector to take RGB video output from laptop Good quality audio system taking headphone output from laptop for playback of instructor and guest speaker examples in addition to student projects. PREREQUISITES Students should have some composition and theory background. As composition projects will be assigned, students will be required to create final mixes using whatever composition tools they have at home such as Cubase SX, Nuendo, Pro Tools, Logic, Digital Performer, Reason, Ableton Live, etc. 2

3 EVALUATION OF STUDENT PERFORMANCE a. Assignments: weekly projects comprised of compositions, supplemented with some research and written papers. b. Criteria for grading: 25% Class Participation, 25% Final Project, and 5%-10% for each weekly project/assignment (8 total equaling 50% of the grade). METHODS OF INSTRUCTION Methods of instruction will include lectures, guest speakers, audio/visual examples, and weekly projects. REQUIRED READINGS None Required. Additional suggested readings: The Complete Guide to Game Audio, Second Edition Author: Aaron Marks Publisher: Focal Press, 2009 ISBN: MARKETING SUGGESTIONS Distinctive challenges are involved in writing music for videogames that are different than any other form of composition. This course is an in-depth study of both the technical and creative aspects, taught by an industry veteran, and featuring guest lectures by some of the industry s finest composers. INSTRUCTOR CREDITS Watchmen Motion Comic (itunes web series, Warner Premiere GANG Award Winner) Magic the Gathering: Duel of the Planeswalkers (Wizards of the Coast) Dirty Harry (WBIE, unreleased) Dragonshard (Atari) War of the Ring (VUG) Plague of Darkness (Widescreen Games) Outcast (Infogrames AIAS Best Music Nominee 2000) Composer/Orchestrator in over 10 feature films, 30 television movies, and 125 commercials. 3

4 SESSION ONE 1.1 Course Syllabus 1.2 Websites/Resources 1.3 Common Terminology 1.4 Music Engines Introductions, Course Overview, In-game vs. Cinematic Scoring, Tools/Resources, Common Terminology, and Music Engines COURSE OVERVIEW Review Course Syllabus, Outline, Teaching Style, Class Requirements and Expectations Demonstration of numerous examples of game styles and introduction to music engines and how they are implemented in-game vs. cinematic scoring. 1. Find an example of good music implementation in a videogame. Write out on a piece of paper what you like about it and why you think it works well in the game. Bring an example into class if possible for next session. 2. Find an example of bad music implementation in a videogame. COMMON TERMINOLOGY Overview of common terminology used in the videogame industry including various styles of gameplay, technical language used in communicating with developers, programmers, and audio directors. 4

5 SESSION TWO 2.1 Software/Tools/Sample Libraries 2.2 Music Engines I - Looping S Technology/Tools for asset creation and processing, Looping music SOFTWARE/TOOLS/SAMPLE LIBRARY Lecture on the tools used in creating music assets for videogames. Demonstration of numerous examples of music asset creation/audio processing tools used by game industry professinals. MUSIC ENGINES I Lecture on the use of a looping section of music. Demonstration of numerous examples of music loops, compositional form considerations, seamless transitions from the end of the loop back to the beginning, and music mixing issues. 1. Write a paper listing all the audio tools you use, what you like/dislike about them and how you plan on using them to create music for videogames. 2. Compose a 30 second piece of music that loops well. Bring the mixed/edited/loopable audio file for next session. Extra credit for a seamless loop. 5

6 SESSION THREE 3.1 Project Management I What am I providing? 3.2 Mixing 3.3 Music Engines II Merging stems Project Management I What am I providing?, Mixing, Music Engines II Merging stems PROJECT MANAGEMENT I First of several lectures on managing a large project. What am I providing? Asks key questions regarding what a videogame composer is responsible for providing on a given project. MIXING Lecture on the mixing process when providing music for videogames. What types of speakers do most people use when playing their games (TV mix vs. PC speakers vs. Hi-end Surround Systems)? Demonstration of various approaches to mixing music for videogames. MERGING STEMS Def. 1. to cause to combine, unite, or coalesce 2. to blend gradually by stages that blur distinction Lecture on the concept of merging individual music audio events based on game conditions where synchronizing in tempo is not possible. Demonstration of music using the Merging stems method. 1. Compose a 60 second loop. 2. Compose a one-shot music event to be randomly triggered to play over/against the loop. 3. Compose a 2nd one-shot music event to be randomly triggered to play over/against the loop. Try to make the style of this event different from the other. 6

7 SESSION FOUR 4.1 Composing for different genres 4.2 Project Management II Pre-production 4.3 Music Engines III Branching Composing for different genres, Project Management II Pre-production, Music Engines III Branching COMPOSING FOR DIFFERENT GENRES Lecture on the various kind of composition used in different game genres such as MMORPG, FPS, RTS, and Educational. Structural differences, audience expectations, and style or tradition all play their part. PROJECT MANAGEMENT II Lecture on Pre-production - What needs to happen before actually composing a score? What materials are supplied by the developer? What technologies will you need to master? MUSIC ENGINES III Lecture on Branching/Organization structures of audio assets for videogames. Demonstration of numerous examples of Branching and how this is implemented in-game. 1. Compose a 60 second looping Battle cue 2. Compose a 5 second Victory cue 3. Compose a 5 second Death cue 4. Make the Victory and Death cues work seamlessly with the Battle cue. 7

8 SESSION FIVE 5.1 Electronics vs. Live Musicians 5.2 Project Management III Compartmentalizing & Scheduling 5.3 Music Engines IV Zones, Flags & Triggers Electronics vs. Live Musicians, Project Management III Compartmentalizing & Scheduling, Music Engines IV Zones, Flags & Triggers ELECTRONIC VS. LIVE MUSICIANS Lecture comparing the differences between creating a purely electronic score vs. utilizing live musicians. What additional tasks are required to prepare for and produce a live musician session? What mix issues if any need to be addressed when working on a hybrid score (combination of live players and electronic elements)? PROJECT MANAGEMENT III Lecture on how to break down a massive project into smaller, more manageable tasks. How to schedule in reverse by calculating what must be done the day before the delivery of the final music assets and working backwards to your first day of composition. Demonstration of Cue Log Manager. MUSIC ENGINES IV Lecture on working with the programmer concepts of using flags and triggers on a level map to enact music that follows the game action. Demonstration of examples of music using the flags and triggers method (Halo2). Compose 2 variations of a 60 second piece of music. Variation 1 is the ambience mix. Variation 2 is the ambience mix combined with elements which create more intensity. Deliver in three synchronized looping stems: Var 1, Var 2 full mix, and Var 2 added elements only. 8

9 SESSION SIX 6.1 Audio Delivery Formats 6.2 Project Management IV Budgeting 6.3 Music Engines V Transitions Audio bid examples 1-2 S Audio Delivery Formats, Project Management IV Budgeting, Music Engines V Transitions AUDIO DELIVERY FORMATS Lecture on the various audio formats and asset delivery requirements for the various consoles (SKUs) such as XBOX/XBOX360, PS2/PS3, PC, Gamecube, and handheld devices such as the Sony PSP and Nintendo Gameboy and DS. PROJECT MANAGEMENT IV Lecture on how to create a budget to supply music assets for a videogame. MUSIC ENGINES V Lecture on composing music transitions as separate components to be played between looping segments as connecting material. Demonstration of examples of music transitions. 1. Compose a 60 second ambient loop. 2. Compose a 60 second battle loop that is related in material to the ambience. 3. Compose a 5 second transition to go from the ambient to battle material. 4. Compose a 5 second transition to go from the battle back to ambient material. 9

10 SESSION SEVEN 7.1 Project Management V Contracts 7.2 Music Engines VI Composing in segments Agreement Templates 1-3 Project Management V Contracts, Music Engines VI Composing in segments PROJECT MANAGEMENT V Lecture on contracts as they apply to videogame composers. MUSIC ENGINES VI Lecture on composing music in segments. AI (Artificial Intelligence) systems based on insect colony behavior (nesting, pathfinding, and hive decision making agents in particular). Demonstration of examples of music organized and programmed to work as a library of music segments (DirectMusic Producer). Compose three 30 second pieces of looping battle music where #1 is low intensity, #2 medium intensity, and #3 high intensity battle. 10

11 SESSION EIGHT None Music Engines God of War style PROJECT MANAGEMENT VI Lecture on how to create looping tracks in the God of War style MUSIC ENGINES GOD OF WAR STYLE Lecture on composing looping music in the God of War style. Demonstration of examples of music created using the God of War approach. Compose a 1-minute looping battle cue in the God of War style. Include three repetitions in the following order: Variation I is the full mix, Variation II has no melodies but includes a more sparse version of groove and ambience, Variation III adds more intensity and hints of melodic or thematic moments. Final audio mix should be around 3 minutes in length. 11

12 SESSION NINE None Using FMOD as a middleware engine. Introduction to FMOD and its capabilities as a middleware audio engine. Insert your Session 5 assignment layers into FMOD and create a 2 layered event which fades the intensity layer in and out. 12

13 SESSION TEN None Using Wwise as a middleware engine. Introduction to Wwise and its capabilities as a middleware audio engine. No assignment this week. 13

14 SESSION ELEVEN 8.1 Project Management VI Your Music Team 8.2 Music Engines VII Layers & Stems Project Management VI Your Music Team, Music Engines VII Layers & Stems PROJECT MANAGEMENT VI Lecture on how to assemble an outstanding music team to help you in your projects. MUSIC ENGINES VII Lecture on composing music in multiple layers and stems. This is currently one of the most common types of music engines being used in the videogame industry and the final two weeks of the course will be spent exploring this approach. Demonstration of examples of music created using the Layers & Stems approach. (FINAL EXAM) Compose a 2-minute looping segment (minimum is 3 layers maximum is 4 layers) where each layer represents a game state. All layers must be a complete piece of music if played individually, but they can also be played in combinations (A+B no C, A+C no B, A+B+C, etc.) and work as a musical experience. Game states from which you can choose are: Ambience, stealth, tension, low/medium/high-intensity battle, heroic, tragic, and you can also try a layer which just has only a melody or theme which would be triggered during certain game conditions. 14

15 SESSION TWELVE 9.1 Organizations Final Exam/Project Review and course wrap-up FINAL EXAM/PROJECT REVIEW All Final Projects will be performed for the class. Students will participate in evaluating the effectiveness of each work. COURSE WRAP-UP Instructor will talk about several organizations that are great resources for the emerging composer such as the American Composers Forum, Society of Composers and Lyricists, and the Game Audio Network Guild. Time permitting there will be an opportunity for students to comment on their experience in the course and what they learned over the last 9 weeks. 15