Recording Sounds for 'Hogwarts Legacy' | AirCon24
Summary
TLDRIn this Air Wiggles audio conference session, Dr. Alexander Horowitz and Pablo Valbrana share their experience of field recording in the New Forest for the Warner Brothers title 'Hogwarts Legacy'. They discuss the preparation, challenges, and techniques used during the trip, emphasizing the importance of capturing authentic ambiences and wildlife sounds. The session covers equipment choices, weather considerations, and the value of such expeditions for team building and training, providing insights into the process of creating immersive audio for games.
Takeaways
- 🎙️ The session was about a field recording trip to the New Forest, South of England, for the Warner Brothers title 'Hogwarts Legacy', led by Dr. Alexander Horowitz and Pablo Valbraña.
- 🔊 The team sought unique soundscapes and local wildlife recordings to enhance the in-game environments and atmospheres, particularly focusing on the UK and Scottish settings.
- 📍 The New Forest National Park was chosen for its untouched landscapes, rich wildlife, and relative seclusion from human-made noise, making it an ideal location for capturing organic sounds.
- 📝 The preparation involved careful planning, including justifying the field trip, considering weather conditions, and ensuring the team had the right equipment for the task.
- 🛠️ A variety of recording equipment was used, including different models of recorders and microphones, to capture sounds in various configurations and conditions.
- 🚶♂️ The team undertook extensive hiking to find suitable recording locations, emphasizing the physical demands of field recording work.
- 🌞 The timing of the trip was crucial, with considerations for spring bird songs, daylight cycles, and avoiding busy tourist periods to ensure the quality of recordings.
- 🔍 The editing process involved sifting through 43 hours of raw audio, using tools like RX Isotop for spectral editing, and mastering the recordings down to a more manageable length.
- 📁 Metadata was meticulously applied to the recordings using the Universal Category System (UCS) to facilitate easy search and retrieval for future projects.
- 🤝 The trip served multiple purposes, including team building, training for new team members, and providing a valuable hands-on experience that enriched the team's skills and knowledge.
- 🌳 The outdoor experience was highlighted as beneficial for team morale, especially after the isolation of the pandemic, and provided a refreshing change of pace from studio work.
Q & A
What is the purpose of the Air Wiggles Vault recordings?
-The Air Wiggles Vault recordings are a series of live streams from Air Wiggles audio conferences, focusing on various topics related to audio, made freely available thanks to their sponsors.
Who is Dr. Alexander Horowitz and what is his role in the audio industry?
-Dr. Alexander Horowitz is an audio director at Criterion Games, part of Electronic Arts. He has worked as an audio director, lead, or head of audio for around eight years on titles for Warner Brothers, Rockstar, Fox, and EA. He has a PhD in game development, a masters in programming, and a masters in technical broadcast audio.
What was the main reason for conducting field recordings in the New Forest for 'Hogwarts Legacy'?
-The main reason was to capture additional unique ambience sounds and local wildlife for the game, as existing libraries did not fully meet the needs of the diverse in-game locations and environments, especially to capture the essence of the UK and Scotland.
Why was the New Forest chosen for the field recording session?
-The New Forest was chosen due to its proximity to the development location in Brighton and Hove, its status as a largely untouched area rich in wildlife, and its relative distance from road and air traffic that could interfere with recordings.
What challenges did the team face in terms of recording conditions?
-Challenges included ensuring the recording equipment was safe and camouflaged from potential thieves, dealing with unpredictable British weather, and managing background noise from tourists and other human activities.
What types of equipment did the team use for the field recordings?
-The team used a combination of equipment including the Zoom H4n Pro, Sound Devices MixPre-6, and Zoom F8 recorders, along with various microphones such as the Sennheiser MK series and Rode NT4 for capturing high-quality audio in different conditions.
How did the team ensure they captured a variety of sounds during their field recording trip?
-The team planned their trip to cover different weather conditions and times of day, set up multiple recorders in various locations simultaneously, and used different microphone configurations to capture a wide range of sounds.
What precautions did the team take to protect their equipment from the elements?
-The team used dry bags to protect the recorders and other equipment from rain, and they considered wind protection by using Rycote Windjammers and bubble beanie wind protection for the microphones.
How did the team manage the data they collected during the field recording trip?
-The team backed up their data regularly, used RX Isotope for initial audio editing, and then mastered the recordings into shorter segments, applying minimal processing to maintain the natural sound.
What was the outcome of the field recording trip in terms of the final audio used in 'Hogwarts Legacy'?
-The trip resulted in almost 100 Gigabytes of raw audio, which was edited down to about two and a half hours of mastered recordings, providing a rich and varied soundscape for the game.
What lessons did the team learn from their field recording experience that they would apply to future projects?
-Lessons included the importance of planning for travel time, checking recording equipment settings, listening to initial recordings before leaving the area, using efficient routes, camouflaging gear, carrying extra accessories, and considering the use of tracking devices like air tags.
Outlines
🎙️ Introduction to Air Wiggles Audio Conference and Hogwarts Legacy Project
The script introduces the Air Wiggles Vault recordings, a series of live streams focusing on audio for games, sponsored by various audio companies. Dr. Alexander Horowitz and Pablo Valbrun, both from the gaming industry, discuss their involvement in the Warner Brothers title 'Hogwarts Legacy.' They talk about their backgrounds, the importance of field recording for game audio, and the decision to record in the New Forest, South of England, for its rich wildlife and ambiance, aiming to capture a variety of sounds that couldn't be found in existing libraries.
🎒 Preparation for the New Forest Field Recording Trip
The speakers detail the preparation for their field recording trip to the New Forest, discussing the justification for the trip, the need for unique soundscapes and local wildlife recordings, and the goal of team building. They considered various locations but chose the New Forest for its proximity and lack of background noise. The paragraph also covers the challenges of UK's dense population and busy airspace, the importance of weather conditions for recording bird songs, and the equipment selected for its low noise and portability.
🛠️ Equipment and Considerations for Field Recording
This section delves into the specific audio equipment used during the trip, including recorders like the Mix Pre 6 and Zoom F8, and microphones from brands like Sennheiser and DPA. The importance of low self-noise and good preamps is highlighted, along with the need for wind protection and the consideration of weight and size for portability. The team also discusses the importance of non-audio gear like navigation tools, maps, and practical items for a day-long hike.
⏱️ Timing and Logistics of the Field Recording Adventure
The script outlines the timing and logistics of the field recording sessions, emphasizing the choice of dates to avoid tourists and capture spring bird songs. The team discusses the importance of time of day for bird song cycles, the need to navigate around school and public holidays, and the strategy for setting up recorders to capture both day and night ambiences. The paragraph also touches on the initial driving route from Brighton to the New Forest and the challenges of finding the perfect recording locations.
🌄 The Field Recording Experience in the New Forest
The speakers recount their experiences during the field recording trip, describing the process of setting up recording equipment in various locations, the challenges of ensuring the gear's safety, and the unpredictability of weather conditions. They mention the use of camouflage to protect the equipment and the need to manage concerns about potential theft or damage. The paragraph also covers the team's approach to hiking and finding suitable spots for recording, as well as their lunch breaks and the overall adventure of the trip.
🌃 Nighttime Recordings and Equipment Safety
This section focuses on the challenges and strategies for capturing nighttime ambiences, including the decision-making process for selecting quiet locations and the hope for capturing bird calls or other natural sounds after dark. The team discusses the importance of equipment safety, the use of dry bags for protection, and the reliance on luck for weather conditions, specifically avoiding condensation issues.
📚 Post-Trip Processing and Reflections on the Recording Expedition
After the trip, the team faced the task of processing nearly 100 gigabytes of raw audio, which they distilled into about two and a half hours of mastered recordings. They emphasize the importance of backing up data regularly and using tools like RX Isotops for spectrogram analysis to identify and edit out unwanted sounds. The paragraph also includes reflections on lessons learned, such as the need for more planning, better communication, and the value of the trip for team building and training.
🔄 The Value and Outcomes of the New Forest Recording Trip
The speakers reflect on the value of the field recording trip, highlighting the capture of unique sounds for 'Hogwarts Legacy,' the training and team-building aspects, and the personal benefits of being outdoors after the pandemic. They discuss the outcomes in terms of new sound assets, team cohesion, and the personal growth of the participants, particularly the interns. The paragraph concludes with an acknowledgment of the trip's success and the desire to apply the lessons learned to future projects.
📘 Final Thoughts and Q&A Session
The session concludes with final thoughts from the speakers, who express gratitude for the opportunity to share their experiences and insights. They also engage in a Q&A session, addressing questions about the technical aspects of the recording process, the use of specific equipment, and the justification for the field recording trip within their studio. The speakers provide recommendations for sound engineering students and discuss the benefits of real-life recordings versus sound libraries.
Mindmap
Keywords
💡Field recording
💡Hogwarts Legacy
💡Sound design
💡Ambisonics
💡Sound libraries
💡Audio director
💡Headphones
💡Wildlife
💡Sound engineering
💡Mastering
💡Sound effects (SFX)
Highlights
Introduction of Dr. Alexander Horowitz, Audio Director at Criterion Games, with a background in both artistic and technical aspects of audio.
Pablo Valbrunes, Senior Designer at Studio Goo, shares his experience in film and TV sound recording and his focus on organic sounds.
The team's mission to capture unique ambiences and local wildlife sounds for the Warner Brothers title 'Hogwarts Legacy'.
Challenges of finding a location with minimal background noise in densely populated southern England.
The decision to focus on the New Forest National Park for its untouched landscapes and rich wildlife.
Importance of considering weather conditions for capturing a variety of bird songs and ambient sounds.
The selection of recording equipment prioritized for low self-noise and portability for extensive hiking.
Use of various microphones and recorders to capture sounds at multiple locations simultaneously.
Strategies for camouflaging and securing expensive recording gear in the forest to prevent theft or damage.
The meticulous planning involved in scheduling the field recording trip to avoid tourist高峰期 and school holidays.
Innovative use of a paper map and compass for navigation without reliance on phone battery or signal coverage.
The practical considerations for clothing, food, and water to sustain the team during long days of hiking and recording.
The adventure of setting up recorders in the New Forest and the忐忑 about leaving the equipment unattended.
Utilization of RX Isotope for non-destructive editing and the process of mastering the raw audio files.
Reflections on the value of the trip for team building, training, and capturing authentic sounds for 'Hogwarts Legacy'.
Learnings from the trip, including the importance of planning, communication, and equipment checks.
The decision not to use ambisonic recording techniques due to the specific requirements of the project.
Insights on the post-production process, including the use of metadata and the Universal Category System for sound effects.
Final thoughts on the success of the field recording trip and the benefits beyond just capturing sounds for the game.
Transcripts
welcome to the airon Vault recordings of
the live streams from Air Wiggles audio
conference these are made free thanks to
our sponsors a sound effect game audio
learning killer Herz audio kinetic sound
Cuts tugi boom Library sound Warriors
and air Wiggles the online home for
audio people good morning good afternoon
good evening depending on where you are
and when you are whether you're tuning
in later or now um and Welcome to our
session about the New Forest in the
south of England this is a a a story
from Pablo and I about a field recording
session that took place in 2022 when we
were working on the Warner Brothers
title Hogwarts
Legacy first of all some introductions I
am Dr Alexander Horowitz I'm the audio
director at criterian games in Guilford
part of Electronic Arts I've been an
audio director an audio lead or a head
of audio for around eight years now
working on titles for Warner Brothers
Rockstar Fox and EA my first credit was
actually for EA so I've now come full
circle I've got my PhD in game
development um and a masters in
programming and Masters in technical
broadcast audio from The Classical
School of Arts but I originally trained
as a composer at the conservator in
Scotland so a mix of the artistic and
the technical there I've also done some
consultancy for the UN and for baa and
I'm on the Committees of the audio
engineering society and the independent
Society of musicians I'm joined by Pablo
Val branes hello everyone it's a
pleasure to be here I'm Pablo senior
designer at Studio goo where I join in
around late 2018 before that I was
working at the magti in studio basing in
London and prior to getting into the
games industry I used to work as a sound
recordist in the film TV industry since
2015 when I got my first recorder a
really small Zoom HDM I've been
recording sounds on my free time mainly
focusing on on ambiances for some reason
that still don't know I have a special
interest in organic sounds such as yeah
Birds insects rain or or wind in
2017 I decided to share these sounds I
was capturing with the audio commun
community so I founded my own level game
workers I've also been teaching wise on
gimio at SAE Institute Spain in Madrid
hope you guys enjoy this talk over to
you Alex thank you and we're also joined
in by Ben Pickersgill and Callum Fox
Forest so Ben and Callum came with us on
this field recording trip um but can't
be involved in the The Talk today so
thank you so part one preparation what
did we do before we went on this
trip now obviously we needed to justify
our field recording trip in the first
place and we wanted to go and do some
hiking and some exploration and all
these different things but what was the
reason behind it well working on Hogwart
Legacy there were lots of different
ingame locations there were lots of
different Landscapes different biomes
types of environments that needed lots
of sounds and we bought all of the
ambience libraries that we could find
not necessarily everything but
everything that pertained to the content
that was in game at the time we' gone
through a sound effect boom and
everything else but we decided we need
something extra we were also missing a
lot of the local Wildlife so Hogwarts
itself is based up in Scotland um and we
needed something that tried to apure the
the environment and the ambiances of the
UK and specifically Scotland as well um
we also thought this would be a good
opportunity to bring the team closer
together I mentioned Callum and Ben
before they just joined us as audio
interns not long before we went on the
trip so we were looking for a way of
essentially bringing them into the fold
getting them up to speed with the game
and getting to know them better as well
now we had ideas of the ideal trip of
course we'd love to go up to Scotland
and stay there for weeks and capture
everything we could find but the reality
of course is different the location we
thought about Scotland we thought about
Galloway Forest Park other national
parks up there but of course we started
to think about New Forest because of
where it was it's it's proximity to
where we were developing which was in
Brighton and Hove on the south coast of
England just south of London we had to
think about background noise ideally
we'd have a location that had no
vehicles no other background noise noise
but in the UK especially in the south of
England that's quite hard to find we're
very densely populated island and
there's a lot of roads and various other
things around here that make noise so
things like train lines planes you can
see the flight radar um airspace here
the southeast of England is actually one
of the busiest airspaces in the world
and so you've got lots of air traffic
that can muddy up recordings um and cars
as well so you've got lots of main roads
lots of even B roads that start to carry
Lorry noise and other traffic into your
recordings as well and there's also the
consideration of distance and cost in
time if we travel too far we spend the
time traveling rather than actually
recording and we spend the budget on
either flights or trains or petrol to
get to the
location finally there's the weather now
British weather is very variable pao's
based is north of Madrid and so we're
always joking about how terrible it is
here but we did actually want to capture
um a range of weather situation
so not just
calm with no wind and just bright sun we
wanted to manage to get lots of
different wind and considering birds as
well birds don't really like being out
and singing in torrential rain or gale
force winds so we had to make sure we
had a mix of different weather
conditions and also bird song as well
now we focused on the New Forest
National Park in the end and New Forest
is um north of the aisle of white to the
southwest of London um and you can see
here um on the bottom right it's a very
large tract of land it's a 70,000 Acre
Site 280 square kilometers um and yes
has roads and things running through it
now but it's one of the most untouched
Parts in the south of England it's a
special area of conservation it has lots
of different um accolades and awards and
different um say preservation orders if
I listed them all on this slide it would
go off the bottom of the screen um but
it means that it is rich in Wildlife
you've got Birds which is the main thing
we were looking for interestingly it has
all three varieties of native British
snake which is pretty cool and roaming
cattle you might see some of this later
on in some images wild horses or semi-
wild horses and other cattle roaming
around the park as well importantly it's
away from a lot of Road and air traffic
you can see the bottom right there the
a31 cutting through but a lot of the
other roads are much smaller and there
are areas especially near a Lind first
which are right in the middle of this
park where you're starting to get away
from all that traffic here is the
aviation map on the aviation chart for
um the Southampton airspace and you can
see by the time you get to Lind Hurst
which is to the the west southwest of
Lind sorry Southampton um you're
actually above that controlled airspace
so planes coming out and especially
single or twin propeller planes less
likely to muddy up the recordings there
let's not talk tiny about the equipment
we we took with us so the gear we used
is a combination of four had Studio Plus
equipment I've been purchasing for
myself during these years in summary we
managed to get three different recorders
and three different sets of micr of
microphones this allowed us to record up
to three different locations
simultaneously what all these
microphones have in common is uh very
low sell noise the recorders also famous
or the good preamps another thing worth
mentioning is of course pability we had
to carry them for long walks and
possibly hide them so in other words
that means to us the smaller and the
lighter the gear is the better the hike
would be more enjoyable and we will
definitely have a better sleep sleep if
we knew the equipment was hidden
properly there's an isos variety of
equipment here we brought with us a 32 P
recorder like the mix PR 6 and we also
brought the suum f8 which has eight XLR
inputs and I recordered that fits in
pretty much uh any pocket such as the
super famous and super reliable
D100 it's for the mics H 840s which are
card mics and the L mics which are all
om directional so we had several polar
pattern options the S haeser MK series
is well known for performing better than
other mics in extreme humidity and
weather conditions and well like Alex
said I'm Spanish and I fortunately I
don't have too much faith in in British
weather another thing to factor in is
wind protection in this case we we went
for ra and bubble be and other equipment
we tend to ignore but it's as important
as any mic or recorder those are yeah
batteries stick cars tape cables or dve
backs since the goal of the trip was not
only to capture sounds for a game but
also to expand our technical knowledge
trying out different Ser configurations
was something we definitely wanted to do
for the good of the team and this also
shows the Verity of of the equipment you
could have all sorts of different setups
in the field two stereo configurations
we use were ORF with the 84s plug into
the mix Bri if we wanted something wider
we had the option of using couple of Lum
uses in AB plug into the either the mix
pr6 again or the Su f8 and if we wanted
something even wider um more immersive
we also had for long uses that could be
tapped to a tree and turn that into a
Tre ear setup in Quad we also had a
couple of Flav mics like the micro uses
that would go with the
d00 however one thing I have to say is
that the pickart of a microphone helps
you up to some degree but it's not the
answer to everything the most effective
way to include or exclude sounds from on
your recording in my opinion is to find
the most suitable distance between the
mic and the source uh well out there in
the field most of the time that's
something you definitely cannot control
I guess that's the magic of your
recording absolutely that's me so
looking at other gear things that aren't
necessarily audio related um navigation
was a big consideration for this and um
Maps I've got my my prop I don't how
whether you can see this here this is my
um New Forest or survey map and this
came around um like a Bible when we were
going around New Forest I got a lot of
stick for it from the rest of the um the
folks on the trip but um having a paper
copy of a map let us actually sit either
when we were taking a quick break or at
the end of the day and look at where
we'd been and we covered a lot of
distance on foot each day um a compass
that goes along with this and so we
start to become the Explorer that you
can see Pablo um rocking the the gear of
here on the right hand side um phones of
course essential um but not going to
work if we run out of battery or can't
charge them but also the coverage was
terrible there so making sure we had the
content downloaded beforehand so if
we're using a digital map on the phone
making sure we've gone into Google Maps
or whatever you use and actually
downloaded everything in advance back in
the hotel or on the road um there were
also some practical considerations as
well so food and drink this might sound
obvious but when you're hiking for as
far as we did each day and you're not
really stopping apart from when you get
the odd um lunch break which happens to
be quite short having enough supplies
that aren't a related on you is actually
really helpful clothing again Pablo
modeling this here having suitable
footware there's a lot of hiking we're
doing so that's really important um
considering the weather if it starts to
rain and especially if it starts to rain
heavily we can't really do anything we
can't just go back to the hotel and wait
for it to finish because we've got to
get these boings were there for a set
period of time and we have to make sure
we press on so we can't stop for bad
weather and of course lots of hiking as
well and so having decent footware
decent gear and making sure you're
comfortable it's really really
important so moving on to part two the
adventure itself the hiking we've talked
about miking things up and we'll talk
about the plan's lunch a bit later on as
well so we chose the 27th and 28th of
April in 2022 for this um and there were
a bunch of reasons why that was was the
best date for us we needed something
that was a weekday we didn't want to
have tourists there on the weekend or
families um we were also at work as well
it might sound like we had a lot of fun
and we did but we were working during
the week and so we wanted to go and do
that as part of work and actually get
some rest
afterwards tourists is a consideration
um if we had gone during a period where
lots of tourists were there especially
in the summer um we may have found that
we could hear tourists across all of our
recordings especially if they have to
get there if we're looking at increased
road traffic and things we wanted to
capture spring birds so of course it
necessitates going there during the
Spring but there's also the
consideration of the time of day as well
and when bird song Cycles are actually
going to be there for us to record
looking at holidays um so public
holidays bank holidays when the schools
are off on break as well that's really
important if we'd waited for a school
break um by mistake and then 30 school
children swarming through the forest
where we're recording those takes are
going to be unusable for when they're
there and there's also light and dark
Cycles as well you can see here this um
this graph from time and date that's
today's date there the 11th of June and
you can see there's actually no night
today at New Forest there's technically
no night there's astronomical Twilight
there's nautical twilight but there is
no darkest night and so going a bit
earlier in the year in April meant that
we could capture lots of things during
the day because we had lots of sunlight
to work with to navigate and then at
night we could set up recorders at about
6:00 pm. and they could record all the
way through the night to capture that
nighttime Ambience as
well looking at the time and date here
this is the school holidays so we've got
um the spring and Easter holidays to
consider if we'd gone during those we
could have ruined our takes the half
term dates are more holidays for the
schools these differ across England
Scotland Wales and Northern Ireland so
that's to consider and then there are
public holidays as well so these all
just pile top of each other and give you
lots of dates that aren't going to
work this is the initial route this
isn't the foot route this is the driving
route and we started across in Brighton
um we had Callum come down from London
Ben Pablo and I were all in Brighton or
hve and so we met at Brighton station
with all of our gear piled into my car
and I drove us across to um New Forest
it says about two hours here it was
actually a lot longer than this and
we'll go into that a bit later
on now when we got there we were greeted
with scenes like this
some of the first locations were
fantastic but we didn't necessarily know
where exactly to start we'd already
looked at the routs again we' looked in
the maps and started to do some research
but the difficulty is when you come
across a good location you're not sure
if the next location you find is going
to be even better and if you spend all
of your field recording gear on the
first three locations that you find and
then you find one that's even much
better for the fourth you're going to be
kicking yourself that you didn't use one
of those more conservatively so we did a
lot of hiking to start off with you can
see C Ben and Pablo here on the bottom
going off on the the hike down there um
and so yeah starting to record was quite
a tricky issue we knew we wanted to
capture Dawn and dusk Cycles so we
wanted to make sure we had recording
going on from all three sound recorders
during the day and then we get them
recharged with new SD cards back up the
data and set them off to record at night
again one of the big considerations was
whether the gear was safe and we talked
about this all the time we were going to
New Forest that we hadn't been to before
we took several thousand pounds worth of
recording gear and we left it so we
didn't stay and monitor this gear we
actually set it up to record for three
four five hours and we left it and we
hiked somewhere else and the only uh
reassurance that we had was that it was
kind of in the middle of nowhere so no
one would actually find the gear and if
they did they wouldn't be the type that
would steal it that's what we were
hoping anyway we tried to camouflage
things so we tried to put some leaves
around things and we tried to use
certain color dry bags to help um make
it not stand out so much but again you
can't be too sure I'll just say it now
we didn't lose anything thankfully but
it was on our minds the whole time rain
as well rain was a consideration now we
did have things in dry bags but of
course the microphones can't be inside a
dry bag so we were aware that if we had
torrential rain we're soaking the mics
is that going to be good for them
probably not so that was also a
consideration as we were going around
the
forest here are some shots as well so
we've got on the left hand side um just
one of the the types of trails that we
came across and interestingly we've got
this tree cover above there so we
started finding locations about this
where we thought well this seems really
interesting are we going to capture
something which gives a sense of height
we weren't necessarily doing those types
of recordings but can we get the the
feeling that we're undercover or
surrounded by foliage so that was
interesting Pablo on the top right there
sorting out the levels in one of the dry
bags and just monitoring before we set
to record um and the plowman's lunch
there which I said i' mentioned on the
bottom right this is one of our lunches
um it was invented by the cheese
manufacturers in the 1970s it sounds
like a an ancient lunch but actually
it's a a marked employ to sell more
cheese but it was
delicious so here is a diagram of the
overall recording on the trip we started
in the place called frm and the second
day was in matle wood and you can see
here on the far left hand side not sure
if you can see my curve but we've got
setting off from Brighton all the way
across to New Forest and some of this
travel is on foot starting to go around
New Forest and look for good locations
once we found a location we were happy
with and we thought we'd commit a sound
recorder to that's location one and we
set that to record for a few hours we
did some more hiking found locations two
and three once we'd set everything up
there was nothing we could do we could
of course take notes and do some more
research but we thought at that point
it's a good time to go for lunch and so
went for lunch left those recording got
to take a break and then we started to
hike back round and collect recorders 1
two and three when we collected one we
then set that up as recording four and
so this was starting to get towards the
early evening where we wanted to get the
nighttime takes that would go all the
way through the night so recorders four
and five are essentially the full night
recordings we didn't do a six then
because I think it was a battery issue
um but we did set up four and five and
then we went and had DIN and we planned
our route for the next day we got the
map like captains of a ship put the map
down on the the pub table and had a Lu
and decided where we wanted to go and
what we'd learned from that day and also
took notes as well that built up this
diagram this comes from a written list
that we had along the way and some notes
we took at the end of the day we got up
very early I don't recall when Pablo but
I think it was Pablo and I drew the
shorts draw and said we'll get up early
and we'll go and collect the first bit
of Kit um and then we went and recharged
it got some breakfast picked up kit
number five and then the four of us
started to travel to matle Wood and set
up recorders 6 seven and 8 and so 67 and
8 is a bit like two3 but in different
locations and with different mic
configurations as well we kept swapping
the recorders and the mics just to
experiment and sometimes we thought well
if we've got four hours from that
location let's change the location and
the mics and see what we get once we'd
set up number eight went for lunch did
some hiking to collect 678 and did some
more travel and maybe had a celebration
at the end interestingly my iPhone I was
looking through the health data on the
health app um when preparing this slide
and I had a look at the pedometer and
the step count and you can see here a
few steps around the station getting
into the car seeing everyone and then
the majority of that travel towards the
end there is on foot hiking around
locations it dips down and goes down for
lunch and then four and 5 we're looking
for locations again there's a gap here
where we had the the break and then
you've got the locations in the morning
these are slightly not synced up
essentially but we've got lots of hiking
in the morning and once we set up the
new recorders we can have a break again
so it's interesting the amount of travel
and the amount of non audio
considerations that are required here as
well now I want to talk tiny bit about
some of those recordings the equipment
we we use and why we chose that location
um this one was on day one and after
around 1 hour hiking we found our first
location what made this spot a good one
was that it was away from human-made
noise we hadn't heard any noise for the
last 20 minutes or so no traffic and no
more Enthusiast enthusiastic hikers
remember this was a a week day we knew
we were going to pick up this equipment
after lunch so that gave us a window of
around 3 4 hours that that means that
the location needed to be good right at
that time and not late wrong weather was
clear around 15 Celsius or 59 Fahrenheit
birds were sinking on stop with a good
presence of presence of them but without
becoming a massive curse we couldn't
hear any insects either so that's what
that's what basically what we're chasing
we set up the
840s with The Rao RTF windshield a few M
away from the source uh we left now with
some concerns because well the
microphone was visible even though we
tried to use some camouflage that didn't
work out very well but in the end happy
ending now we're going to play uh 15
seconds of that recording H this is all
raw material by the way
this one is a quite a different scenario
we wanted to live an overnight week and
this was the time to do so first thing
we decided was to that they had to go
unnoticed by people some of the people
we run into earlier today I'm curious
horses we we also saw that day and we
have some recoveries of horses near the
bike what was the smallest gear we had
that was the D100 with the two La mics
the micro uses we T then into a tree uh
voila first problem solve we also knew
that yeah thanks to previous experience
experiences with the d00 the battery was
very very
reliable however this second problem was
more difficult to manage we found this
very quiet location away from any kind
of human activities but it also meant
that it was very quiet by the time we
press W the plan is to leave this
recording all night long but we're going
to capture we for so many hours we
basically didn't know perhaps it was
just going to be silence like it is
right now or we're going to get some
some action the the 100 preamps are good
but not that good I have to say we as I
said we we needed some some action so in
the end what we did is we prioritized
this quiet location over a noisy one
hoping that the night and the early
morning would give us what we were
chasing which was Birds whether was
whether that was single bird calls
resonating across the forest at night
night or a very busy CS of birds
at we we needed one of those two or
ideally the two of them so we left again
uh we hope for the best the which was
the equipment would be still there alive
the morning after and we have gotten
some nice
recordings uh in this slide this is a
very interesting one because just by
taking a look at those uh pictures we
can see how much the sscape can change
at the same location shall we have a
listen at the early morning
[Music]
one and the third down L example this
was on on the second day even though we
didn't need to run files for this
project we wanted to test how a quad
recording would work if we use a a tree
we unfortunately couldn't find a tree
with a thick track so we use the
branches instead as you can see in the
the picture on the right the mix PR was
already recording in a different
location so we had to use the f8 so you
can see in that same picture the dry
backs apart from protecting the
equipment from weather can also work as
a hunger we love this location because
well it was deep into the woods and
presence of birds was dispers enough to
avoid having any Main protagonists in
the recording that's now of a listen
and in this slide we have more uh
beautiful pictures of of that tree
there's a funny story about the one on
the left with the
f8 g wasn't set up properly on the Left
Channel nobody noticed that good thing I
guess is that hasn't happened since then
uh I guess we'll learn something after
all so moving on to part three then what
happened when we got back from our
trip well first of all we had to ingest
our data and we ended up with almost 100
Gig of raw audio 43 hours of recordings
um and I've put on here the sheer amount
of stuff we didn't really realized along
the way how much we were recording until
we got back and tried to look at it all
and work out how to listen to to it um
it turned into about two and a half
hours of mastered recordings by the end
and we didn't lose any data we were
terrified along with the camouflage
problem and the rain problem that we
would lose data um but I had a laptop on
my back the whole time I was swapping
out SD cards um and we did some some
backing up online as well um when we got
back to the hotel at the end of the day
so we didn't lose anything because
everything was backed
up first thing we we always did when
recording something is is uh to make
sure we slate each recording at the
start and at the end we always mention
the equipment we are using time of day
location what's going on what we are
hearing when we live and when we pick up
the equipment that sort of a star H this
is very important because yeah we will
most likely not remember that recording
where we sit down in the studio a week
or a month later so after packing
everything up we could
start with the editing those row files
were copied into a new folder that
became the editing one even though I
would have love to to listen to
everything we recorded I just didn't
have the time to go through each file on
listen to all 43
hours what became a massive Time Saver
for us was uh RX isotop r x just by
looking at the
spectrogram I could tell what was
interesting to us on what could be
chared things like individual core
verticals distant plan or train or even
Hiers walking by were quite easy to spot
through the
spectrogram I dropped markers markers to
name those events so I didn't use at
this point any destructive
editing so we go to the next slide
thanks so those editing fils were
duplicated once again and now we had the
soon to become Master files at this
point destructive editing is allowed
such as spectral
editing I have to say some cases
spectral editing can make can make as
rescue recordings that otherwise we
couldn't use when there's no way to
avoid
capturing uh this on human made sounds
and my Approach is to basically copy the
good parts of our recording and past
them into the dirty ones as long as it
doesn't cover all lot of the spectrum
and there's no relevant content going on
this could work but yeah this also needs
to be used carefully or everything will
end up sounding a natural and and very
odd in terms of EQ in some recordings I
had to get rid of most of the low
content since yeah we could hear some
traffic Rumble in the distance some the
recordings only needed a high pass
filter around 30 40 htz no compression
limiting or noise reduction was applied
to the master files we would take that
into account once the assets were Master
basically depends we're not doing this
because it depends on the needs of the
project same applies to to the mix what
can work for one project doesn't mean it
will work for the next one so at this
stage basically the less processing the
asset have the
better since we had very very long
recordings we had to turn those into
small pieces of around 3 to five minutes
this might sound obvious but the goal
here was not to break the natural throw
of a sscape for example by not cutting
bons halfway through the last thing we
did was to implement the
metadata we use UCS for that matter
Universal category system UCS for those
who don't know this a public domain that
provides a category list of
sfx the ideas to offer a solid
categorization of of those sounds of
those sound effects so it's not the wild
west anymore when you are searching for
a sound in your favorite audio asset
manager whether that's sound Le sound
mind or any other
one now we're going to
play Montage that includes H to master
audio files along with some footage we
we took in that trip well actually Alex
took in that trip and this really shows
off some of the Landscapes as well yeah
be lagging you
and this is what happens when it then
goes finally into the game so this isn't
necessarily just the ambience recordings
from New Forest but this is a mixture of
um different parts of the ambience um
with some new forest in there as
well for
finally then part four Reflections what
did we learn from our trip especially in
this post post modern two years
later so eight things we wish we'd known
some of these have come up in the chat
already actually see if um they match
what you've thought already planning
more time to get into Brighton for
getting out of Brighton for traveling
across for hiking um we found that we
were stuck in traffic on the way to
Brighton or I was stuck in traffic
driving there um then getting out
obviously took just as long so that
two-hour drive across the New Forest
took far longer more like three plus
hours which kill some of the time that
we could have been using earlier in the
morning to record we might have got if
we'd got up earlier again um we might
have got an extra load of three
recorders in
there calling ahead we considered
calling bars or restaurants or local
tour guides or anything else um to find
some locations to go and record in but
then we realized that the kind of of
things we wanted to know I.E field
recording things the people who run the
pups don't necessarily know what sounds
good or what we're looking for so maybe
what we could have done was speak to
other field recorders people who've gone
out there before and get some tips from
them a recording check protocol Pablo
alluded to this earlier with the D100 I
think it was or the f8 rather and that
we didn't set the the game correctly um
I think it was 35 or 40 DB too cold and
so what we did from then on was to make
sure that somebody else was
double-checking um the settings we also
had this thing a bit like you know when
you go on holiday and you're not sure if
you locked the door or you've left the
gas on we thought did we press record
now we did press record every time but I
think there were a couple of times we
went back and we actually opened it back
up and checked that we were recording
and we were and we we realized if
somebody else checks as well that's the
way to do it um having a listen for a
while before we go off onto our next
location that was something that we did
but not necessarily for as long as we
could have done so maybe we did that for
20 seconds or 30 seconds we were lucky
and that everything worked but we might
have found that actually there was this
periodic intermittent noise coming from
a certain location maybe there's a
creaky branch on a tree or something
similar that only Creeks on its high
wind so we needed to be careful and we
were lucky but we should have listened
for longer um an efficient route we did
a lot of hiking um and we didn't need to
do all of that and we realized when we
checked the map at the end of the day
we'd actually doubled back on ourselves
three or four times and added a few
extra miles into the walking that we
didn't need to do number six somebody
alluded to this earlier in the chat
camouflaging gear or using a sign using
a sign that's saying we talked about
pretending we were from a bird charity
which isn't exactly very ethical but
what we could have done is said we are
researchers essentially we were um
trying to capture acoustic ecology so we
could have just said we're trying to
capture bird sounds please leave this
gear Alone um you know that that's our
job um and we really appreciate it if
you could leave it and it might have
made us feel a bit more easy about
leaving expensive gear in the
woods um number seven is to carry more
of the accessories or the extra bits
that we didn't think we'd need so we had
tape and we had cable ties and ropes and
things but we found that the tape didn't
always stick to itself or what we were
sticking it onto um we sometimes didn't
have the right type or length of rope it
was too light it was too heavy so having
some extra bits there would have been
really useful and again again somebody
alluded to this earlier air tags on
recording setups we used um WhatsApp
location and we sent the location to
ourselves but we should have put air
tags there was only three uh recording
devices so we should have put air tags
on or some other type of tracking Beacon
so we know where things
were so this then brings us to the
overall value of the trip now ultimately
we captured lots of new sounds this was
really useful looking back at the
project um and trying to flesh out all
of those spaces especially the entire
map's worth of Ambience on Hogwarts
Legacy there was a big team training
aspect um which we thought might be
useful we didn't realize how far that
would extend to both training Callum and
Ben on some new mic techniques and new
recorders and how they worked but also
Pablo and I to experiment and to gain
more knowledge there as well team
building was a big thing again we
thought it'd be useful but we didn't
realize how well it would work getting
to know the interns quickly because
they're coming into the industry they
had some previous experience on other
projects and things but they were coming
into our studio and we wanted to make
them feel welcome we also wanted to get
to know them and bringing them on a trip
away from the studio where we then had
dinner in the hotel and that kind of
thing really helped to break the
ice don't forget that after two long
years we just came out of a pandemic so
being outdoors in nature made us feel
life once
again that was a really important thing
actually and getting away from the
screens getting away from the studio of
course Studio go is a fantastic place
but getting away from technology here
for a second and having it in our hands
and then leaving it let us recharge a
bit um and also to reflect on what we've
done so far on the project and what we
wanted to do going forward until the end
of
release so that brings us to the close
of our session um thank you for joining
us I know you from different time zones
and all over the world so thank you
that's been the New Forest field
recording for Hogwarts Legacy thank you
very
much thank you
guys we'd like to give some special
thanks to air Wiggles um of course the
aircon um conference fantastic
initiative um we really appreciate being
part of it um Warner Brothers and
Avalanche software fantastic working
with them on Hogwarts Legacy um and
Studio Gobo where Pablo still is of
course um fantastic studio and we really
enjoyed um working there working on this
project and also obviously special
thanks and shout out to K Fox Forest and
Ben Pickersgill as well both looking
good cheeky here in the New Forest um it
was fantastic to bring them on board to
the team um to work with them and also
just getting to know them on the trip as
well you know they're they're both um
friends as well as former colleagues now
now we do have some time for Q&A I think
um we'll probably have about 10 minutes
or so there's been some questions come
up in the chat already but if anyone has
anything now um or Greg might be
collating these as well for us please
feel free to let us
know ah Greg fantastic okay um so um
Gregory Albert I see um 96k 24 bit would
you now consider 32bit float at all so
Pablo what do you think about um using
32 bit uh we did we use 32 bit for with
the mix
spre uh basically what gave us is uh
less concerns about yeah if
something all of a sudden it's G to
happen something super loud and
basically the mics are gonna clip in
this case since we were going after
birds that shouldn't be a problem
because what we check so many things
like we GNA have know a thunderstorm all
of a sudden that wasn't the case but if
for example yeah we were chasing
Thunders definely 32 B fla will help a
lot question from seruan here I'm
curious do you delete the unused data
after the project is over um no that's a
problem for it so 100 gigs not too much
but I believe pavet still on the server
there yeah it's still there still alive
I think if we if we got to the point of
having to delete the data um it would be
a it would be a huge shame there' have
to be a reason for doing this because
you've captured all of this foot Mage
that took a lot of work to do yes it was
only two days but actually there's all
of the preparation for it there's all of
the effort on the trip um so now will'll
be holding on to that for us as long as
possible really um Lewis says did you
use any notal signs on the or around
your gear in case someone found it or
Apple Air tag so yeah you beat me too at
there um we did think about signs we did
think about air tags but we largely
thought about them on the night of the
first day and thought I wish we had some
signs and we didn't really have the
ability to make a sign in the hotel
because we need to laminate it and that
kind of thing thing but we'll definitely
be doing it in the future um W says what
duration are the recordings mostly
during daytime to catch right balance
between variations and useful content um
looking at the graph before I think it
was three or four hours but Pablo maybe
you could speak to this yeah I think
what we captured was around three four
hours and then when it comes to
mastering they were down
to I just had a quick look I think the
shorter is two and a half minutes and
the longest 11 minutes I'm not saying
this is what's going to go into the game
but it's the the duration of those
Master
files Connor says are you using battery
packs or disposable batteries any Brands
you'd recommend for several hours of
reliable recording to my knowledge I
think we used only battery packs
although do we have any doublea that we
were swapping in yeah we use uh so for
the f8 and the mix3 battery packs H
definitely recommend anchor I think
that's the name of the brand and the D1
100 because you cannot use an external
battery for that one was yeah H doublea
batteries I think we use is it called
enop something like that I can have a
look enop I think that's the name of the
brand I remember turning up with a
massive bag of batteries and some
rechargeables and some disposables I
mean preferably I'd rather use
rechargeables um but I think we just
grabbed a load of stuff it might have
even been on the way there I think we
topped up we were at a petrol station or
something actually I think yeah we use
rechargeable batteries with the
D100 should have documented things more
um question here did you record
ambisonic audio if not why not it's
great to see ambisonics is making such a
Resurgence as well considering it's what
1960s 1970s technology um no and I think
the reason
why we didn't was because we didn't have
a mic um it's normally a soundfield mic
I've used I know PAB you've had an ambo
in the past before I think you sold it
yeah yeah don't have that with me
anymore and I mean like I said well we
didn't have an ambic ER mic to first of
all and the other reason was that even
though we capture something ER in Quad
we didn't need anything suround or
ambisonic in this case for for this
project so that wasn't a concern for us
we have used them in the past before as
well though I think when p and I were
working on Planet of the Apes VR um for
Fox we used ambisonics there so we're
not adverse to Amber Sonics it was just
the nature of the gear we had and what
we were looking to record um bass says
how did you handle water condensation
when leaving the mics overnight was the
B dry bag enough um sheer luck luck
might be the answer for that I mean how
did we I don't even think we considered
it we thought let's just set this up and
hope for the best Pablo yeah I mean it
was all right we didn't have any issues
with yeah humidity or water condensation
H maybe it was the
weather ER but yeah that wasn't an issue
at all I was actually more worried about
rodents when we ta the um micro usage to
a tree uh left all that all that
recording all night um yeah humidity or
or water condensation I don't know how
clear we've made it here but there was
there were lots of conversations about
mics going missing horses eating mics um
someone said right the chat about half
an hour ago um did you have any problems
with um creatures or animals or Critters
and I responded yeah we it was a big
thing um it's not we didn't have anyone
running off with anything any rats
Goring through cables or anything but
there are recordings that we haven't
included in this of horses um getting up
close to the mics and having a sniff
around um jav says did you feel it was
worth it to do all this work compared to
what you could be achieving in designing
the ambiances using libraries I I think
it was out of necessity really because
we had gone through libraries and we'd
we' looked through everything um or
everything that we could find and we
just weren't getting enough so it's not
that the quality wasn't there it's that
the quality was there but we needed at
least two or three times what was there
and because of the nature of Hogwarts we
had variations on season time of day
location weather so all of that there
you're essentially multiplying the
variations and the different types of
assets that you need so we would have
done if we could but actually looking
back because of the team training
element and all the rest of it there are
additional justifications for why we
would have gone in the first place yeah
and it was I mean uh massive yes
definitely it was
worth it uh and I don't think we
wouldn't achieve the same without
getting this this
record CH writes did you ever consider
using hydrophones um we had talked about
hydrophones and those electromagnetic
microphones and a bunch of other cool
and crazy things like contact mics and
things I think from my my opinion is
that what might have happened if we
brought a hydrophone or two along is
we'd have spent more time Messing around
with hydrophones than setting up and and
hiking around for good locations um just
because it would have been novel and
interesting and inevitably someone would
have fallen in a lake or a river and it
just adds a bunch of extra silliness to
the equation but I think there's
definitely a benefit to using them and I
would probably do a dedicated shoot with
places that have lots of rivers and
streams and lakes and things
Pablo yeah I mean in this particular
case yeah we W were're not going after
water if that was the case we definitely
would have used a a hydrone i Yeah we
actually had couple of uh hydrophones in
studio but yeah in this in this case we
we didn't need them and the amount of
time we had to record basically Birds
was limited so yeah we basically wanted
to focus on on just capturing
Birds gas writes could you elaborate on
the mastering process what did you
consider as useful and not useful
content also was one of the recording
setups used more than others in the
Masters I'm going to throw this one over
to you yeah
so what do you consider useful and not
useful content so basically when when
you've done this editing process tons of
times sometimes just by looking at the
spectr around you can see okay this this
is basically what we have right here is
people talking hikers near the mic so
even though you listen to that it's
quite easy to recognize those kind of of
uh sounds or pictures in this case in
the in the Spectrum H whereas when that
same thing is uh don't know a bir C
really close to the to the mic that's
also easy to spot just by taking a look
at for example of the
frequency um in terms of recording
setups that we use more than
others H something I really like was
the maybe you guys this gonna take your
surprise but it was the D100 with the
micro uses basically leaving that setup
all night recording ER we managed to get
a lot of good content with with that one
and yeah it's the cheapest recording
among all three is the cheapest all
those are the cheapest mics but yeah
sometime is it's not the gear you use
but the location uh being there at the
right moment like Hendrick's playing a
$50 guitar that's being kind I think
there um so Mark says I'm a Sound
Engineering student from London where
would be a good place to research field
recording techniques um and do you know
of any good accessible resources thank
you so much for the presentation um I
have a resources page on my site I think
it's at Alexander hartz.com
resources which have some things on
there about it's largely courses and
books as well so all of the different um
books about game audio um you know
leading with sound and game audio mixing
and all those things for about 20 years
are all on there um but of course I mean
it it might sound a bit um cliche here
but the air Wiggles Community has been
really fantastic um there are loads of
conversations that go on here um about
recording and I think if you were to
raise a thread um for that as well um I
think everyone would Pile in from the
chat here and start um start giving you
ideas um Pablo there's also the A S
effect blog that's a really good one uh
there's as well the field recording
Facebook group I joined that one I don't
know when that was maybe 10 years ago
and that's also a good one um yeah like
Alex said probably a Wiggles is is one
of the best ones and the other thing
they best resource I'd say go out and
record and practice that's the the best
learning curve I think you can't beat it
and especially if you can take someone
along more experienced what we did on
the the shoot for this trip was Pablo
was essentially um the the main
recordist I was in charge of logistics
and then Ben and Callum were in the
position to just soak up anything and of
course they've gone and done LS of great
things since but um it was a an
opportunity for me to focus on where we
were going and how we were getting there
and all that kind of thing swapping out
Batteries and Things and Pablo to be
positioning mics so it's um if you can
learn from other people it's fantastic
um just a few comments here Christian
says I love the soundfield mics my uni
had one my uni had one as well um and of
course we've got that WXYZ um output
conversion thing as well so there's all
this extra gear but we didn't have one
but it could be interesting in the
future
um sorry my uni didn't have one of those
but we just didn't have one you know we
I suppose that's the thing with the kit
list is that it could have had dozens of
microphones on there and loads of
recorders but we made the best of what
we could with the gear and the time I
think we'd have loved to have gone for a
week or two and take 12 different
recording setups and leave them
everywhere with clever signs and air
Tags I'm I'm sure we will in the future
um especially if I can get myself down
to Madrid and go on a field recording
session there but you do you do the best
with what you can do yeah um uh another
comment here Arie says having a bit of
real life recordings mixed in with sound
libraries gives it a bit of character
that's what we thought as well um of
course it was necessity but at the same
time where it's not just Library content
aough there's some fantastic Library
stuff out there it's about trying to
inject for us it might sound weird but
memories of New Forest you know we I
hear these recordings and it takes me
back to hiking with my friends through
the woods um Jasper says did you
consider layering these recordings in
heightening the mystical mood of the
ambience for the game if so what did you
use so layering
Papa what did we use that's a good one
yeah apart from this we use we purchase
a lot of H boom libraries uh there's
also if you guys can check out H George
bl's sound laies as well I think yeah he
runs meanful audio mindful audio there's
also tox Rex verly he's got plenty of
different sound laies I think the last
one one he released was H about
Patagonia in Chile and
Argentina um also a few
more can't remember right now but yeah
mainly those I think it was a
combination of those three plus uh all
the recordings we we took in this
trip I'm going to just pick another
couple of questions because we're
running up to the hour um Gregory says
is the mzi series are Le common to use
um I'm not sure I mean we didn't think
they were necessarily the the First
Choice everyone would go for but they
were definitely interesting to use on
the trip they are super easy to carry I
mean even if you are don't know on a
trip with your family your partner you
can just drop those into a back with
with the T 100 or any other H record you
have um that means basically the the the
gear you have access to that's the best
gear should have on the slides it's a
good quote that um Vincent says why did
you decide on using AB technique for the
Ambiance
recording
because H we were using RF it was H wide
but not as wide as what AB would give us
using couple of on directional mics and
also the other thing was we wanted to
get as many different setups as possible
because then we want to to have a listen
at this in the studio with h well for
ourselves and the interns as well um
just to uh yeah some team training uh
basically become better sound
designers I'm going to take one more
question here from baz um how did you
communicate or Justify the field
recording trip within studio goo if even
you had to what part the team building
play and how you communicated that um
team training probably wasn't the first
thing we said but we basically stressed
the point that we need some sounds um I
think we might have said look at how
much we're spending on libraries and
look at how much it'll cost to send us
to the New Forest for two days and then
look at all of these additional benefits
and bonuses as well um and I don't
remember it being a struggle I think um
team at goo or the you know the studio
heads and other people at goo were very
happy to sign this off it wasn't that
expensive um it might have been
interesting for us to explore the cost
but it it wasn't huge it was my car
driving across four people in a hotel
for one night um and the rest was just
lunch and dinner um and I think we
didn't put beer on the budget so I think
that's um you know it was it was fairly
inexpensive for the amount of content we
got back um I'm just going to one final
thing here um is to share
this and so we'll leave a Q&A there
thank you for all your questions um
really interesting questions and
actually giving us a lot to think about
for next time so thank you um getting in
touch if you've got any questions for
for us anything you want to add or say
or that you didn't get to put in the
chat here um you can let us know so I'm
on LinkedIn I think it's my only social
media platform I'm on linkedin.com at
Alexander Horowitz um or you can get me
on my website at Alexander Horowitz
doc you guys can also contact me on
LinkedIn or as well or through my
website game workers.com hope you guys
enjoy this talk um yeah like Alex said
if you have any other question that we
haven't been able to answer drop us a
message on on LinkedIn or any other way
and yeah will be more than happy to
carry on talking about field recording
and all your stuff fantastic well great
to see you all thanks for all the
questions and um best of luck on your
field recording projects in the future
goodbye for now thank you very much for
attending
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