hitman sound design Asbjoern Andersen


HITMAN is a long-running stealth series created by IO Interactive. The series has sold millions of copies over the years, and has recently moved into an episodic release format, to much critical acclaim.

I got the the chance to speak with HITMAN audio designer Bjørn Jacobsen, about the creative process behind the audio for the game, his favorite sounds in the series – and his essential sound design tools:



 

Video Thumbnail

 

Hi Bjørn, what’s your overall vision for the sound of the HITMAN series? And what are some of the most challenging sounds to get right?

The overall sound vision for HITMAN is to support the visuals and overall well-played experience of the game. We’re taking a much more natural and realistic-sounding approach to the soundscape than that of its predecessor, HITMAN Absolution. When working on a heavily processed or an almost-not-processed soundscape, the size of issues at hand are the same. They may be different because of the type of sound you want to achieve, but the amount of issues are the same. Getting something to sound realistic and natural is neither easier nor harder to do – it’s just different. One of our greatest challenges is to get the overall soundscape of a location to be true to the visuals.

Getting something to sound realistic and natural is neither easier nor harder to do – it’s just different

In particular here in episode two, Sapienza, where the player moves from an open, outside-location in a typical Mediterranean Italian town, to indoor mansions, cliffs and a large cave with a bio lab inside. The feeling must be right and sound like you are actually there when walking down the streets and alleys of the town – while during the mission, the player will also enter the mansion and its various rooms and basement, along with the (almost sci-fi style) giant field lab in the cave.

The challenge is to get the transition from place to place right and each place to sound just right once you are there.
 

Has moving into the episodic format of the series changed anything in your approach to the sound design?

Yes, and no. When working on a “normal” game which goes from pre-production, into production and post-production until final release, you may experience that there is more or less to do in certain periods, as sound design can often be blocked from production by other factors in the pipeline. However, when working on an episodic game or any other game that has a constant release plan (like EVE Online, which I used to work on), you constantly move between pre, post and production, so the lines between them get blurred out.

It gives you more to do on average, I think, but it also gets rid of the more extreme crunching periods. So yes, something is different, but no you don’t really feel it in your everyday cycle of work.

Video Thumbnail

The launch trailer for HITMAN episode 2: Sapienza


 

You’ve just released HITMAN Episode 2 – could you share the story behind the sound design and sound workflow for that one?

Episode two, Sapienza, takes place in a fictional town by the same name, right off the western coast of Italy. The town is also the location of the Caruso family, whose family head, Silvio, is running a series of genetic experiments from his Mansion in the centre of town.

The sound design story here is to make sure that the town sounds like a town off the coast of Italy. We have quite an extensive list of videos, photos and drawings to get inspiration from, and the sound design as a whole is about making sure that the player goes from the most ordinary and simple outdoor feeling of a warm summer day to a hectic sci-fi experience in the laboratory while trying to corrupt the research of the main target.

I was the track owner of Sapienza, so most of the level is set up by me and most of the ambient sounds there are done by me. It was a great level to set up, so many challenges and different locations in one level, and with the help from the rest of the team I think we really pulled off a nice sounding level here.

The workflow of the level was first to get an overview of the entire thing, as it is quite a big level, then add the basics of sounds to it and then on the flow approach, each section of the level to make sure that it sounded right.

For this particular level we spent a lot of time getting the feeling of warmth right

For this particular level we spent a lot of time getting the feeling of warmth right, especially when on the Mansion grounds. Most of the cicadas there are heavily filtered sounds and nicely modulated sounds of a lot of other things than cicadas and you really get the sense of the warm air and the coastal location right there.

I also did quite a bit of room recordings during my holiday in New York City, which is the majority of the rooms in the Mansion and also spent quite a long time mixing distant waves and coastline recordings to get them just right when navigating the town areas close to the sea.
 


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One great effect for Sapienza in particular is the change from an indoors to outdoors experience. When in a windy area of the level, we made a small system which has divided the wind sounds into small grains of wind, combined with a layer of distorting wind directly into the microphone. This was done to really empathize the fact that the player just moved from the calm indoors to the windy outdoors. Also, when moving from a secluded area of a cave or along a wall into a more open area of the level, where wind would come in stronger, this really helped to get the feeling of the Cliffside and the top of the church towers just right.
 

With such a long-running franchise, do you have a large arsenal of sounds to draw from, or are you continuously recording and designing new material?

We have quite an extensively-sized library, which we also use quite a bit, but we also constantly feed it with new material that we acquire in various ways.
I’m going on vacation to Malta soon and that will most likely result in several recordings of rooms, pool areas, small shops, populated streets, deserted places, ceiling fans, cooking, birds, insects, cats, dogs, beaches and more.

So the library is constantly being fed with new material that we share in between us and use as a department.
 

Meet the sound team behind HITMAN:

“Our sound team is a small, but strong and confident, group of sound designers, which consists of a lead sound designer, Frank Lindeskov, and a senior sound designer, Jonas Breum Jensen, as the leading parts of the team. Two regular sound designers, Oliver Harrison and me, and a junior sound designer, Henriette Lonn Jenssen.

Henriette and I went to school together, at the Royal Academy of Music in Aarhus with a BA. in Electronic Music Composition, and Jonas, Henriette and I also have the same MSc. in Audio Design from Aarhus University, but not from the same year.
Oliver is a BA. In Creative Music Technology from Bath Spa University, while Frank, our lead, is from a different background in TV and Radio production. We also have a dedicated audio programmer, Stepan Boev.

This gives us a very strong approach to game audio, from the very experienced audio designer to the brand-new

Our video game audio experience is quite different from one another. Oliver has previously worked in England and Sweden on games such as DJ Hero, The Division, Far Cry 3 and more.

Jonas and Frank have been with IO for many years and worked on the previous games here HITMAN Absolution, Kane and Lynch and more.

Henriette joined as an intern and is now our junior sound designer, and my own background is from various smaller games and a few years in Iceland working on EVE Online and EVE: Valkyrie. This gives us a very strong approach to game audio, from the very experienced audio designer to the brand-new and various different creative approaches to solutions of issues.”

 

What are some of your essential tools when it comes to sound design?

Your ears and your ideas. Knowledge and experience is key and vital to getting to the correct result fast, and hopefully on the very first try. School and classic education is one thing, but knowing how to create something – and how to create it fast with what you have – is the most important thing I can imagine.

School and classic education is one thing, but knowing how to create something – and how to create it fast with what you have – is the most important thing I can imagine

Technically, there is a bunch of software and hardware that is also essential, but those are merely tools that act on your command. Without the ideas of what to command it to do, and without the ears to determine if you are going in the right direction, the software and hardware tools are nothing.

Personally, I use Cubase and Wavelab as my favourite tools of creation, as for a “realistic” and natural sounding game like HITMAN, I spend a lot of time mixing and getting “natural” sounds just right. (Remember what I just said about cicadas? The cicadas are actually a microwave electrical wave pitched down)

Therefore Cubase and Wavelab get the job done on the most part of this, but it was different when I was working on Sci-Fi MMO’s as I did in the past. Here, nothing was natural and most of my time would be spent in max/MSP environments and with weird hardware patch setups to get the noises right. It’s same same but different, really.
 

From a sound perspective, what are some of your favorite moments in the HITMAN series? And anything in particular to listen for in episode 2?

There is quite a few moments in HITMAN that are worth mentioning – most of them have not been revealed, though, so I cannot speak of them just yet. But in Episode Two there are several moments worth experiencing, as walking around the town and visiting the café can be quite a soothing experience, even without thinking of the murder you are about to do as you approach your target.

Just think of a jacket, a microphone and me looking weird while trying to get the breathing right!

Episode two also contains a very nice smothering sequence with a pillow and a nasty scientist with bad thoughts underneath… who deserves to be smothered more than Joffrey Baratheon! It’s quite satisfying, and when you hear it – just think of a jacket, a microphone and me looking weird while trying to get the breathing right!

My favourite moments in HITMAN are all the situations where it is possible to just walk around and enjoy a level and its audio soundscape and scenery, without the constant fear of being detected or actually playing the game. The Paris level and just walking around, the very accurate feeling of the fashion show, and the feeling of being among the rich and famous at such a party, and the Sapienza level. And, really, just listening to the birds, the wind and the overall soundscape of the level. Those are really the best moments of the game.. well, those, and when you kill your target and hear the high-score counter tick in!

 

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A big thanks to Bjørn Jacobsen for this look behind the scenes on the sound for HITMAN. Follow Bjørn on Twitter here, and learn more about HITMAN here.

 
 
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    • Set up your sound design session with ready-to-use sound combinations
    • Generate variations with ease instead of manually tweaking everything
    • Find new combinations, discover and create new flavors and variety within your library

    WHAT DOES SOUNDWEAVER DO?

    • SoundWeaver automates and randomizes certain parts of your sound design workflow.
    • SoundWeaver searches your sound library with the help of keywords or folder paths and picks matching sounds for your project.
    • Sounds are automatically sorted, grouped, layered, aligned and split into regions (if files contain multiple variations).
    • Now you can pitch, offset, gain, shuffle and randomize individual sounds, groups or the whole project. The possibilities are endless.
    • Take snapshots of your favorite combinations and settings. Create as many variants as you like and return to them later in the process.
    • Drag’n’drop the project into your DAW for further editing or export the final mix.
    • SoundWeaver can generate countless variations from your project during export via pitch, offset and take randomization.


    HOW SOUNDWEAVER HELPS YOUR WORKFLOW

    MORE VARIETY ON TIGHT SCHEDULES
    We all know the situation: A client has asked for 100 new sound assets, 10 variations each, delivered as soon as possible.
    Creating variations in particular requires a lot of meticulous pitching, shifting and switching out elements within your original design.
    With just a few commands, SoundWeaver will automate all of those time-consuming steps for you and generate as many suggestions as you like – so all that’s left for you to do is have a quick listen and keep the ones you like best.
    Focus on your creative process while SoundWeaver takes care of the rest.

    INSPIRATION THROUGH NEW COMBINATIONS
    Speaking of creative process: Once your library has grown beyond a certain point, there is only so much experimenting you can do manually. SoundWeaver’s powerful Randomize feature often generates combinations we’d never think of trying in the first place.
    This opens up a world of new possibilities and is a great way of starting a project.
    Already have an idea? Tell SoundWeaver to build on it and create different flavors.
    Starting empty-handed? Let SoundWeaver set up your session by putting all layers in place.
    Done, but missing that special something? Try out more unlikely sounds with just a few clicks.


    SOUNDWEAVER At A Glance

    KEY FEATURES

    • SoundWeaver automatically picks, slices, aligns and layers sounds
    • Search by keywords, folders or drag’n’drop
    • Pitch, offset, gain, shuffle and switch out individual sounds, groups or the whole project
    • Each of the previous parameters can be randomized.
    • Export: Drag’n’drop the project into your DAW
    • Export as: Individual layers, groups or mixdown
    • Export features: Generate variations using pitch, offset or random takes
    • Take snapshots and return to your favorite combinations, parameter settings and sounds at will

    TECH SPECS

    Format: Standalone Application for Windows & Mac
    Required Hard Disk Space: 30 MB
    Manual: PDF
    License Agreement: PDF
    Available As: Download

    REQUIREMENTS

    SOFTWARE
    SoundWeaver is a standalone application and works without any host audio software.

    SYSTEM
    Windows 7 (64-bit), 8 GB Ram, Intel® Core i5
    Mac OS X 10.9, 8 GB Ram, Intel® Core i5

    ILOK
    SoundWeaver requires a free iLok account

    Available licensing options:
    Machine License activation and USB Dongle (iLok 2 or higher)

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    Included is: City airs, botanical gardens, parks, markets, cemetery, city plazas and squares, nature reserve, busy and quiet streets, traffic, crowds, early morning bird chorus, evening airs, construction, airport, department stores, cafes, restaurants, library, church and cathedral, train station, public transit, museum, roomtones, rain.  And a variety of each, with different perspectives and amounts of walla and voices.

    Thank you and we hope you enjoy our recordings

    Buenos Aires Ambiences includes 3 hours of beautiful ambiences of downtown Buenos Aires, Argentina, with a massive variety of locations and times of day, this album will not dissapoint!

  • The Siemens Valero is a high-speed train that is an engineering marvel and a staple of modern high-grade national and transcontinental rail transport, with various versions zipping across the UK, the EU, Russia, and the far reaches of Asia including China. This is a train capable of 290 kilometres per hour (180 mph), it is the high-speed joiner of distant cities such as Moscow and Saint Petersburg. For our recording project, we captured it across a comprehensive range of its speeds. Sennheiser Ambeo microphones were used throughout.

    Recordings were made inside carriages, inside a compartment, down gangways, across the ever-dramatic space connecting railcar vestibules, and also less glorified but vital locations, e.g., the loo. All relevant background sounds are there, including door movements, passenger chatter, objects in motion, and the sounds of the restaurant car. For the characteristic sounds of a great ‘iron horse’, inside and out, this is it. Flysound… Putting the ‘track’ into soundtrack!

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    Country, town and city ambiences from the beautiful Island of Mauritius, situated in the Indian Ocean to the east of Africa. The pack covers a range from town and city traffic and restaurant and market crowds to calm ocean waves and the native birds, insects and other wildlife that can be found on the island.

    Please note: Some of the recordings were made at 44.1k and some at 96k. They have all been resampled to 48k for the download but the 96k recordings are also available as a separate download.

    25 %
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    It tooks place in three different location: Cascade Charlemagne, Pont des Fées, Saut des Cuves.
    For almost every place, several microphones placements were used at close, medium and far distance.
    In addition to the 2 stereo microphone pairs, a hydrophone track is also available to allow you to modulate the low end and to add more movement.

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    Sound Devices 788T
    MKH8020 stereo pair
    MKH8040 stereo pair
    JRF hydrophone
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