Kiwi Talkz

Josh Weier was a game developer at Valve for over 14 years and worked on franchises such as Portal and Half Life. He was the project lead designer on Portal 2.

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#sponsored #valve #portal2

SOCIAL MEDIA

TWITTER - @weier_josh

Zero Page: http://zero.page

Zero Page Twitter: @zeropage_game

TIMESTAMPS

00:00 - Intro

00:53 - Memories Of Valve

02:01 - Orange Box/How Josh Ended Up As Project Lead On Portal 2

05:20 - Portal 2 Storyboards/Design Approach With Portal 2

06:45 - Elevator Doors Are Actually Portals

07:40 - Playtesting/Design Of Game Mechanics

11:00 - Design & Storytelling Working Together/Changing Environments

13:00 - Story Constantly Changed Through Development

14:15 - The Moon Segment Was Added Very Late In Development

15:45 - Catapults/Bridges/Linear & Non Linear Aspects Of The Design

19:23 - Walking On Walls & Bullet Time Were Cut Game Mechanics

21:30 - The Gel Was Hard To Implement/Digipen

23:05-  Difficulties Of Programming For PS3/Smoothing Out Portal Transitions

26:20 - Manscaped Sponsored Segment

27:23 - Momentum Physics/Where People Would Quit On The Original Portal

29:04 - Gabe Newell/Gabe Wanted GLaDOS To Have A Face/Gabe’s Struggles

31:05 - Underground Area Was The Hardest Area To Work On

32:55 - Portal 3/Portal For Xbox Was The Genesis Of Developing Portal 2 

37:20 - Portal 2’s Intro Is Inspired By Super Metroid’s Intro

39:20 - Original Idea For GLaDOS In Portal 2/Announcer

41:40 - Trying To Sell The Part When Wheatley Turns Bad

43:20 - Dealing With The Weight Of Expectations/Valve Doesn’t Have A Template Of Developing

45:20 - Game Designing Is Stressful/Complications Of Crunch

46:50 - Portal 2 Almost Ruined Josh’s Marriage/Game Developments Effect On Family Life

48:30 - Josh’s Management Style/Communication

50:52 - Josh Cant Switch His Brain Off 

53:09 - Crunch Process For Portal 2

54:35 - Certification Problems For PS3 & Xbox/How Much Time Certification Adds To Development

58:24 - Politics Of Certification

58:59 - Zero Page Game

1:00:13 - Where To Follow Josh Weier

Carlos Mendieta is an animator in the video game industry. He is most well known for his tenure at Retro Studios where he worked on Metroid Prime 2 & 3 as well as Donkey Kong Country Returns and Tropical Freeze. He is now creating his own comic book and creating a kickstarter, visit the website to support.

WEBSITE https://www.carlosmendieta.com/?fbclid=IwAR0GNIfo-tVcBGw3y_BchCaR-lTPTdxrVbYuigJIJJ4E3UW7nz9QDZbvnvA

#metroidprime2 #donkeykong #retrostudios

TIMESTAMPS

00:00 - Intro

01:10 - Differences Between Animating And Drawing/Team Collaboration

02:44 - Getting All The Animators To Establish The Same Style For A Game

04:01 - Animators Comraderie/Animators Work Structure On Metroid Prime 2/3 

06:05 - Metroid Prime 2 Animators Were Never Under Huge Pressure/Prime 2 Cutscenes

07:01 - Carlos First Bit Of Work Was The Space Pirates

07:50 - Carlos Loved The Original Metroid Prime

08:32 - Complexity Of Prime 3 Cutscenes Compared To Prime 2

09:47 - How The Structure Of The Cutscenes Were For Prime 2 And Prime 3

11:00 - Cutscenes Storyboards

12:24 - Carlos Was Told Prime 3 Wouldn’t Have As Many Cutscenes As Prime 2 Initially/Sammy Hall

13:37 - Adjusting Animation Style From Metroid To Donkey Kong

14:45 - Donkey Kong Playing DS Animation

15:30 - SD To HD Doesn’t Change Animating Much/New Skeletons Were Created Between DKCR & DKCTF

16:37 - Donkey Kongs Fur Was Handled By Engineers Not Animators

17:09 - Animating The Bosses Of Both Donkey Kong Games/Owl Boss

18:15 - Cutscenes For Donkey Kong Vs Metroid Prime/Facial Animation

20:46 - Duration Of Making One Cutscene In Donkey Kong

21:45 - Having A Plan Before Animating Is Critical

22:42 - Compressing Animation/Framerate

24:01 - Acting Out To Get Animation References Right/Keyframe MP

26:30 - Carlos Animated Himself For The Walrus Butt Hit Reaction In Tropical Freeze

27:30 - Samus Was Animated As A Badass Where As Donkey Kong Animation Was Exaggerated

28:38 - Carlos Animated The Samus Thumbs Up In Prime 3 And It Was A Big Cutscene To Animate

30:46 - Retro Studios Animation Team Continued To Get Better/Carlos Went To Artschool With A Lot Of Retro Animators

31:40 - How Carlos Ended Up At Retro Studios/Being Excited To Work On Metroid

33:37 - Working On Metroid Prime 2 & 3 Wasn’t Stressful Due To The Team

34:58 - Crunch For Prime 2 Was 3 Months And Was Only Cutscenes/Polish At The End Of Prime 2 Development

36:25 - Metroid Prime Franchise Is The Only Franchise Where Cutscenes Were Done At The End

37:30 - Story Was Changed Part Way Through Prime 3 Which Made A Ghor Cutscene Change

38:30 - How A Small Tweak  Can Dramatically Change Production

39:30 - Nintendo Cares About Quality

40:30 - Nintendo Gets QA Testers On A Game From Early Development

42:23 - Carlos Loved Working At Retro Studios/

43:54 - Most Of The Metroid Prime 2/3 Animation Team Is Still At Retro

44:40 - Why Carlos Left Retro Studios & Moved To New Orleans

44:45 - New Orleans Inspires Carlos

47:07 - Carlos Is Kickstarting A Comic

47:43 - Carlos Shows Off Artwork For His Comic/Idea Of The Comic

48:52 - It Takes 8-12 Hours To Do One Drawing

49:38 - Carlos’ Thinks Metroid Dreads Cutscenes Are Awesome

50:35 - Carlos’ Loves The Animation Of Cupped/

52:00 - Carlos Theorises How They Animated Cuphead

52:45 - Environments On Metroid & DK Were Handkeyed

53:50 - Destructive Terrain Of Tropical Freeze/Frantic Fields Trees Were Animated 3 Times

55:20 - Carlos Favourite Cutscenes He Worked On

56:15 - Timelessness Of Retros Games

57:10 - Carlos Didn’t Lea

Legendary Wes was one of the Top Tier smash bros players in the golden era of Smash Bros Melee competitions. He was particularly known for being one of the best Samus players.

#sponsored #smashbros #samus

SOCIAL MEDIA

TWITCH -  @TheLegendarywes 

YOUTUBE -  @TheLegendarywes 

TWITTER - @thelegendarywes7

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TIMESTAMPS

00:00 - Intro

00:27 - Why Wes Wanted To Main Samus/Metroid

02:35 - How Wes Got His Playstyle And Evolving It/Hugz

05:20 - Wes Would Spend 8 Hours A Day Playing Melee/Life Balance

07:15 - Using The Hood To Exploit Opponents/Trash Talking

10:54 - Story About Trash Talking Jayman

11:52 - Having Thick Skin/How To Get Out Of A Depressed State

13:36 - Deadly Alliance Terrorising Competitions

14:26 - Deadly Alliance Crew/How They Became An Elite Team

16:20 - Where The Team Is Situated Now/Compton

17:30 - How Wes Prepared Psychologically Before A Competition/Lollipops

20:29 - Wavedashing/Samus Is The Most Technical Character

21:57 - With Samus You Have To Change Style With Every Character/Learning From Noobs

24:14 - Manscaped Sponsored Segment

25:02 - Learning Frame Breakdowns/Hitboxes

26:31 - Mew2King/PC Chris/Armada/Zane

30:07 - Smash Bros Documentary/Wes Material That Was Cut

32:44 - Smash Bros Toxicity Is Only Online/Event Vibe

33:57 - SOS Gamers/Work In The Community During A Pandemic

37:27 - Stigma Of Girls Being Bad At Gaming/Getting Girls Into Gaming/Misogyny 

40:50 - Deadly Alliance Doubled As Security For Events/Mew2King’s People Robbed Him Of His Own Money

42:40 - Deadly Alliance Isn’t As Hood As People Think

44:30 - Jumping Between Melee & Ultimate

45:52 - Wes Thinks Smash Bros Ultimate Is Better Than Melee Overall/Melee’s Dedicated Community

49:40 - Nintendo Gamecube Online/Rollback For Melee

50:03 - Balancing Work Schedule & Content Creation

51:22 - Celebrities Wes Has Been Mistaken For

52:30 - Where To Follow Legendary Wes

Gavin Price was previously employed at Rare for over 15 years and started off as Quality Assurance Tester before moving into game development. He has now cofounded Playtonic Games and overseen the Yooka Laylee games.

#rare #yookalaylee #donkeykong

TIMESTAMPS

00:00 - Intro

01:07 - Staying At Rare For So Long

01:51 - Doing Quality Assurance And What It Entailed At Rare

04:00 - How Gavin Ended Up Working For Rare

05:45 - Common Bugs Found In Game Testing

07:30 - Mickey’s Racing Was Bug Free

08:13 - Seriousness Of Testing & Shipping A Game/Crystal Caverns Bug

09:44 - Process In Development When Testing Starts

10:29 - Game Release Schedule At Rare In Early Days

12:13 - Competitiveness Of Rare

12:48 - How Rare Changed When Microsoft Bought It

14:10 - Gavin Was A Little Overwhelmed When Moving From QA To Development

16:13 - The Stampers Game Process Vs Microsofts Game Game Process

18:50 - Why Gavin Founded Playtonic Games/Rare Redundancies

22:11 - Pitching Playtonic To His Colleagues

23:54 - Kickstarter Campaign Catching Gavin Offguard/Early Days Of Playtonic

27:45 - Developing Yooka Laylee With The Hype Surrounding It

29:01 - Hindsight Of Yooka Laylee/Naevity Of Business

31:45 - Performance Was The Challenge Of Yooka Laylee

33:08 - Camera & Bosses Were The Hardest Parts To Develop For With Yooka Laylee

34:34 - Difficulty Spikes & Developing For That

36:24 - In The Early Days Playtonic Didn’t Have Enough Time To Research Before Starting Development

37:46 - Mario Odyssey/Accessibility/Quick Resume Modes

41:27 - Challenges Of Developing An Exclusive Game Vs Multi Platform

42:50 - Game Growth/Competition/Quality Bar

44:05 - Digital Games/New Game Business Models

45:05 - Distribution/Being Ahead Of The Curve

47:26 - Staying Up With Technology/Responsibility Of Employees Livelihoods 

49:08 - Unpopularity Of Certain Management Decisions/Hierarchy System Of Playtonic

51:45 - Methods Of Avoiding Crunch

53:03 - Playtonic Wants To Make A Lot More Genres Of Games/Improving On Rare’s Legacy

54:40 - Yooka Laylee In Smash Bros Needs To Be Earned

55:55 - Where To Follow Playtonic Games/Future Endeavours For Playtonic

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Richard Vorodi currently works as a designer at Gunfire Games and was lead designer on Darksiders III , he previously worked at Nintendo for 15 years, specifically at NST on games such as Metroid Prime Hunters, Wave Race and Project Hammer before its cancellation.

#sponsored #metroidprimehunters #metroid

TIMESTAMPS

00:00 - Intro

01:01 - Crafting His CV To Be A Designer For Nintendo

02:15 - Approach To Creating Metroid Prime Hunters

03:36 - Creating The Lore For MPH

04:52 - Creating The Hunters Backstories Was The Hardest/Sylux/Bible For Metroid

06:09 - Sylux Was Tanabe’s Favourite Hunter

07:04 - Coming Up With The Hunters Colours

08:22 - Coming Up With The Hunters Names & Lore Names

11:26 - Why Weavel Is Richard’s Favourite Hunter

12:20 - Richard Has No Problem With A Remake Of MPH/Growth Of FPS

13:43 - Most Of The Feedback On Games Are Negative/Praise For MPH

15:51 - Keeping High Morale When The Industry Is So Negative

19:05 - Why NST Used Pre Rendered Cut Scenes In MPH/Pre Rendered Vs In Engine Cutscenes

20:53 - Metroid Dread/Games Are Too Long Nowadays

22:10 - Most People Don’t Finish Games

22:58 - Manscaped Sponsored Segment

24:02 - Space Combat Wasn’t Seriously Considered In MPH/Ships In The Game

24:53 - Eastern Game Design Vs Western Game Design

28:51 - Incorporating Metroid Philosophy Into Darksiders III/Building A World

32:50 - Production Cycle On MPH Vs Darksiders III

34:12 - Crafting Environments Thinking Its Original And Then Finding Out It Isn’t

35:43 - Presentation Is Everything

35:43 - Working With Andrew “Android” Jones On MPH/Art

40:28 - Taking Ideas From One Hunter And Putting It On Another

41:13 - Balancing Ideas

42:36 - Have As Many Ideas As Possible But Know When To Keep Them To Yourselves

43:44 - Retro Studios Gave NST A Template But They Still Created Everything From Scratch

44:01 - An NST Artist Worked With Retro Studios On Metroid Prime And Was Key On MPH

45:47 - Nothing Was Left Out Of The Game For MPH/ Richard Would Of Liked More Content If They Had More Time

48:19 - Modern Engines Save Time/Tools Were Written At Time It Was Needed For MPH

52:13 - Balancing Family/Game Design & Tech

54:18 - Being Bored Is The Worst Thing

55:22 - Where To Follow Richard Vorodi/Gunfire Games

Zoid is a retired game developer who worked in the industry for over 32 years on games such as World Of Warcraft, Dota 2, Portal, Quake and Metroid Prime. He was Senior Engineer on Metroid Prime 1 & 2 and worked closely with the late great Mark Haigh-Hutchinson

Get 20% OFF @manscaped + Free Shipping with promo code KIWITALKZ at MANSCAPED.com!

#sponsored #metroidprime #metroid

SOCIAL MEDIA

TWITTER - @ZoidCTF

TIMESTAMPS

00:00 - Intro

00:52 - Miyamoto Referring To Zoid As Zoid-O-San

01:53 - Game Problems Miyamoto Pointed Out On Space Pirate Frigate/Scale

03:45 - Bluerooms To Scripting To Artwork

05:19 - Morphball Cameras/Camera System

08:42 - Doors/Loading Rooms and Triggers

10:54 - Retro Studios Licensed An Open Source Compression Software To Gain More Memory

13:29 - Spindle Camera In Prime 2/Dark World Transitions

14:57 - Elevators/Physics Transition Of Samus

17:16 - Horizontal Doors Were Removed In Prime 2 Due To The Screw Attack

18:06 - Screw Attack Camera

19:06 - Metroid Prime Has One Of The Most Complicated Third Person Cameras Ever

19:44 - Most Bosses In Prime 2 Were Done By The Designers Themselves/Scripting System

21:35 - Cinematic Camera System Having 1 Frame Glitches 

22:45 - E3 Response To Metroid Prime

24:06 - Tutorial Section Of Prime 1(Worked)

25:13 - Parasite Queen/Strafing

26:06 - Translating Design Ideas To Work/Damage Hue

29:05 - Spider Ball Guardian Scripting System

29:41 - Elder Chozo Room In Chozo Ruins Took A Month To Script

33:30 - Infinite Ball Jumping Wasn’t Considered Because Of Rooms Without Ceilings

34:50 - Master Layers/Why Zoid Put In Locks To Prevent Sequence Breaking

36:09 - Speedrunners/Sequence Breakers

36:58 - Enemies Respawingb

37:58 - Metroid Prime Would Still Have To Be Made The Same Way TodayMemory Allocation

40:40 - Manscaped Sponsored Segment/Memory Allocation Part 2

42:39 - Falling Off Cliffs In Prime 2

44:10 - Being A Professional Street Fighter II Player In The 90s

45:04 - Super Metroid/Zoid Put Super Metroid Into Metroid Prime But Nintendo Declined It

46:50 - Metroid Game Code Was In Japanese

48:00 - Working With Tanabe On The Incinerator Drone & Phazon Mines

49:10 - Network Programming For Multiplayer For Portal 2/Dota 2

50:44 - Zoid Speedrunning Metroid Prime Before Going Gold

51:37 - Zoid Worked 100 Hour Weeks For Months On Prime 1

52:10 - Donkey Kong Tropical Freeze’s Camera System/Zoid Misses RUDE Camera System

54:17 - Zoid Suspects Retro Have Rewritten The Renderer For The RUDE Engine

54:56 - Zoid’s Early Days

57:13 - Why Zoid Retired/The Best Part Of Game Development

59:33 - How Zoid Dealt With Adjusting To Not Working

1:01:27 - Where To Follow Zoid

1:01:59- Zoid Hates NFTs 

1:04:06 - Retro Studios Calibre Of Talent Will Never Be Replicated

The DBZ Faulconer Remix team are focused on creating a brand new score for the Saiyan/Namek Sagas of Dragonball Z in the style of the iconic Faulconer Productions score.

MANSCAPED MUSIC COMPOSED BY JOE HOLASKA AND NICK VERSCHOOR

RADITZ THEME COMPOSED BY RAKEEM DELWIN

SOCIAL MEDIA

FAULCONER RE-MIX YOUTUBE CHANNEL - https://www.youtube.com/channel/UC3lWNQMkrBjWUJvCx_EBxqw

MARCELO'S DBZ MUSIC CHANNEL https://www.youtube.com/channel/UCvS6TLdme39o2snemCYe8wA

RAKEEM'S FAULCONER DBZ REMAKES CHANNEL https://www.youtube.com/channel/UCtGNPl_KPKSKFrt0-BVTdSw

FACEBOOK PAGE https://www.facebook.com/DBZRemix/

#sponsored #brucefaulconer #dragonballz

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TIMESTAMPS

00:00 - Intro

01:12 - How The DBZ Faulconer Remix Project Came About

03:36 - When To Use Faulconer Edit And When To Create New Music

05:19 - How Long It Takes To Make Music 

06:55 - Writing 5 Raditz Themes

07:50 - Working Out What Samples Work And What Don’t

09:00 - How Rakeem Made The Raditz Themes

11:08 - Raditz Face Off Theme & How It Was Made

13:40 - Recreating A Mr Shu Track From Scratch For An Episode

15:37 - Nick Having Trouble With A Raditz Theme

16:20 - Collaboration Over Who Composes Each Theme

18:15 - Faulconer Productions Music Samples Soundbank

20:04 - Finding The Original Samples Took Years

20:50 - Most Difficult Sample To Find/Soundfonts Can’t Replicate The DBZ Music Samples

23:40 - Working Through The Hardware/Getting The Hardware To Work

26:07 - Joe Plays Z Guitar Sample 

28:26 - Liquid Stack(Dong) Sample/Joe Plays It For Heroic Trunks & Frieza Synth

30:01 - Rakeem Plays Blade Runner/Frieza Synth Sample

30:54 - Rakeen Plays Dream Scape - Running Water/Namek Sample

31:49 - Rakeem Plays High Glissz - Dende Sample

33:34 - Destruction Theme Raditz Version & How It Was Made

34:03 - Manscaped Sponsored Segment

35:04 - Guitars/Guitar Synths Being Used In The Score

37:50 - Samples Having Weird Names

39:40 - Doing Different Iterations Of Main Characters Themes

41:00 - Possibly New Ginyu Force Themes Iterations

41:52 - How The Team Will Use Vegeta’s Themes/New Vegeta Theme

43:40 - Raditz Themes Were Hard To Write

44:58 - Discussions On Nappas Theme

47:20 - King Kai

49:17 - Some Sequences Will Be Easy To Edit

50:10 - Team Will Take Small Breaks To Avoid Burnout

50:59 - How The Musicians All Help Each Other Out

52:04 - How Many Instruments Were Used In Vegeta’s Hells Bells

53:44 - Isolating Instruments/LALAL.AI/Mixing

58:29 - Where To Follow DBZ Faulconer Remix Team/Where To Listen

1:00:15 - Raditz Theme Plays

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Emily McGregor is an experienced artist in the video game industry and has worked for a number of Australian video game studios. She has worked on notable franchises such as the Legend Of Zelda: Twilight Princess HD and Age Of Empires III

SOCIAL MEDIA

INSTAGRAM -@elorhan

Get 20% OFF @manscaped + Free Shipping with promo code KIWITALKZ at MANSCAPED.com!

#sponsored #twilightprincess #ageofempiresIII

TIMESTAMPS

00:00 - Intro

00:55 - Difficulties Of Being An Artist In The Video Game Industry/Ongoing Learning

02:21 - Picking Apart Artwork While Playing Video Games

03:30 - Balancing Detail

04:49 - Breaking Down Image Before Modelling 

05:15 - Artists Are Usually Specialised In One Area

06:25 - Team Size For Twilight Princess HD

07:00 - How Twilight Princess HD Pitch Came About/Approximating Budget For Development

10:11 - Frustration Of Not Being Allowed To Update Character Models For TPHD

11:30 - Updating Older Games Causes A Domino Effect Of Programming Problems/Updates Of TPHD

13:33 - The Dynamic Between Programmers & Artists

15:00 - The Evolution Of Tech On Environments/Illusion Tricks Of Older Tech/Water Effects

16:25 - Unreal Engine Vs Zelda Engine/Tantalus Engineers Working With Nintendo Engineers

17:57 - Knowledge Gained From Doing Ports For Different Studios/Phone Games To Tantalus

19:15 - Being A Junior Artist At Tantalus

20:23 - Brief/Planning Before Doing Artwork

21:25 - Emily Prefers Environment Art Over Character Art/Always Getting Inspiration For Sketches

23:36 - Australian Outback/Holidaying An Excuse To Take In Details For Art

24:30 - Life Drawing To Keep Your Skills Up

26:30 - Manscaped Sponsored Segment

27:44 - Feet Are Difficult To Draw/The Animation Process

31:49 - Age Of Empires III Was Emily’s Favourite Project/Revamping & Pitch Of Age Of Empires III

33:35 - Development Of Age Of Empires III/Newer Techniques That Were Applied Due To It Being A Revamp

35:15 - Trying To Stay Up With The Times Despite Technology Constantly Changing

36:30 - Different Studio Cultures/Melbourne Game Studios

37:30 - Why More Film & Gaming Studios Are Relocating To Australia

38:40 - Recruiting Staff Due To Australian Border Closures Has Been Hard/Online Work For Studios

41:00 - Most Rookie Artists Are Bad At Time Management/Employees Needing To Be Multiskilled

43:47 - Emily Wants To Improve People Skills & Travel More

45:40 - Its Common For Artists To Stay At One Gaming Studio

46:16 - Where To Follow Emily McGregor

Lawrence Schwedler is a program director for the music and sound design program at Digipen. He previously spent a considerable amount of years working at NST on games such as Metroid Prime Hunters, Pokemon Puzzle League and Mario Vs Donkey Kong.

Get 20% OFF @manscaped + Free Shipping with promo code KIWITALKZ at MANSCAPED.com! #ad

Lawrence Schwedler Lectures

TIMESTAMPS

00:00 - Manscaped Sponsor Segment/Intro

02:30 - How Lawrence Ended Up Working For Nintendo

06:50 - Music Lawrence Submitted For NST Job Application/MIDI Data

10:50 - Limitations Of The Nintendo DS/ComposingThe Music For Metroid Prime Hunters

15:40 - Lawrence Got Little Direction From Nintendo On MPH Music/Metroid Prime’s Influence On MPH Music

19:50 - The One MPH Piece That Nintendo Told Him To Correct

21:00 - Work Structure At NST/Music For First Hunt

23:20 - Kenji Yamamoto’s Guidance Of Music For MPH

26:26 - Differences Between Audio In Film & Games/Soundscapes

28:25 - Blurring The Line Between Sound Design & Music

30:10 - Music & Sound Design Of Zelda: Breath Of The Wild/Non Linear Implementation

32:10 - Time Spent On Sound Design/Revisions On Mario Vs Donkey Kong

33:43 - Being A Good Composer Is No Longer Good Enough/Audiokinetic Wwise

37:02 - Requirements To Get Into Digipen BA In Arts Of Music & Sound Design

40:20 - Sound Design Starts With Music/Learning A Vast Amount Of Skills

47:42 - Lawrence Feels An Obligation To Teach Students Skills That Won’t Become Obsolete

53:45 - Being Real With Students On How Competitive The Audio Space Is

56:38 - Music Design/Laying The Foundation For Students To Find A Job

1:00:30 - Imposter Syndrome/Working For Nintendo Was Some Of The Most Stressful Times For Lawrence

1:03:45 - Lawrence Has A Twitch Lecture On Zelda: Breath Of The Wild

Curtis Schweitzer is a video game composer that recently scored a majority of the soundtrack for Halo Infinite, he came into prominence for his phenomenal score to Starbound.

#haloinfinite #343industries #starbound

SOCIAL MEDIA

WEBSITE - curtisschweitzer.com

YOUTUBE -  @Curtis Schweitzer 

TWITTER - @cschweitzer

FACEBOOK - @cschweitzermusic

TIMESTAMPS

00:00 - Intro

00:39 - Curtis’ Reaction When He Was Picked To Compose For Halo Infinite

02:02 - Preparation For Scoring Halo Infinite

03:25 - 2019 Trailer Demo Curtis Did Was Way Off The Mark/Responding To Feedback

04:20 - Halo Infinite Music Required Heaps Of Revisions/

 05:50 - Curtis’ Most Used Instruments/Music Background

06:49 - Music Supervision On Halo Infinite/Gareth Coker

09:10 - Zeta Halo Music/Doing What You Are Told

10:45 - Zeta Halo Theme Was Split Into Two Different Tracks

12:24 - Some Halo Music Wasn’t Scored To Gameplay Footage 

14:01 - 2019 E3 Trailer

15:04 - How Long It Takes For Curtis To Get Feedback On A Music Piece

16:04 - Keeping Track Of All The Different Feedback Notes

19:24 - Writing 2mins Of Music A Day/Giving Yourself Space To Allow Music To Sink In

21:06 - Self Imposed Deadlines/Be Kind To Your New Ideas

23:05 - Curtis Regrets Some Of The Halo Infinite Pieces He Submitted

23:52 - What Got Curtis The Job Scoring For Halo Infinite

25:08 - Halo Infinite Is Epic & Hopeful

26:10 - Alex Bhore(This Will Destroy You) Scored The Multiplayer

27:33 - Pros & Cons Of Composing For Cinematics & Gameplay

29:32 - Pieces Where Curtis Had To Do A Huge Amount Of Rewriters(move music)

30:41 - Curtis’ Layout In Logic

32:10 - Halo Infinite Is The First Game Curtis Worked With An Orchestra/Film Deadlines

33:48 - Technology Makes Working On A Film Easier

34:46 - Curtis Is Influenced By A Lot Of Film Composers

35:57 - Curtis Originally Wanted To Be A Film Composer/Starbound Music

39:24 - Curtis Is Still Working On A Game Since Starbound 

40:11 - Not Knowing What Your Next Project Is/Royalty Free Tracks

41:33 - Keeping Game Secrets Is Easy/Changes Of Development

42:35 - Projects Curtis Would Love To Do/How AAA & Indie Music Works

44:46 - Gareth Coker

46:19 - Curtis Often Doubted His Skills While Working On Halo Infinite/Music Education

48:50 - Curtis Writes With Melody In Mind/Commercial Music/Remixing Halo Melodies

50:45 - Writing Original Pieces Harder than Remixing Pieces/Monk Chant

53:15 - Where To Follow Curtis Schweitzer/Music Live Sessions