Bas Bertrand
Game audio development
System-Driven Game Audio
I believe that to make a game sound great, high-quality audio design must be complemented by elegant, flexible, and easy-to-maintain audio systems. Want to see some examples? Click here
Game Audio Showreel
Nominations 2023
Nomination
Best Audio
Dutch Game Awards 2023
Nomination
Best Audio
TIGA Awards 2023
Nomination
Use Of Sound
NAVGTR Awards 2023
Nomination
Game Beyond Entertainment
BAFTA Awards 2023
Nomination Dialogue of
the Year
Game Audio Network Guild Awards 2023
Skills
Sound Design
Custom, world-class sound design to match your already established sonic identity, or to forge a new one altogether.
Implementation
Audio implementation that’s flexible and easy to maintain throughout any game’s inherently unique and iterative development cycle. Native audio engines and middleware like FMOD and Wwise are supported.
Music
Finding the right composer for your project, and creating the music systems that enhance the score and truly bring the project to life.
Audio systems
Clever, robust and performant audio systems that are built to last. Easy to maintain, and developed with a procedural mindset. Click here for some examples.
Dialogue
VO services that cover casting, recording, editing, dialogue and subtitle systems, and asset implementation in middleware or your native audio engine.
Optimization
Tried-and-tested optimization to make your proejct's audio as performant as possible across all target platforms.
Game Audio Systems
Acoustics Prediction System
Developed in UE5 and FMOD, the Acoustics Prediction System is designed as an alternative to the traditional method of placing reverb volumes. It uses offline-calculated trace data to determine reverb properties within the game’s world, similar to how lighting bakes work. Efficient data management ensures lifelike audio behaviour with minimal impact on performance.
Procedural Ambience
​A procedural, flexible system designed to automatically adapt to level iterations during development. Made with UE5 and Wwise, this system retrieves data from actors and foliage to place a pool of sounds around the player based on the amount of trees nearby, the wind speed, and other parameters.
Dynamic Breathing System
In Deliver Us Mars, developed using UE4 and FMOD, we opted for a dynamic breathing system that precisely transitions between various fatigue states. Ellise Chappell, who played our main character, recorded various breathing patterns, which we later edited and categorized by intensity.. In FMOD, these samples are played back based on a floating-point fatigue parameter that smoothly interpolates between different breathing rhythms.
Advanced Footstep & Foley System
A flexible approach to footsteps. Made in UE5 with MetaSounds, the system allows developers to choose different audio properties on different characters, even when they share the same animations. Clothing type, attributes and shoe sizes can be changed on a component on the character and will be mixed accordingly. This system uses different samples for left and right footsteps, walking, jogging, sprinting, landing, and scuffs, and supports 12 different surface types, 8 attributes types, and 4 clothing types.
