一、团队介绍 · Team Introduction

Marie:

We're here today to talk about the audio of Battlefield 6 — how we crafted the core sonic identity for this game, and to share with all of you the journey of how we went from concept to execution to delivery to create a readable but yet immersive sounding player experience.

我们今天在这里谈论《战地6》的音频——我们是如何为这款游戏打造核心声音身份的，以及与大家分享我们从概念到执行到交付的历程，创造出一种清晰可读又沉浸其中的玩家体验。

My name is Marie and I'm a Senior Audio Director at DICE. I've worked on Battlefield for the past 18 years. I joined DICE as a sound design intern when I was studying film sound at the Stockholm University of the Arts. I've always been really passionate about crafting these believable soundscapes — where if you close your eyes, you can really feel that you're there in that moment. When I joined DICE, it was really a dream come true for me, because I got to do this alongside a very curious, creative, and passionate team of talented people. We were a team — and still are a team — where we feel like anything is possible.

我叫Marie，是DICE的高级音频总监。我在战地系列上工作了18年。我是在斯德哥尔摩艺术大学学习电影声音时作为音效设计实习生加入DICE的。我一直对打造这些可信的声景充满热情——那种闭上眼睛就真的能感受到自己置身其中的声景。当我加入DICE时，这真的是我梦想成真的时刻，因为我可以与一支充满好奇心、创造力和热情的人才团队一起做这件事。我们是一支团队——现在仍然是——一支感觉一切皆有可能的团队。

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David:

I'm David, Audio Director at DICE. I started as a sound designer back in 2012 on Battlefield 4 — Marie was my lead back then. I've since worked on almost every Battlefield game since then. I always resonated with the kind of raw and honest approach to sound design that DICE and Battlefield have, and it's my mission to learn, evolve, and master that approach. Battlefield is one of the best ways to do that.

我是David，DICE的音频总监。我在2012年从《战地4》的音效设计师开始工作——Marie当时是我的主管。从那以后我参与了几乎每一款《战地》游戏。我一直对DICE和战地系列那种原始而诚实的声音设计方式有深刻的共鸣，学习、进化和掌握这种方式是我的使命。战地系列是做到这一点的最好方式之一。

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二、团队建设与文化 · Team Building & Culture

Marie:

We started the journey with Battlefield 6 some years ago. One key aspect that we knew we had to address before anything else was how we should build this massive game — because I had worked on multiple Battlefields, but not on this scale: multiple studios across multiple time zones, with a team this size that we grew to fit. But what I do know is that to build something good, you need to build a strong team. A strong team that works well together, supports one another, knows what good collaboration and communication look like, and also shares a vision that they believe in.

我们几年前开始了《战地6》的旅程。我们知道在任何事情之前都必须解决的一个关键问题，是我们应该如何构建这款庞大的游戏——因为我参与过多款战地，但规模从未这么大：跨越多个时区的多个工作室，以及一支我们不断壮大以适应需求的团队。但我知道的是，要构建好的东西，你需要建立一支强大的团队——一支合作良好、相互支持、知道良好协作和沟通是什么样子的团队，同时分享他们所相信的愿景。

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We thought about it like this: first, we play to our strengths as teams and individuals. Second, you need a good team culture that fosters good collaboration and communication, a shared vision of where we want to go — not just with the audio direction, but also as a team — and that in itself builds trust.

我们是这样思考的：第一，我们发挥团队和个人的优势。第二，你需要一种良好的团队文化来促进良好的协作和沟通，对我们想要去的方向有共同的愿景——不仅仅是音频方向，作为团队也是如此——这本身就建立了信任。

For the DICE audio team, our strengths lie in delivering the core audio on the multiplayer experience — and by core audio I mean the audio content and systems that are shared across experiences: weapon audio, vehicle audio, destruction sounds, explosions, soldier movement, in-game voiceover, core audio systems and workflows, the world sounds for our multiplayer maps, UI sounds and systems, and perhaps most importantly, tying all this together — the approach and philosophy of how we mix and master all these sounds into one cohesive experience.

对于DICE音频团队，我们的优势在于为多人游戏体验交付核心音频——我所说的核心音频是指跨体验共享的音频内容和系统：武器音频、载具音频、破坏声音、爆炸声、士兵移动、游戏内配音、核心音频系统和工作流程、我们多人地图的世界声音、UI声音和系统，以及也许最重要的——将所有这些整合在一起的方式和哲学，即我们如何将这些声音混合和母带处理成一个连贯的体验。

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Regarding team culture: we knew we needed to improve in spreading the tribal knowledge that those of us who had worked on the franchise for a long time — like me and David — had gathered over the years, to all the new team members. We needed to share this somehow. Over these past few years, we've spent so much time thinking about how we best communicate with one another. Using tools like Slack for stand-ups and stand-downs, figuring out which meetings are crucial to foster team culture and allow face time between members across studios and time zones, figuring out how we do peer reviews over studios, how we maintain visibility across studios of what's going into the game, and how we maintain the set audio direction and vision.

关于团队文化：我们知道我们需要改进的是将那些长期在该系列工作的人——比如我和David——多年来积累的部落知识，传播给所有新团队成员。我们需要以某种方式分享这些。在过去几年里，我们花了大量时间思考如何最好地相互沟通。使用Slack等工具进行每日站会，弄清楚哪些会议对于培育团队文化和允许跨工作室成员面对面至关重要，弄清楚如何跨工作室进行同行评审，如何在工作室之间保持对游戏内容的可见性，以及如何维护既定的音频方向和愿景。

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We spent a lot of time improving documentation — we did style guides, playbooks, implementation playbooks, text specifications, constantly iterating on all of this to improve the onboarding experience. Not only for newcomers who joined the team throughout the project, but also for external team members, vendors, new hires, and sound interns. We also spent a lot of time doing brainstorming sessions with everyone in the audio team — it doesn't matter if you're senior, an audio director, or a sound intern. Everybody's feedback is valuable because we want to make the game sound better every day. We do a lot of audio playtests and regular audio reviews together where we sit and listen to concepts, review software, and listen together as much as possible — because what sounds blue to you might not sound blue to me.

我们花了很多时间改进文档——我们做了风格指南、操作手册、实施操作手册、文本规范，不断地迭代所有这些以改善入职体验。不仅仅是为了在整个项目中加入团队的新人，也为了外部团队成员、供应商、新员工和音效实习生。我们还花了大量时间与音频团队的每个人进行头脑风暴——不管你是资深的、音频总监还是音效实习生，每个人的反馈都是有价值的，因为我们想让游戏每天听起来更好。我们做了大量的音频游戏测试和定期音频审查，我们坐在一起听概念、一起审查软件、尽可能多地一起聆听——因为你听起来是蓝色的，在我听来可能不是蓝色的。

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三、核心音频方向 · Core Audio Direction

Marie:

At a high level, we wanted to deliver a raw, gritty, and authentic modern soldier experience — where voices, military hardware, and environments sound grounded and physically believable — all whilst delivering the excitement and the adrenaline that we knew our players expect from a Battlefield game.

从宏观层面来说，我们想要提供一种原始的、粗粝的、真实的现代士兵体验——声音、军事硬件和环境听起来扎实而物理上可信——同时传递我们知道玩家期望从战地游戏中获得的兴奋感和肾上腺素。

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So what makes Battlefield sound like Battlefield? We draw inspiration from the world around us and how sounds behave in the world as we build a soundscape where the effects of our actions are grounded, and the noises surrounding us feel familiar and real. From a soldier's perspective: what's it like to run — those boots on the ground, coming under fire and ducking for cover? How does it feel to maneuver a tank or sit in a helicopter, feeling the bullets hitting the bottom of your feet as you're firing back at your enemies on the ground?

那么是什么让《战地》听起来像《战地》呢？在我们构建声景时，我们从我们周围的世界以及声音在世界中的行为方式中汲取灵感——我们行动的效果是扎实的，围绕我们的噪声感觉熟悉而真实。从士兵的角度来看：奔跑是什么感觉——那些靴子踩在地上，处于炮火中匍匐掩蔽又是什么感觉？操控坦克或坐在直升机里是什么感觉，当你正在向地面上的敌人还击时，感受着子弹击中你脚底？

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We want our players to feel the physical and personal nature of the soldier moving through the battlefield — from the snap of a trigger pull, to removing a magazine from your tactical vest, to combat boots on the ground. The sounds of the soldier should always be believable and addictive. For hardware, we wanted weapons that feel tactile, precise, and aggressive — vehicles that bring to life mechanics, physics, and movement — because our goal was to make the most detailed and most believable sounding weapon and vehicle sounds we could ever produce. For world, we wanted to create a living world where the brutal sounds of war are in opposition to natural and urban landscapes. The sound of the maps brings depth and story to our experiences — it should feel ever-changing and rich in variety, airy yet grounded. We spend a lot of time doing research to really ground the natural soundscapes of our levels with everything from location and time of year, specific bird and animal life, wind speed, time of day, temperature, to what stories the maps actually hold.

我们想让玩家感受到士兵穿越战场的物理性和个人性——从扣动扳机的啪嗒声，到从战术背心中取出弹匣，再到战斗靴踩在地上。士兵的声音应该始终令人信服和令人上瘾。对于硬件，我们想要感觉有触感、精准和富有攻击性的武器——让机械、物理和运动栩栩如生的载具——因为我们的目标是制作我们有史以来最详细、最可信的武器和载具声音。对于世界，我们想创造一个活生生的世界，战争的残酷声音与自然和城市景观形成对比。地图的声音为我们的体验带来深度和故事——它应该感觉不断变化、品种丰富、既通透又扎实。我们花了大量时间进行研究，从地点和一年中的时间、特定的鸟类和动物生活、风速、一天中的时间、温度，到地图实际上承载的故事，来真正将我们关卡的自然声景落地。

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A huge part of the world is also destruction — destruction that sounds dangerous, menacing, real. We really want you to feel the floor give way beneath your feet, or the heavy impact of that building collapsing from a distance. To summarize: we wanted to create a soundscape where the sounds of war are raw, gritty, and authentic, in opposition to a world which can hold beauty, story, and life. A boots-on-the-ground experience where all sounds are important, all sounds have a story to tell, and they're there to embrace, immerse, and support you. That's the feeling we wanted to capture.

世界的一个巨大组成部分也是破坏——听起来危险、险恶、真实的破坏。我们真的想让你感受到脚下的地板塌陷，或者远处那栋建筑物倒塌的沉重冲击。总结来说：我们想创造一个声景，战争的声音是原始的、粗粝的、真实的，与可以承载美丽、故事和生命的世界形成对比。一种"靴子踩在地上"的体验，所有声音都很重要，所有声音都有故事要讲，它们在那里拥抱、沉浸和支持你。这就是我们想要捕捉的感觉。

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四、现代视角的参照系 · The Modern Lens

Marie:

In Battlefield, in previous projects, we've always used the term "modern lens" for the audio direction. Our modern lenses include films, TV series, documentaries, books, news, and social media videos of war shot by soldiers, for example. Despite varying audio quality, they can be incredibly impactful portrayals of war. These strong references are our modern lenses — they're familiar to us as an audience and can shape how we perceive and hear war, and how sounds of war behave. We as consumers subconsciously can relate to these portrayals, and they give us all an emotional connection. Through these lenses, we then choose which realities to portray, and we start crafting these truths for our teams and players in our games.

在《战地》系列中，在之前的项目里，我们一直使用"现代视角"这个词来描述音频方向。我们的现代视角包括电影、电视剧、纪录片、书籍、新闻，以及士兵拍摄的社交媒体战争视频等等。尽管音频质量参差不齐，但它们可以是对战争令人难以置信地震撼人心的描绘。这些有力的参照是我们的现代视角——它们对我们作为观众来说很熟悉，可以塑造我们感知和听到战争的方式，以及战争声音的行为方式。我们作为消费者下意识地可以与这些描绘产生共鸣，它们给了我们所有人情感上的连接。通过这些视角，我们然后选择描绘哪些现实，开始为我们的团队和玩家在游戏中打造这些真相。

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Also very essential for any Battlefield is that we understand and respect how sound actually behaves in the real world — things like understanding how sound changes over distance in different environments, and other physical properties like ground reflection, phasing, Doppler effect, speed of sound, obstruction and occlusion. The extreme sounds of war showcase all these effects very strongly, but both us as developers and our audience have plenty of everyday mundane sounds to draw from to understand how sound behaves. And always very important: keep your ears open at all times. Earlier today when I was walking to the hotel, there was some crazy person screaming in the streets and I thought — those are some nice urban reflections.

对于任何《战地》游戏来说，理解和尊重声音在现实世界中的实际行为也是非常重要的——比如理解声音在不同环境中如何随距离变化，以及其他物理属性，如地面反射、相位、多普勒效应、声速、遮挡和遮蔽。战争的极端声音非常强烈地展示了所有这些效果，但我们作为开发者和我们的受众都有大量日常的普通声音可以借鉴来理解声音的行为方式。还有一件始终非常重要的事：永远保持耳朵打开、随时聆听。今天早些时候当我走向酒店时，街上有个疯子在大喊大叫，我想——这是一些不错的城市反射效果。

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五、音频目标原型 · The Audio Target (ATAR)

Marie:

Early in the project, there was this initiative called the Visual Target — the VTAR. It was a small traverseable level with some urban and interior spaces, specifically made just for this project. You could use a couple of weapons, there was ambient war, there were a few scripted destruction events like a tank cook-off and explosion. The whole purpose was to take all of these things in the small slice to a representable quality — so that we know what the project is supposed to look like at the end. We then did the same for audio on this slice — the ATAR, the Audio Target.

在项目早期，有一个叫做视觉目标的举措——VTAR。这是一个小型可探索关卡，有一些城市和室内空间，专门为这个项目制作。你可以使用几种武器，有环境战争声，有一些脚本化的破坏事件，比如坦克引爆和爆炸。整个目的是将这个小切片中的所有东西提升到可展示的质量——这样我们就知道项目最终应该是什么样子。然后我们对这个切片做了同样的音频工作——ATAR，音频目标原型。

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This allowed us to establish the core mix triangle for us — the balance of ambience, first-person Foley, and first-person weapons. It allowed us to set up reverbs and put them in the right spot in the mix. We rebuilt and reworked various core systems — basically everything you could do and experience in this small level. We built it up to a representable version. There were all the ambient systems: beds, spot sounds, ambient war. We also supported those scripted destruction events. Additionally, we added just a few area triggers on the level where we could place on-voice or enemy footsteps.

这让我们建立了核心混音三角形——环境音、第一人称Foley和第一人称武器之间的平衡。它让我们能够设置混响并将它们放在混音中正确的位置。我们重建和重新制作了各种核心系统——基本上是在这个小关卡中你可以做的和体验的所有东西。我们把它构建到一个可展示的版本。有所有的环境系统：底层音轨、点状声音、环境战争声。我们还支持了那些脚本化的破坏事件。此外，我们在关卡上添加了一些区域触发器，我们可以放置语音提示或敌方脚步声。

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Why was this important? Keep in mind this was in pre-production — early in the project. This allowed us to validate the audio direction directly in software, from theory to practice. It allowed us to validate it for project leadership, but also for ourselves and for anyone else in the audio teams. It gave us a functional foundation that we could build on, and it gave context for all the remaining audio work that would go into the game. Very important for onboarding as well. And this gave us very early on in the project a solid playtest that immediately had the right style and tone — because everything you could do in it: fire weapons, walk around, bullet impacts — all of those things already had a representable quality to them, and were already set in the mix at something close to what we were targeting.

这为什么重要？请记住这是在前期制作阶段——项目的早期。这让我们能够直接在软件中验证音频方向，从理论到实践。它让我们能够为项目领导层验证，也为我们自己和音频团队中的其他任何人验证。它给了我们一个可以在此基础上构建的功能性基础，并为将进入游戏的所有剩余音频工作提供了背景。对于入职培训也非常重要。在项目很早期，这给了我们一个立即具有正确风格和基调的扎实游戏测试——因为你在其中可以做的所有事情：射击武器、四处走动、子弹冲击——所有这些东西已经具有了可展示的质量，并且已经在混音中设置为接近我们目标的状态。

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六、声音设计方法论 · Sound Design Methodology

David:

One way of putting our approach is: we try to design sound in a way that it does not sound designed. Another way of putting it is that we're targeting believable and not synthetic.

用一种方式来表达我们的方法是：我们试图以一种听起来不像经过设计的方式来设计声音。另一种说法是：我们的目标是可信的，而不是合成的。

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One thing that means is that it's always important that we choose the right source — whether that's from libraries or our own recordings, more on that later. Every recording of a sound is a truth, and some are more interesting than others. So we're looking for recordings or sources that have a natural perspective that fits the context we're going to use them in, that already have interesting characteristics, interesting details and textures, and also sounds that have story to them. "Story" in this instance means you have cause and effect, and you have extra details beyond what you can visually verify.

这意味着我们选择正确的音源始终是重要的——无论是来自音效库还是我们自己的录音，稍后会详细说明。每一个声音的录音都是一种真相，有些比其他的更有趣。所以我们在寻找具有自然视角的录音或音源，它们适合我们将在游戏中使用的背景，已经具有有趣的特征、有趣的细节和质感，以及有故事感的声音。这里的"故事"是指你有因果关系，你有超出视觉可以验证的额外细节。

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This also means that we generally need to avoid coloring our assets too much with DSP — digital signal processing, post-processing — and not have everything sound like it was made in the computer. We use DSP, but we need to use it in a way where it doesn't become obvious. We're not going to play an explosion sound that has heavy use of DSP and makes it very obvious — still cool, but not right for this type of project. We aim for an explosion that's designed to sound like it could be a natural recording.

这也意味着我们通常需要避免用DSP——数字信号处理，后期处理——过度着色我们的资产，不要让所有东西听起来像是在电脑里做出来的。我们使用DSP，但我们需要以一种不变得明显的方式使用它。我们不会播放一个重度使用DSP、让其变得非常明显的爆炸声——那还是很酷的，但对于这类项目来说不合适。我们的目标是一个设计得听起来像是自然录音的爆炸声。

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Additionally, something we say a lot is to "embrace the dirt." One thing that means is that we need to be careful about over-cleaning our assets. We do not want assets that sound too pristine and clean, like they exist in a vacuum — because that's not something we hear in real life. Also, too much cleaning can do a lot of damage to the sound and create artifacts. It also means that clipping is not always a mistake. The red warning lights that go off when you're recording or exporting in your DAW are generally a problem — but not in Battlefield. If you work on explosions or weapons in Battlefield, basically every track in my sessions is red, and it's part of the aesthetic. It becomes a feature, not a mistake.

此外，我们经常说的一件事是"拥抱污垢"。这意味着我们需要小心不要过度清理我们的资产。我们不想要听起来太完美太干净、像在真空中存在的资产——因为这不是我们在现实生活中听到的东西。此外，过多的清理也会对声音造成很大的损害并产生人工痕迹。这也意味着削波并不总是一个错误。当你在DAW中录音或导出时出现的红色警告灯通常是一个问题——但在战地中不是。如果你在战地中处理爆炸或武器，基本上我会话中的每个轨道都是红色的，这是美学的一部分。它变成了一个特点，而不是一个错误。

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Especially when it comes to all the hardware in the game, we always have to consider: what is actually making the sound? What material is it made of? What's the size of it, what is its resonance in the body? Are there mechanical parts moving that are generating sounds? Is it supposed to beep — if it beeps, could it possibly have a speaker on it, and what size would that speaker be? What frequencies could it emit? We always need to be mindful of these things. For things that exist, we do a lot of research. For things that don't exist, we need to think about these things very carefully.

特别是在游戏中所有硬件方面，我们总是需要考虑：到底是什么在发出声音？它是由什么材料制成的？它的尺寸是多少，它在机体中的共鸣是什么？是否有移动的机械部件在产生声音？它应该发出哔声吗——如果它发出哔声，它上面可能有扬声器吗，那扬声器会是什么尺寸？它能发出什么频率？我们总是需要注意这些事情。对于现实中存在的东西，我们做大量的研究。对于不存在的东西，我们需要非常仔细地思考这些事情。

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Also something we are constantly very conscious of is the difference from first person to third person. This is a first-person shooter, and when it comes to first person, we also consider internal versus external sounds. For internal sounds, we have to lean on subjective physicality — these are sounds that you could not possibly record. This is the experience of getting knocked out, having your eardrum pierced, getting water lodged in your ear canal and then releasing — things that a lot of us can relate to but you can't record. So we have to design them from our experience and bring them to the game. For instance, when you're damaged or in low health, being concussed, getting flashbanged — those kind of experiences.

另外我们一直非常意识到的是第一人称和第三人称之间的差异。这是一款第一人称射击游戏，当涉及到第一人称时，我们也会考虑内部声音和外部声音。对于内部声音，我们必须依靠主观的身体感受——这些是你不可能录制到的声音。这是被击倒的体验，被击穿耳膜，耳道里有水然后流出——很多人都能联系到的事情，但你无法录制它们。所以我们必须从我们的经验中设计它们并带入游戏。比如，当你受到伤害或生命值低，被震晕，被闪光弹致盲——那类体验。

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For first person, we also lean a lot on reference material from helmet or body cams — from soldiers, police, or extreme sports people with GoPros. There's a certain characteristic to these: artifacts of something bumping into the chassis of the camera, or bumping directly into the microphone, wind hitting the microphone directly, debris raining on it. Those kinds of things that are technically negative artifacts — things you would normally want to remove — we use them as part of the style. For instance, when you are nearby an explosion or when you jump out of a window and do a roll on the ground, we add those kinds of details for emphasis.

对于第一人称，我们还大量依赖参考素材——来自士兵、警察或带着GoPro的极限运动爱好者的头盔或身体摄像机。这些有一定的特征：某些东西碰撞相机机箱的人工痕迹，或者直接碰撞麦克风，风直接打在麦克风上，碎片落在上面。这些在技术上是负面的人工痕迹——你通常想要去掉的东西——我们将它们作为风格的一部分使用。比如，当你在爆炸附近或当你跳出窗户在地上翻滚时，我们添加那些细节来强调。

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七、实地录音 · Field Recording

David:

Authentic recordings are at the heart of Battlefield and have been for a long time. This is probably the project with the most ambitious recording portfolio we've ever had. We recorded weapons firing in multitudes of different locations and perspectives, weapons Foley, tank movement and cannons, bullet impacts, destruction — destruction is also something new: we haven't really recorded destruction at least not to this extent before. Fire. We joined a Swedish military exercise mostly for reference. We also recorded jets at an airshow and all kinds of other smaller recording sessions: shells, Foley, smaller destruction, ambiences, impulse responses, debris raining down, rockfalls, et cetera.

真实录音是《战地》的核心，长期以来一直如此。这可能是我们有史以来录音作品集最雄心勃勃的项目。我们在许多不同地点和视角录制了武器射击，武器Foley，坦克移动和火炮，子弹冲击，破坏——破坏也是新东西：我们以前并没有真正录制过破坏，至少没有达到这种程度。火焰。我们参加了一次瑞典军事演习主要是为了参考。我们还在航空展上录制了喷气机，以及各种其他较小的录音环节：弹壳、Foley、较小的破坏、环境音、脉冲响应、碎片降落、山石滚落等等。

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In terms of team culture, these recording efforts are great in general — because a lot of these were combined efforts from multiple studios. For instance, there were a really intense two weeks of recording here in California, organized by Jeff Wilson from Ripple Effect, masterfully done. It was Ripple Effect and DICE people together for two weeks of intense recording. These recording efforts give us opportunities to experiment and to evolve what we do. And something that should not be undervalued: the value of being nearby when these sounds actually happen. Being close to a gun being fired is very different from experiencing it through movies, other games, or recordings. We can use those experiences to also bring that feeling to the player.

在团队文化方面，这些录音工作总体上非常好——因为很多都是来自多个工作室的联合努力。例如，在加利福尼亚这里进行了非常密集的两周录音，由Ripple Effect的Jeff Wilson组织，做得非常出色。那是Ripple Effect和DICE的人一起进行两周密集录音。这些录音工作给了我们实验和进化我们所做的事情的机会。还有一件不应低估的事情：当这些声音实际发生时在场的价值。近距离接触正在开枪的枪支与通过电影、其他游戏或录音来体验是非常不同的。我们可以用这些经历也把那种感觉带给玩家。

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八、士兵语音录制 · Soldier Voice Recording

Marie:

Authentic recordings are at the heart of Battlefield, and the same goes for the voices in our games. In Battlefield 3 and Battlefield 4 — over 10 years ago — we recorded parts of the soldier voices with outdoor group recordings, which gave us a very realistic sound that fit very well with the rest of our soundscape. A few years later, during the production of Battlefield 1 and Battlefield V, we iterated on our recording techniques and instead of recording outdoors, recorded indoors in a studio in a more controlled environment — because you have to always be able to adapt to the project's needs and where the talent is located.

真实录音是《战地》的核心，我们游戏中的声音也是如此。在《战地3》和《战地4》——十多年前——我们用户外群体录音录制了部分士兵声音，这给了我们非常真实的声音，与我们其余的声景非常吻合。几年后，在《战地1》和《战地5》的制作过程中，我们改进了我们的录音技术，不是在户外录音而是在录音棚室内进行，环境更加可控——因为你必须始终能够适应项目需求和人才所在地。

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Let's focus on the soldier voice folder in multiplayer. We've always had great success with group recordings, and we really really wanted to do that for Battlefield 6 as well, because in a group you get nice dynamics and it supports the performance of the actors. So we went to London and did some ensemble recordings there. Our voiceover direction for this project was: a modern professional soldier — always grounded and believable, with a tactical, in-the-moment delivery of soldier lines. This means the performance should reflect that the soldier is always on the move — there's always a certain projection level we need to hit, which makes the voice lines feel grounded and natural depending on the scenario you're playing.

让我们专注于多人游戏中的士兵语音。我们在群体录音方面一直非常成功，我们非常非常想在《战地6》中也这样做，因为在一个群体中你可以得到很好的动态，它支持演员的表演。所以我们去了伦敦在那里进行了一些集体录音。这个项目的配音方向是：一个现代的专业士兵——始终踏实而可信，对士兵台词有战术性的、即时的表达。这意味着表演应该反映士兵总是在移动——总有一个我们需要达到的特定投射音量，这使声音线条根据你正在玩的场景感觉踏实而自然。

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The soldiers should always feel like they are in control — never desperate or scared. There is a difference between the modern soldier in Battlefield 6 compared to, say, Battlefield 1. Battlefield 1 was about World War I — the soldiers you played were everything from young, just-enlisted youth fresh out of training, soldiers who might see war as an adventure, who may have had little to no exposure to war before that. Therefore there was more horror and desperation in those performances, compared to the direction of the controlled professional soldier in Battlefield 6.

士兵应该始终感觉他们处于掌控之中——从不绝望或害怕。《战地6》中的现代士兵与《战地1》中的士兵相比是有区别的。《战地1》是关于第一次世界大战的——你扮演的士兵从刚刚入伍的年轻人到刚从训练中出来的人，可能把战争看作冒险的士兵，他们之前可能很少或根本没有接触过战争。因此，与《战地6》中受控专业士兵的方向相比，那些表演中有更多的恐惧和绝望。

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Before we went into production, we decided we had to do a voiceover tech test — and this was actually a crucial part of our process in finding the right sound for the soldier voices. We spent a few days in a studio with four actors. We tried multiple microphones and microphone techniques to find the right sound between the first-person perspective — where I, as a soldier, speak — to the third-person perspective, which is the soldier next to me.

在我们进入制作阶段之前，我们决定必须进行配音技术测试——这实际上是我们找到士兵声音正确感觉的过程中的关键部分。我们在录音棚里与四名演员一起花了几天时间。我们尝试了多种麦克风和麦克风技术，以找到从第一人称视角——作为士兵的我说话——到第三人称视角（即我旁边的士兵）之间的正确声音。

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We also tried multiple movement techniques to help actors find what movement could help with the performance. We had props like toy guns, small weights, medicine balls, and rucksacks that the actors could choose to use to help their performance. This exercise was also really important because we had a few new team members, and we were also bringing voiceover designers from the other studios to London, so that we could have that precious first time to build that team culture.

我们还尝试了多种运动技术，帮助演员找到什么样的运动可以帮助表演。我们有玩具枪、小哑铃、药球和背包等道具，演员可以选择使用它们来帮助表演。这个练习也非常重要，因为我们有几个新团队成员，我们也在将其他工作室的配音设计师带到伦敦，这样我们就可以有那宝贵的第一次来建立团队文化。

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The whole exercise was crucially important because we got to try out the whole voiceover pipeline — that included trying out the casting pipeline, script tests, recording and editing workflow tests, implementation and mix tests. After we came back and had done all of this, we iterated on every single step in our pipeline — everything from how we went to casting, how we were collaborating, the size of our ensembles and how much we could stretch those, how we printed the scripts, what we recorded on, which hardware we used, which software we used when editing and mixing. We actually developed our own Reaper recording extension for part of the workflow. And we also printed our own microphone mounts that we could put on the chest of the actors to capture that specific sound we were after.

整个练习至关重要，因为我们得以试验整个配音流水线——包括试验选角流水线、脚本测试、录音和编辑工作流测试、实施和混音测试。在我们回来完成了所有这些之后，我们对流水线的每一步进行了迭代——从我们如何进行选角、我们如何协作、我们集体录音的规模以及我们可以将其延伸到多大、我们如何打印脚本、我们录制在什么上面、我们使用哪种硬件、我们在编辑和混音时使用哪种软件。我们实际上为部分工作流程开发了自己的Reaper录音扩展插件。我们还打印了自己的麦克风支架，可以放在演员的胸部，以捕捉我们所追求的特定声音。

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九、混音策略 · Mixing Strategy

David:

Everything gets tied together in the end by the mix — it can make or break everything. We're generally aiming for something you could consider playable believability. The mix itself is there to support the style and tone, but also to make it a playable game. It had a difficult task: it had to feel like one recorded perspective, it had to be readable and intuitively playable, and it had to deliver those intense and memorable Battlefield moments.

最终一切都由混音联系在一起——它可以成就或毁掉一切。我们通常的目标是你可以称之为"可玩的可信度"的东西。混音本身是在支持风格和基调，同时也使它成为一款可玩的游戏。它有一个艰巨的任务：它必须感觉像是一个录制的视角，它必须清晰可读且直觉上可玩，并且它必须呈现那些强烈而难忘的战地时刻。

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The challenge is that sometimes believability and gameplay needs are at odds. The dense cacophony of war is something we know our players expect and want, but that of course is in opposition to readability, hearing specific details, and dynamic moments. Also, the game offers a lot of varied experiences — the 64-player all-out-war modes where you have everyone shooting constantly, explosions all over the place, helicopters, jets, tanks, crumbling buildings — and then you have the smaller, more tactical modes where you actually hear the ambience for once. The mix has to support both these extremes and everything in between.

挑战在于有时可信度和游戏需求是相互冲突的。战争的密集嘈杂是我们知道玩家期望和想要的，但这当然与清晰可读性、听到特定细节和动态时刻相对立。此外，游戏提供了很多不同的体验——64人全面战争模式，每个人都在不断射击，到处都是爆炸，直升机、喷气机、坦克、倒塌的建筑——然后你有更小的、更战术性的模式，在那里你终于能听到环境音。混音必须支持这两个极端以及它们之间的一切。

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The approach we took was: at the very beginning, between the audio leadership, we looked back at the previous Battlefield games and thought about what worked the best, what resonated with us and with the player base. We decided we should land somewhere between Battlefield 4 and Battlefield 1, especially when it comes to how we use the HDR system — in terms of loudness, attenuation curves, how we master the content, and the game staging.

我们采取的方法是：在最开始，音频领导层之间，我们回顾了之前的战地游戏，思考哪些效果最好，什么与我们和玩家群体产生共鸣。我们决定应该落在《战地4》和《战地1》之间，特别是在我们如何使用HDR系统方面——在响度、衰减曲线、我们如何对内容进行母带处理，以及游戏呈现方面。

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As far as the issue of believability and gameplay needs sometimes not being the same: we can lean into psychoacoustics and sometimes bend believability a little bit in support of gameplay. Our brains can hone in on specific sounds we care about more, and are also able to ignore certain other sensations — you generally don't notice that you wear socks, you don't feel them. Well, now you do. You're welcome. But our brain is able to do this constantly, and so is the soldier we are playing. So we can lean into the idea that the soldier will consider certain things a higher threat or higher importance, and we can bend believability there a little bit.

关于可信度和游戏需求有时不同的问题：我们可以利用心理声学，有时为了支持游戏稍微弯曲一下可信度。我们的大脑可以专注于我们更关心的特定声音，也能够忽略某些其他感觉——你通常不会注意到你穿着袜子，你感觉不到它们。好吧，现在你注意到了。不客气。但我们的大脑能够不断地这样做，我们扮演的士兵也是如此。所以我们可以利用这样一个想法：士兵会将某些事情视为更高的威胁或更重要，我们可以在那里稍微弯曲可信度。

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Especially for the big all-out-war modes where you have all these many competing pieces constantly playing, we have to treat it a bit like a large orchestra with a lot of instruments — where you don't want the instruments to compete with each other but to complement each other. So we have to be conscious of where different sounds are focused in their frequency spectrum, so that they can all sit together nicely. We also have to consider the quantity of the different sounds. A very extreme example is how we treat bass — we are very selective about what sounds are allowed to have sub frequencies. For those things that need them, it matters and there are those dynamics. The same really goes for the extra high frequencies. Managing the lowest and the highest frequencies is part of avoiding listening fatigue, which is very important for a war game.

特别是在大型全面战争模式中，你有所有这些许多不断播放的竞争部分，我们必须将其视为一个有很多乐器的大型管弦乐队——你不想让乐器相互竞争，而是相互补充。所以我们必须注意不同声音集中在频谱中的哪个位置，这样它们就能很好地共存。我们还必须考虑不同声音的数量。一个非常极端的例子是我们如何处理低音——我们对哪些声音被允许拥有次低频非常谨慎。对于那些需要它们的东西，这很重要，动态就在那里。同样的道理也适用于超高频。管理最低和最高频率是避免听觉疲劳的一部分，这对战争游戏来说非常重要。

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In this project specifically, we do a lot more in terms of creating pockets of focus in the mix. For example, we use sidechain compression and frequency carving. When you fire your weapon at an enemy and get hits, you get the hit indicator sound — but we don't want that hit indicator sound to just be absurdly loud to compete with your own weapon, because then we're going too far into arcadey territory. Instead, we carve specific frequencies and do some sidechain compression on the weapon fire, creating a little pocket in the weapon fire that the hit indicator slots right into. It becomes part of the weapon fire, not something on top that competes with it.

具体在这个项目中，我们在混音中创造焦点口袋方面做了更多工作。例如，我们使用侧链压缩和频率雕刻。当你向敌人开枪并击中时，你会得到命中指示器声音——但我们不希望那个命中指示器声音为了与你自己的武器竞争而变得荒谬地响，因为那样我们就走向了太过街机化的领域。相反，我们雕刻特定的频率并对武器射击进行一些侧链压缩，在武器射击中创建一个小口袋，命中指示器恰好嵌入其中。它成为武器射击的一部分，而不是与其竞争的叠加物。

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We also do — and this is new in this project — threat-based directional tucking. In addition to HDR and mix states, this is when we can assign some sounds to be considered a threat, and they will be allowed to directionally lower other sounds that aren't considered a threat. Examples of that are when an enemy is firing at you, or enemy footsteps. It creates that additional little danger sense — or Spidey sense — where just something is changing, so you pay extra attention. We try to make it not too obvious.

我们还做了——这在这个项目中是新的——基于威胁的方向性压制。除了HDR和混音状态之外，这是当我们可以将某些声音指定为被视为威胁时，它们将被允许在方向上压低其他不被视为威胁的声音。例子包括当敌人向你开枪，或者敌方脚步声。它创造了那种额外的小危险感——或者蜘蛛侠感应——某些东西在变化，所以你特别注意。我们试图让它不要太明显。

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十、War Tapes 混音模式 · War Tapes Mix Modes

David:

We have a bunch of different mix modes in the game: Night Mode, High Dynamic Range, and so on. But the classic for Battlefield is War Tapes. This is essentially a very saturated, very compressed mix that goes all in on the camcorder-in-the-war-zone aesthetic. For this game we also added another one called War Tapes Val, which immediately got very popular when people first saw it in the open beta.

我们在游戏中有一堆不同的混音模式：夜间模式、高动态范围等等。但《战地》的经典是War Tapes。这本质上是一个非常饱和、非常压缩的混音，全力以赴地呈现战区摄像机的美学。对于这款游戏，我们还添加了另一个叫做War Tapes Val的模式，当人们在公开测试版中第一次看到它时，它立即变得非常受欢迎。

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You might wonder why it's called that. The idea is that this is essentially the Heat aesthetic — very often people have said "can we make the gun sound like in that shootout scene in Heat," that legendary shootout scene. Well, now you can. It's called War Tapes Val as a homage to the recently deceased Val Kilmer, who is at the center of that shootout scene. It was just a shower idea that we then implemented pretty quickly, and it got super popular. There was even a YouTube video essay on the move that was quite philosophical — kind of crazy, but pretty cool.

你可能想知道为什么叫这个名字。这个想法本质上是《盗火线》的美学——人们非常经常说"我们能不能让枪声像《盗火线》中那场枪战场景一样"，那个传奇的枪战场景。好吧，现在你可以了。它被称为War Tapes Val，是向最近去世的Val Kilmer致敬，他是那场枪战场景的核心。这只是一个洗澡时的想法，然后我们很快就实施了，它变得超级受欢迎。甚至有一个YouTube视频评论这个动作，相当哲学化——有点疯狂，但相当酷。

Thank you for listening.