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Valoon

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  1. If I can give my 2 cents, I was in the situation you are in not long ago and I've been working in the industry since 1 year. I am not a programmer but a sound designer.     I started just like you did, by sending resumes to every big companies. Got the exact same mail as you from EA (minus the job title), got a similar one from Blizzard etc... Only Valve had a guy nice enough to answer me directly to tell me they hire only after 5+ years of experience and don't do internships (which is something I knew but I tried it anyways) and then we talked a bit which was pretty cool.   After having no luck except with one studio in LA who were interested but needed to wait to make a decision (I couldn't afford to wait for their decision) I decided to lower my expectation (my goal was to have an internship in a major studio in the US and I am from Europe so it is almost impossible) and started to search only in big EU studios. Didn't get more luck. It also turned out the interested studio in LA didn't take me after all.   Then I started to do small studios in France (my country) and I got 2 answers, one of them I got a phone interview and I couldn't be available at the time they wanted because of school so it didn't work out and the second one is where I got my internship but I got it by being able to do more than regular sound design, I know basics in code and I know a good amount of DSP which got me the internship. Got lucky after, I got to do some sound design as well. I got a contract there after and I've been there since 1 year not including the internship.   Random facts :   - Keep in mind that I sent probably 100+ applications and I got 4 semi-positive answers and one positive, I did get lucky especially as a sound designer (it should be easier for you as a programmer) but I had to sacrifice my original goal. - At the end I was so desperate that I would send application to every studio that was obviously bad just because I needed the internship for my degree and I knew that internship are extremely important for the start of your career. - My school didn't help me at all and I knew no one. - I had a meeting with the head of my degree so he could hopefully give me a random internship in a non sound design field (my school was not specialized in sound design) and I got my positive answer 2 hours before the meeting.     All of this to show you that it is hard to get an internship and you should not give up too fast, if someone doesn't answer you and they are a small studio, just send one email to check in or call them. Small studios are usually nice. For big studios they get too much applications to care. Don't be too cocky just because you have more than what they ask for, plenty of people have it. Having more than what they ask might put you in the top 10% of the applications but that's it. I had more than what they ask even for an entry job. On the topic of "what they ask for" don't wait for an internship "job" to pop up on their website, just send applications everywhere.   I hope this is helpfull. Good luck.
  2. I would add, if you want to make yourself more valuable don't learn the tools only but also the coding that goes with the audio integration.   Got my first job mostly because I know how to code pretty well for a junior sound designer.
  3. ^ Exactly. And it was basically my point in my post above too.   Teams don't go with bad artists even if they are bad themselves. Artists know that and train, after a while they are good and then the bad teams want them but the artists don't want them anymore because now they can do better.
  4. My 2 cents as a junior in the industry (inhouse sound designer) :   - To be even noticed as an artist they need to be already really good, and it's very easy to see a bad artist. I suck at art myself but I can pretty much see when people are not that good. This means that hobbist go for people who are really good but they are not really good themselves a lot of the times. The artist will see that. It is especially true with programmers on hobbist projects. No way to really judge their skills, I have been in projects where I could have coded at least as good as the "lead programmer" and I don't call myself a programmer.   - Artists don't really need to make a game to have their work in a portfolio. (most people who work for free do it for portfolio, I do hobbist project still to improve my portfolio but I've become much more picky). Sad truth is most people don't really care of your next "super game of Doom" and they don't do it for free because they loved the idea so much despite what they might tell you. They do it for the portfolio. Artists don't need that as much or at all. You have a truck full of composers because they need to show game music, not just music and same for sound designers although it's not as bad in term of supply/demand; sound designers need to show game sound design. Artist don't really need it that much.   - Very hard to work as an artist under a project lead who has no clue about art. Like you have no creative director or anything and your art is being judged by some dude who has no clue. Very frustrating. In more serious (paid) projects even if the project lead is not an artist you know he is more serious about it and probably has more skills, so it's not the same + he pays you for it anyways. You can combine this point with the one before. If you're not paid and you don't need a portfolio why bother having someone not competent telling you how your art should look like. It can train you to deal with client but that's it.   - Most of the time, and it's true for audio too, you will fall with teams that want to do the next AAA. Nothing they do is AAA worthy yet as the artist or audio guy you'll have to be much closer to AAA because it's way easier to see that your work is not AAA level. It is extremely annoying and a good reason to avoid teams that look inexperienced (every small team with no veteran trying to make an AAA as 99% chance of failure anyways). Not to hate on programmers, I work now with great programmers and it's amazing but in hobbist projects they are the biggest risk for sure. I had one project where people expected me to give battlefield/call of duty sound design on 0 budget. Meanwhile their AI was jumping into walls and running back in forth in front of you.   So all in all with all of the risk you take of wasting your time with bad teams, if you can avoid it you do it. And artist are the people who can.
  5. I am not a composer but I think it is really nice. Didn't see any unfitting parts.   I would say that it might be too long for a loop if it had to really be in a game.
  6. Ok thank you guys, so I am going to fix what they told me and post them I think. Probably send them a mail too to check with them.   Although it's pretty weird if I put just the audio since it is sound design based on gameplay footage. So I think I have to post everything.   I'll probably post them here to check for your opinion. If you want to know more it was for CD Projekt Red and I had to resdesign 4 fights from the Witcher 2 and 3 (each against a different monster) and they fought my monster sounds lacked a bit on the emotional side.
  7. I am talking basically more about the legal/mentality part of it.   Like am I allowed to post them if I want to, since they were private tests but they were not using any unknown/secret footage. (I didn't sign an NDA basically)   And if I am allowed to do so is it badly seen by potential people who would want to hire me after.     I am really not talking about quality or anything here, but they didn't tell me it was bad, they told me I had one specific kind of sound that was not developped enough for what they would have wanted me to do.
  8. Well not really since this is the question I am asking.   I am not really talking about the quality, more like : Is it something you should do regardless of quality (like is it badly viewed)?
  9. Hi,   I recently was in the hiring process with a pretty big game studio and I sadly didn't get taken past the audio test part. The thing is I do think the tests are pretty good for my level, I am en entry level sound designer and the job was for 3+ years of experience.   Do you think it is acceptable to use these in my portfolio? At the end of the days they are still failures but they gave me feedback and I can improve them a bit based on that.   (obviously the tests are not from protected game footage)   Thanks
  10.   Yes I definitly agree with you but I actually have team projects already, and I have a job as a sound designer in a small company. So it's really to showcase something fully done by me to evolve at some point. I want to get better at code in the process but I can't put something that sounds meh on my portfolio.         Would a blind person be able to play and complete your game ? Because then i would still showcase it.     Yes that was really a goal I had with this idea.     Thank you guys for the advices, keep em coming if you have more!
  11. Thank you!   Yes the horror idea is something I wanted to put in my labyrinth idea to make it more interesting than just walking around.   The puzzle game is nice I am going to look into it.   For the investigation it seems a bit harder to do, mostly because I would need to have a lot of dialogue recordings and I am doing this alone with no real budget.
  12. Hi,   I am a sound designer and I have a decent level with Unity (using C#). I made some little game and whatnot but since they are small I don't feel they are good enough to showcase my sound design skills for a demo reel (which is the point of them) and so I am looking for game ideas that would be of a small scale but with complexe sound, probably a game where sound would be the most important part of the gameplay.   And this is why I am here, because I don't seem to come up with good ideas. The best I have is a labyrinth where you need to find your way out only with sound (which allows me to do no graphics).   As I am not a game designer I was wondering if you guys could help me out with this one, maybe giving me some ideas or just guidelines.   Thanks!
  13. Hi,   I am a sound designer and I am at my first job (which is a full time job, I say that because it's not always the case in my field) currently.   I have a master's degree in audio, I have a demo reel which is a remake of big game trailers. I didn't really have a great portfolio (and I still really don't feel super proud about it tho it's way better now).   Basically I was looking for an internship at the end of my degree. And I got into a start-up who is basically an audio service and small game dev studio mostly because I also know how to code in Unity and I know Pure-Data and Max/MSP with some basics on audio synthesis. I am pretty technical as far as junior sound designers go, at least that's what I am told. They didn't take me for sound design in the first place. It was like "if there is sound design to do you'll do some". Cool thing is that they were some sound design to do after all. It was also lucky that they basically needed someone just like me just at the right time. I didn't know anyone at this company, I just contacted them by mail with resume/cover letter.   At the end of my internship they didn't hire me straight up because they were not sure they would need me but they told me they would like to do so. And they did three months later thanks to a coworker there who liked me / though I was technical enough to be independant. I work there since almost 5 months.   During the internship I didn't actually do games, but now I do.   I also got an offer not long ago for a job in a large AAA studio but it didn't happen because I am not in the US. I talked a bit with the person and he told me that what they look the most is the demo reels and they basically don't give much care about anything else (he probably didn't even read my resume because he didn't know where I was from when he contacted me). Granted it was already an audio guy so I didn't have to go through the HR part (which is where your resume and whatnot matters). This guy noticed me because I won an award (during the 3 months I was unemployed) at an event where his company won one too and he got to my website this way (I assume, he ddn't tell me but I see no other way).   TLDR : Knew a lot more than sound design even if some of it is not at a pro level (like coding), some luck, was nice enough to work with, worked well enough (followed what I was told to do while trying to take initiatives on my own (not much tho it's scary to do so as an intern!) and respected every deadline).
  14. The only thing I would do is relocate pretty much anywhere, and as such leave friends behind. I don't have a wife or a kid yet so it's fine on that side.   But I am an audio guy so it is pretty much a given anyways that you'll have to move.
  15. You would have to make banks for each plateform anyways because there is no way that a sound fitting for a next-gen could fit on a mobile even if it's a very small next-gen project.   So you could have both on the same project for sure but you can't use the same thing for both. What I would do is probably separate the sounds in multple work units and have one for mobile and then this work unit would have her own bank(s).   Reasons for that are mostly:   - System space. (so you would require different optimisations, probably play a lot less sound on mobile and maybe decrease their quality).   - The port will most likely be very different than the actual game so the audio will just not work.   Maybe even just the loops that last 10-15 sec or more for console would have to be reduced to 5 sec, don't use many Wwise real time effects like reverbs because it is killing the CPU for mobile. And many more stuff to change.