Dolby Games News

Hear from Michael O'Kane of Level 91 Entertainment and David Baxter of Boom Clap Play, David Baxter, about Dolby Atmos in their release, Inertial Drift.

In the first two installments of this series about the use of Spatial Audio in Ori and the Will of the Wisps, Kristoffer talked a bit about some of the whys, whats, and hows, let’s look at how it all came together.  

In Kristoffer Larson's last post, he went over the project goals and decision-making process for pursuing a spatial audio presentation of Ori and the Will of the Wisps.  In this post he covers some of the more specific content and implementation approaches they took.

In this three-part series, Kristoffer Larson, Senior Sound Supervisor with Formosa Group, will share some of the technical and creative processes used in the production of Ori and the Will of the Wisps as it relates to spatial audio. In this post he talks about the design intentions and decision-making that lead them to commit to a spatial audio production. 

In the second installment he will cover the creative and technical methods that were used to create compelling spatial content, and in part three, we will learn about the final stages of the production and how the music, mix, and testing all came together.

Call of Duty: Modern Warfare took home the Audio Design Award at the 2019 Game Awards and we recently had the opportunity to speak with Stephen Miller, Audio Director at Infinity Ward and the audio team about the use of Dolby Atmos in their title.