For the final project, we are required to select one gameplay clip from the four game videos provided by the teacher. Some of these clips have already been demonstrated in class. These segments contain no background music or sound effects, so we need to create the audio ourselves. Using everyday objects, we will record sounds to represent the characters’ actions and movements in the game. Then, we will edit and enhance these recordings in Adobe Audition (AU) to complete the sound design and dubbing for the gameplay.
Among the four game videos provided by the teacher, the one that interests me the most is Ori and the Blind Forest. I was drawn to it because of its beautifully artistic visual style, and it happens to reflect the forest and fairy-like aesthetic that I personally enjoy. That’s why I chose this game for my dubbing project.
Here is the original video provided by the teacher (soundless version):
Most of my materials were recorded in the school’s recording studio. Before going there, I prepared a plastic bag, a plastic container, and a cup, and I also borrowed an additional cup from the studio. Here, I will mainly analyze the five sound effects I used most frequently among all the sounds I created.
1、Running on the grass
For this sound, I used a plastic bag to create the effect. First, I brought the plastic bag into the recording studio and laid it flat on the floor. Then, I used my hand to simulate the rhythm and motion of footsteps, stepping on it one step at a time. This produced a soft “rustling” sound, similar to the sound of walking on grass.
Although the footstep rhythm I recorded wasn’t very fast at the time, I planned to adjust the overall speed later using the Stretch and Pitch function in Adobe Audition. I increased the playback speed of the audio, which gave me both walking and running sounds on the grass. Then, I added an EQ effect to enhance the soft “rustling” texture of the character stepping on the grass.
（Streich and pitch）
（EQ）
2、Summon “Ding”
This sound appears at the very beginning of the scene when the character first enters the screen. I was actually quite conflicted about it, as it didn’t really match well with many of the other sounds I had recorded. So I spent a lot of time imagining how each sound could be edited to feel both gentle and filled with the magical atmosphere of the game world.
In the end, I chose a bell ring sound effect (bell-rings_02). The original sound was actually created by striking a metal basin. However, the sharp impact of the sound felt similar to the appearance of an object, so I decided to edit it and use it as the very first sound when the character appears in the game.
The first effect I applied was Studio Reverb, which made the sound more ethereal and dreamy, as if it were echoing in a magical environment. This effect fits the style of the game perfectly.
I increased the Room Size to enhance the spatial feel of the scene, giving the sound more echo and a greater sense of atmosphere.
I also set the Low Frequency Cut to 880 Hz to reduce the “ground-level rumble,” making the sound feel lighter and airier.
（studio reverb）
3. Landing sound
For the character’s landing sound, I chose to use a recording I made in the studio by laying a plastic bag flat on the ground and punching it with my fist. The resulting sound (titled whoosh-hanger_02) had a solid “boom” impact, and due to the contact with the plastic bag, it also included some soft “rustling” textures.
After importing this sound into Adobe Audition, the first thing I did was apply an EQ effect to reinforce the sense of impact and clarity—ideal for creating a “landing thud” or “jump impact” sound.
In Band 1 and Band 2, I boosted the frequencies by +6 dB and +4 dB respectively, to make the landing sound more powerful and grounded.
（EQ）
Next, I applied a Hard Limiter—first, to prevent distortion since this sound is relatively loud, and second, to increase its overall loudness.
I set the Input Boost to +4 dB, which made the sound noticeably louder and crisper compared to the original, which had felt a bit dull.
Then, I adjusted the Release Time to 50 ms, which allows the limiter to release very quickly after the peak—perfect for creating a sharp, snappy landing effect.
（Input Boost）
After that, I added a Pitch Shifter, mainly to enhance the brightness and clarity of the sound. This also helped make the landing effect feel more distinct and crisp.
Since the character is a light and agile little spirit, I didn’t want the landing sound to feel too heavy or dull—so shifting the pitch slightly upward made it better match the character’s graceful and lightweight nature.
（pitch shifter）
4、Injured while falling into the water
To be honest, I was quite conflicted while working on this sound. I had recorded water sloshing back and forth inside a container, so the only usable sound I had was “WATER_03.” However, I felt that this sound alone wasn’t intense enough to represent the moment when the character falls into water and gets hurt or suffers a magical backlash.
So I kept thinking about how to give the sound more of an electronic texture, which might help enhance the feeling of magical water corrosion or spiritual damage.
The first thing I did was apply a Hard Limiter. I chose to start with this effect because the original recording of the water wasn't very intense or aggressive. But based on what happens in the video, the character falls into the water and takes damage—so I wanted to amplify the water’s impact and make the sound feel sharper and more forceful.
First, I increased the Input Boost to +6 dB to raise the overall volume and make the water sound more prominent and impactful.
Then, I checked the Link Channels option to ensure that both the left and right channels stayed balanced, preventing any uneven or one-sided bursts of sound.
（Hard Limiter）
Then, I applied a Distortion effect and selected the preset “Swamp Thing.” I chose this effect because I wanted to give the water sound more impact and a metallic texture, making it feel harsher and more aggressive—almost like a magical or poisonous reaction.
However, the actual result was somewhat disappointing. The effect didn’t quite match my expectations, and there was still a noticeable gap between what I had imagined and what I ended up with.
（Distortion）
After that, I added Studio Reverb on top of the existing effects to give the overall sound a bit more spatial depth—adding some natural echo and ambiance. This helped make the sound feel less flat and gave it a sense of being in an open, magical environment, which better fit the tone of the scene.
（studio reverb）
At this point, I added a Pitch Shifter because I was still struggling with the fact that the water sound didn’t feel deep or heavy enough.
To address this, I lowered the semitone value by -4, which gave the sound a deeper and darker tone—more fitting for a moment of impact or damage in water.
（pitch shifter）
Here, I mainly used EQ to further refine and shape the water sound, aiming to make it feel heavier and more controlled. The goal was to give it a more muffled, magical water quality—something that sounds like it’s part of a fantasy world rather than just ordinary sloshing. This EQ adjustment helped the sound blend better with the mood of the game and enhanced the feeling of magical damage or underwater energy.
（EQ）
5.Reward sound
For the reward sound, I used the recorded clip “ABC-02,” which was originally the sound of striking a metal basin. However, after editing it in Adobe Audition, the final result turned out to be quite unexpected—in a good way.
What I aimed to create was a sound that felt like a floating, shimmering reward—something light and magical, hovering in the air. The edited version ended up fitting that vision quite well and matched the moment in the video when the character receives a reward, creating a clear and satisfying sense of feedback.
I first applied an EQ effect, focusing mainly on adjusting the High Shelf (H) frequency band by +6 dB. The purpose of this adjustment was to make the sound brighter, more sparkling, and full of that “reward feeling”—so it would stand out as something magical and satisfying, perfectly fitting the moment when the character collects a reward.
Added a bounce-back sound effect during the character’s jump
Added ambient sound around the character (flowers)
Added a sound effect for receiving a reward
1.Flower sound
When I was designing the sounds, I actually completely overlooked some of the environmental sounds. Most of my focus was on the sounds generated by the character's movements. The teacher gave me a very helpful reminder, pointing out that focusing too much on movement sounds can cause me to ignore the surrounding environment, which also needs to be supported by appropriate audio. So this flower sound is actually for a flower that appears when the character passes by.
（The flowers met along the way）
Since I hadn’t initially considered using this type of sound effect for ambient audio, I felt a bit conflicted after receiving the teacher’s feedback and wasn’t sure how to approach it. So I turned to ChatGPT for help, and combined that guidance with my own listening and adjustments.
The first step I took was to add white noise, as I didn’t have a suitable sound source of my own.
（choose white sound）
（Add a value）
I adjusted the EQ values to create a soft “whooshing” sound, because in the video, the flower appears to be gently releasing air or energy with a “whoosh” effect.
（EQ）
I added a Flanger effect to enhance the flickering sound of the flame, but the result was quite different from what I had expected—it didn’t fully meet my expectations. So I adjusted the parameters again: I increased the Wet value, raised the depth, and enhanced the sense of space. In the end, the sound no longer resembled a typical flame, but instead sounded more like a strange creature from a magical forest. I found it quite fun and interesting, so I decided to use it.
（Flanger1.0）
（finally I choose this one）
2.Reward sound-"Ding"
Previously, the reward sound only had a single “ding,” so when narration or skill descriptions appeared later, there was no accompanying sound. This made the scene feel a bit thin and lacking in depth. The teacher suggested that I add some complementary sound after the initial “ding” to make the scene feel fuller and more complete.
So I selected a recorded sound of keys jingling from my collection.
First, I used the Stretch and Pitch effect to slow down the original sound of the keys. By adjusting both the stretch and pitch shift settings, I created a soft “jingle” sound—something like “ding-ling-ling”. Since this sound was meant to follow the initial “ding,” I made sure it was quieter and had a trailing, delicate feel to match the scene.
Then, I applied Studio Reverb to strengthen the magical atmosphere—mainly by increasing the sense of reverberation and spatial depth.
(Streich and pitch)
Then, I adjusted the Studio Reverb settings to make the sound feel more magical—essentially by increasing the amount of reverb. This added more echo and spatial depth, enhancing the overall magical atmosphere of the scene.
(studio reverb)
3. The rebounding sound
The wooden post sound I used earlier was actually a recording of a wardrobe door being pulled open. Originally, I had planned to add the sound of a ruler snapping back as well. However, I wasn’t entirely sure if it would fit the mood of the video, so in the end, I decided not to include it.
（character jumping）
Later on, the teacher mentioned that adding this sound would enhance the sense of movement, so I decided to include the ruler snap-back sound.
To create this sound, I placed a ruler on a table, held down one end, and then flicked the other end to make it snap back. I recorded this action to capture the sharp, springy sound of the ruler rebounding.
（pitch shifter）
In this case, I didn’t do much editing to the ruler sound. I only added a Pitch Shifter, and by adjusting the semitone value, I was able to give the crisp snap-back sound a bit more weight and depth.
Later, during playback, I felt that the sound still didn’t feel quite right. So I changed the Precision setting in the Pitch Shifter effect—from High Precision (which I had used earlier) to Low Precision. I found that the Low Precision setting gave the sound more of the heaviness and character I was looking for.
16 /12/2024-3/1/2025(week 12-week 14) Tang Yu Ying - 0370676 App Design II | Bachelor of Interactive special design Task 4| Change "Figma" to "Professional Edition" Introduction In Test 4, the focus is on refining and modifying the Figma designs created in Task 1 and Task 2, aiming to upgrade them to a professional version. Feedback Given: Suggestions provided by AI: 1. User Experience (UX) Optimization Issues: Information Hierarchy and Structure : Login and registration pages have repetitive information, causing potential user confusion. Simplify content. The main page navigation ("Message," "Search," "My Home") has a cluttered layout and needs better menu logic and hierarchy. Interactive Feedback : Lacks operational feedback, such as friendly prompts after form submission or noticeable display of error messages. Add user guidance (e.g., placeholder text when filling out forms). 2. User Interface (UI) Optimization Issues: Typog...
评论
发表评论