Kiwi Talkz

Jack Mathews is a game designer who is most well known for being technical lead engineer on the Metroid Prime Trilogy. We went onto found Armature Studios and work on games like Recore and Batman Arkham Origins: Black Gate. He now works with his wife on her cooking blog Love & Lemons.

SOCIAL MEDIA

TWITTER - @jack_mathews

FOOD WEBSITE - www.loveandlemons.com

TIMESTAMPS

00:00 - Intro

01:25 - How Metroid Prime Trilogy Consistently Kept 60FPS

05:05 - Jack Tried To Kill Skytown/How Skytown Was Created

08:55 - Jack Stopped MP3 From Having Water In It

10:22 - Jack Killed Off A Dark Water Effect That Tanabe Had For Prime 2

11:52 - Original Concept For Dark Aether

16:49 - Dark Sanctuary Fortress Was The Only Area That Wasn’t Based On Original Dark Aether Concept

18:12 - Tilt Of Camera During Platforming/Original Concept For Platforming In First Person

21:10 - Original Concept For The Thermal Visor

22:13 - Scan Visor In Prime 2

23:16 - Michael Kelbaugh Hated Jack’s Original Dark Visor Idea

24:01 - Echo Visor Inspired By Ben Affleck’s Daredevil Movie

24:44 - Biggest Difficulty Of Visors Was Keeping 60FPS/Scan Visor In MP3/How To Create Bloom Lighting

27:03 - How Nova Beam Worked Technically

29:18 - Visor Effects Weren’t Difficult To Implement

29:44 - Difference Between Specular And Diffuse Lighting/How Samus Reflections Were Implemented

32:34 - How Fog Was Created For Splinter Hive Area

33:24 - Nintendo Never Wanted Metroid Prime To Be A TPS/Shigeru Miyamoto Realising How Important Metroid Is In The West

35:10 - Creating The Morph Ball Camera/Mark Haigh Hutchinson Needs More Praise

36:12 - How The R.U.D.E Engine Was Created/Early Days Of Retro Studios

41:30 - Moments Jack Realised That Metroid Prime Was Something Special

45:20 - Jack Left Retro Studios Because Of Metroid Fatigue & Technical Limitations With Wii Hardware

49:35 - Retro Studios Overhaul During MP2 Reinvigorated The Team/MP3 Was When Retro Got More Autonomy 

52:04 - Problems When First Forming Armature Studios

54:22 - Nintendo’s Approach To Game Design/Problems With Western Game Design

56:30 - Financing Of Game Prototypes/Business In The West Vs Japan

1:03:20 - A Lot Of People Can Design A Game But Cant Build A Game/Time Is Needed To Polish

1:05:10 - Bluepoint Games Are Great At Remasters/Remastering Games

1:06:56 - Jack’s Wifes Cook Books/Jack Does Miss Being In The Game Industry

1:09:04 - Where To Follow Jack Mathews/Love & Lemons

1:09:40 - Jack Puts Rumours To Rest That He Doesn’t Like Metroid Prime 2

Richard Jacques is a video game composer who has composed for games such as Mass Effect, 007 Bloodstone, Sonic and the recent Guardians Of The Galaxy game.

#gotg #guardiansofthegalaxy #marvel

SOCIAL MEDIA

WEBSITE - www.richardjacques.com

TWITTER - @Richard_jacques

INSTAGRAM - @richardjacquescomposer

FACEBOOK - Richard Jacques

TIMESTAMPS

00:00 - Intro

00:50 - How Richard Came Up With GOTG’s Musical Sound

01:40 - Direction From Audio Director On GOTG/Main GOTG Theme

03:18 - Process Of Writing Main GOTG Theme

05:41 - Realising The Main GOTG Theme Was Special

06:47 - How Richard Would Incorporate Main Theme Into Other Parts Of Soundtrack

08:27 - The Credits Theme

09:50 - Licensed Music In GOTG

12:03 - Evolution Of Licensed Music & Meshing With Original Score

13:10 - Dealing With Key Changes

14:21 - Writing In Midi And Getting It 100% Right Before Orchestra Recording

15:35 - Richard Was Full Time On GOTG Since 2019

16:38 - MCU Films Didn’t Influence The GOTG Score

17:47 - Richard Is Drawn To Story/Would Love To Compose For MCU

18:40 - Having To Much Musical Equipment Can Be Distracting

20:57 - Being Content With The Plugins You Have/Chapter 11 Story

23:23 - Mixing Of GOTG Soundtrack

30:28 - Writing A Theme On A London Bus On A Piece Of Paper

32:40 - Demo Tracks For 007:Bloodstone

33:50 - Richard Doesn’t Mind Still Doing Demos Despite His Clout

35:40 - Melody Comes Naturally To Richard

37:59 - How Richard Got His Job At SEGA Europe

41:15 - Richard Was Writing Music For Screen Before Composing For Video Games

43:37 - Richard’s Demo Tracks Are Locked Away

44:35 - Richard Would Love To Do An Analog Synth Score

46:02 - How Richard Stays Inspired

48:49 - Richard Had A Lot Of Roles At SEGA

50:22 - Richard Doesn’t Incorporate Sound Design Into Music/Music Implementation

52:13 - GOTG Soundtrack/Music Implementation In GOTG

54:04 - Work On Mass Effect Helped With GOTG/Flowcharts Of Music

55:41 - Difference Between Mass Effect & GOTG

57:28 - Where Film/TV Differs From Video Games

58:44 - Where To Follow Richard Jacques 

Kynan Pearson is a game developer who has worked on prestigious game franchises such as Metroid, Donkey Kong and Halo. He is currently Creative Director at Discord.

Kynan wrote a document on how to create a Metroidvania game that can be found here

Part 1- https://docs.google.com/document/d/1Q0nMArDDA79ASJgiov9IvlTNpyYcCGTingLa02wwuvo/edit

Part 2 - https://docs.google.com/document/d/1F2NlTIlRDC8WlDp_FV9F-T6B0tkWCOCEq4gTQCcaxLg/edit

SOCIAL MEDIA

TWITTER - @KynanPearson

#metroidprime #donkeykong #retrostudios

TIMESTAMPS

00:00 - Intro

00:56 - Knowing Retro Staff Before Joining/Jason Behr

02:29 - Approach To Level Design For Metroid Prime 2/Dark World

04:15 - Planning Of Metroid Prime Games

05:37 - World Layout/Planning Of Each Room In MP2

07:06 - Focusing On Each Hub/Compression Of Schedule In MP2

08:42 - Dark World Not Being Interconnected Due To Design & Time Constraints

10:20 - MP2 Multiplayer’s Influence On The Dark World

12:06 - Striking A Balance With Backtracking To Not Make It Tedious/MP2 Backtracking

14:27 - MP2 Fetch Quest

16:03 - Mark Pacini Suggested Idea Of GF Marines In Prime 2 Intro Later Into Development

17:55 - Nailing An Introduction/Intro To MP2 & MP3

19:13 - Approach To Design Of MP3/Ship Being A Big Focus

20:35 - Kynan’s Event Planning Role On Elysia, Skytown

23:00 - Elysia Was Built As A Showcase For MP3/Influences On Game Design

24:02 - Creatives Having So Many Ideas/Kynan Would Always Check Everyones Work At Retro

26:18 - Idea Of Background Impacting The Foreground In DKCR/Kynan’s Inspiration

30:58 - Idea Of Rocket Barrel Levels

33:09 - Retro Was A Well Oiled Machine During DKCR/Monday Morning Meetings At Retro

37:09 - Acting Like A Gorilla But Being Super Serious With Miyamoto

37:39 - Idea Of DKCR Silhouette Levels

39:18 - How They Placed Levels In Accordance With World Map

42:07 - Kremlings & K Rool Weren’t Considered As Retro Wanted To Incorporate A New Enemy

43:31 - Metroid Didn’t Have Influence On Halo/343 Industries

44:38 - Kynan’s Philosophy “You Have To Hate Something To Make It Better”

48:05 - No Project Is Ever Finished/Deadlines

49:25 - Working Out Balance Of When To Extend Deadlines & Polish/Release Estimates

51:20 - Adjusting To Different Studios Work Culture/Upper Management Being Key To Studio Culture

54:53 - Be Respectul & Honest With An Individual That Is Difficult To Work With

58:20 - Kynan’s Thoughts On Metroid Dread

1:00:18 - Metroid Dread Was The First Time In A Long Time Kynan Didn’t Critique A Game While Playing

1:01:12 - Where To Follow Kynan Pearson/Kynan’s “How To Design Metroidvania Games” Document

Steven Davis is a stuntman and stunt choreographer who has been involved in many films such as The Hobbit Trilogy, Ghost In A Shell, Warrior and more.....

SOCIAL MEDIA

HITZ INTERNATIONAL - https://www.hitzinternational.com

STUNT GUILD OF NZ - https://stuntguildnz.com

#thehobbit #stunts #choreography

TIMESTAMPS

00:00 - Intro

00:42 - Safety Is Very Important As A Stuntman/Alec Baldwin Shooting Failure

02:32 - Learning How To Fall/Skills Involved To Be A Stuntman

04:03 - How To Fall/Padding A Set

06:44 - Injuries Are Part Of The Job

08:53 - Most Common Bones That Get Broken From Stunts

09:59 - Doing Stunt Choreography/Pre-Visualisation 

13:04 - Choreographing To Lessen Cuts/Editor Can Screw Up Action Cuts

16:00 - Pre Visualisation Outline For Warrior

19:28 - Restraint For Fight Choreography/The Camera Is A Character

21:50 - Critiquing Bad Fight Choreography When Watching Films

23:14 - Steven Loves Avengers:Endgame/Big Blockbuster Films Done Right

24:35 - Working On Films Knowing That They Would Be Bad/Mediocre Scripts Elevated By Actors

28:06 - Working On The Hobbit Was Bad/Actual Stunts Being Replaced By VFX

29:04 - How Gollum/Bilbo Scene Was Originally Choreographed

32:22 - Steven Choreographed Lee Pace’s(Thranduil) Fight Scenes In The Hobbit

33:37 - Steven’s Stunt Scenes Being Cut From The Hobbit/What Scenes Steven Choreographed

36:25 - Showreels/Most Of Stevens Work Comes Via Recommendations

37:08 - Stuntmen Are Technically Cast & Crew

37:54 - Don’t Post Any Behind The Scenes Of The Work Ever

40:45 - Film Stunts Are A Magic Trick

43:10 - Actors That Have Asked To Been Rough With Them/Steven Likes Getting Body Shots

44:13 - Steven Smashed His Face On The Hobbit/Try To Avoid Hurting Actors

46:05 - Steven’s Fitness Regime & Diet

48:04 - Being Vegetarian/Some Countries Its Hard To Be Vegetarian

50:08 - Being Shredded For The 2014 Industrial Athletic Hawkes Bay Open

52:16 - Stripping Body Fat For Film/Film Makes You Look Bigger

54:04 - Hitz International/Difficulties Of Stunt Work In NZ

58:40 - Working On Cowboy Bebop

59:32 - 2020 Was Pretty Slow For Stunt Work/Hitz Has Provided Steven Plenty Of Work

1:01:04 - NZ Pays Stuntpeople Low Wages/Stuntpeople In NZ Are Struggling

1:03:33 - Where To Follow Steven Davis/Cowboy Bebop/Interceptor/Netflix

Clark Wen is a sound designer who owns the sound studios Exile Sound. He has worked on game franchises such as Guitar Hero and Call Of Duty. He is most well known for being Audio Director on Metroid Prime 1 & 2.

Thanks to  @SynaMax  for the assistance on the mixing of this episode.

#metroidprime #metroid #metroidvania

SOCIAL MEDIA

WEBSITE - exilesound.com

TWITTER - @exile5ound

TIMESTAMPS

00:00 - Intro

01:23 - Influences On Metroid Prime’s Sound Design

05:22 - Most Of Metroid Prime’s Sound Design Was Made Via Synthesizers

06:21 - Morph Ball SFX Was Based On Magnets/Layering Sounds

08:59 - Echo Visor SFX

11:26 - Screw Attack SFX

12:15 - Clark’s Saying “Fail Often And Fail Early”/Iterations Of Refining A Sound

13:22 - Space Pirates SFX Evolution

16:47 - Metroid Prime Music Pitch Was Rock Based/Iterations Of The Prime Music

19:24 - Original Composers Retro Pitched To Nintendo/Prime Music Done In Last 3 Months Of Development

21:00 - Most Of Kenji Yamamoto’s Music Submitted Didn’t Need Revisions

22:05 - Implementation Of The Prime Music

23:40 - Implementation Of Music In Prime 2 Was Refined

24:20 - Kenji Yamamoto Made Clark Make Changes To Prime 1 On The Day Before Going Gold

26:24 - Trying To Keep The Audio Quality Intact Despite Ear Fatigue From Prime 1 Crunch

28:00 - Prime 1 Was A Passion Project For Clark

28:38 - Clark’s Experience With Shigeru Miyamoto

30:26 - Yoshi Sakamoto Was There To Ensure Lore Stayed Intact

31:02 - Nintendo Is Very Strict When It Comes To Voice Acting

32:44 - Clark Is Unsure If Jennifer Hale Is The Voice Actress For Samus/Death Scream Was Different Actress

34:20 - How Metroid Prime Influenced Clark’s Sound Design Going Forward

36:15 - Sound Designers Should Learn To Create Sounds Before Learning Implementation

38:49 - Good Websites/Channels To Learn About Sound Design

40:31 - Using Multiple Speaker Systems Well Mixing Sounds

41:27 - Clark’s Process To Mixing A Sound Effect

42:35 - Clark Likes Recording Original Sound Source Material

43:50 - Clark Takes His Recording Rig When He Goes Travelling

44:20 - Tokyo Is Clark’s Favourite City

44:54 - Meeting Kenji Yamamoto In Person

46:26 - Languages Clark Can Speak

47:09 - Clark Loves Chernobyl OST/Where Clark Would Like Prime 4 Music To Go

49:15 - Blurring The Line With Phazon Being Music & A Sound Effect

49:58 - Trying To Ensure A Sound Effect And Music Blend Well/Game Mixing

52:22 - Clark Automatically Critiques Any Game’s Audio & SFX When He Plays

53:20 - Clark Doesn’t Critique Film Audio & SFX As Much As Games/Clark Gets Inspired By Films SFX

54:22 - Clark is Playing Through Metroid Dread/Initially Critiqued Dread’s Audio

55:40 - Where To Follow Clark Wen

Robin Beanland has been a mainline composer at Rare since the early 90s and has worked on franchises such as Killer Instinct, Jet Force Gemini and Conker's Bad Fur Day. He won awards for his recent work on Sea Of Thieves.

SOCIAL MEDIA

TWITTER - @TheRealBeano

#seaofthieves #killerinstinct #rare

TIMESTAMPS

00:00 - Intro

00:58 - How Much Of Sea Of Thieves Was Recorded During The Pandemic

01:16 - Transition Period Of Working From Home On Sea Of Thieves Vs Kinect Sports

03:30 - Finding Unorthodox Instruments Used For Sea Of Thieves

05:19 - Learning How To Use & Record The Hurdy Gurdy For Sea Of Thieves

08:47 - Sea Of Thieves Main Theme/Cow Ribs

10:52 - We Shall Sail Together Theme

13:38 - Robin Composes With Melody In Mind

14:45 - Composing Killer Instinct/The Early Rare Days

16:25 - David Wise Was A Master Of HEX/Robin Avoiding HEX

17:50 - DKC Funky Kong Theme Was Originally Written For Killer Instinct

19:40 - How Short Robin Had To Keep Killer Instinct Themes/Keeping Music Under 4MB

20:30 - Combo’s Theme/Compression System

21:49 - Killer Instinct Killer Cuts Album Was Written After The Original Music Was Composed

22:15 - Sabrewulfs Theme Originally

23:45 - Cinder’s Theme Had To Be Shortened/Avoiding Feedback

25:30 - Discussions Over Shortening Music With Developers/Sample Rate Was 32Khz

27:19 - 90’s Music Influenced Diversity Of Killer Instinct Soundtrack

29:55 - Robin Would Be Open To Scoring Another Fighting Game 

31:00 - Robin Gave Mick Gordon DAT Tapes From Killer Instinct

31:48 - Why The Culture Of Rare Has Stayed The Same From The Nintendo To Microsoft Era/In-house Composing

37:45 - Its A Long Process For Robin To Find A Musical Palette

39:39 - Being In The Musical Zone/Exploring

41:19 - Deadlines/Arts Never Finished/

42:22 - The First Listen Of The Day Is The Most Important/Taking Breaks

43:46 - Cycling Caused Robin To Be Addicted Lollies & Chocolate

45:01 - Robin Thinks Of Melodies Well Cycling

46:30 - Loony Tunes Inspired Conker’s Bad Fur Day Music

48:15 - Being Inspired By The Rare Developers/Instruments Robin Plays

49:05 - The Accessibility Of Playing Music/Not Many Effects Used On Sea Of Thieves/Waterphone

51:45 - Taking An Instrument And Playing It In A Way Its Not Meant To Be Played/Spitfire

54:05 - Just Create & Don’t Worry About Having All The Gadgets

56:25 - Implementation Of The Music In Sea Of Thieves

1:00:36 - Robin Doesn’t Get Offended When His Music Gets Rejected

1:01:20 - A Tune From Conker’s Bad Fur Day Ended Up In Jet Force Gemini/Cutting Room Floor Tunes

1:02:50 - Robin Is Influenced By Miles Davis Philosophy

1:04:04 - Robin Thinks Mick Gordon’s Sound Is Incredible/Loves His Sabrewulf Theme

1:05:23 - Where To Follow Robin Beanland

1:06:15 - Meeting Shigeru Miyamoto & Phil Spencer

1:07:11 - The Gaming Industry Is More Grounded Than Music & Film

1:09:30 - Bike Rides/Find Something You Enjoy

Ra Vincent is a New Zealand sculptor/artist/set designer and has worked on films such as Lord Of The Rings, The Hobbit, Thor Ragnarok and Jojo Rabbit. He is in the process of building Silverlight Studios a gargantuan film facility in Wanaka, NZ for upcoming film workers in the insustry.

SOCIAL MEDIA

TWITTER - @ra_vincent

WANAKA SILVERLIGHT STUDIO - https://www.epa.govt.nz/fast-track-consenting/referred-projects/silverlight-studios-wanaka/

#hobbit #jojorabbit #thorragnarok

TIMESTAMPS

00:00 - Intro

01:10 - How Ra Has Managed To Stay Mellow Despite The Franticness Of Hollywood

03:40 - Avoiding Burnout

05:12 - Labour Union Strike In America

06:20 - No Film Union In NZ/New Zealand Film Industry Vs American Film Industry

08:45 - How NZ Film Industry Changed Over The Last Two Decades

09:55 - Difference Between Guilds In America/How Ra’s Diversified Skillset Helped Him

11:45 - The Purpose Of The Wanaka Silverlight Studios 

14:14 - Uniqueness Of New Zealand’s Landscape

15:16 - Why The Hobbit Wasn’t Shot On Location As Much As Lord Of The Rings

17:14 - LED Immersive Lighting Environment Technology

18:41 - Advantages Of Shooting On Locations/Using LEDILE Technology With Location Shooting

20:40 - LED Technology Utilised With Set Design

22:21 - Why Green/Blue Screen May Still Be Needed/Hollywood Doesn’t Have Foresight

25:47 - Every Country Has A Different Film System Of Operation 

27:33 - Working With Dan Hennah/Lord Of The Rings And The Hobbit Were Shot Completely Differently

29:14 - Creatives Buidling Sets Up Until The Eleventh Hour/

30:34 - Managing Creative People In The Film Industry

32:33 - Encouraging Creative People

34:43 - Working With Taika Waititi/Working With Like Minded People

37:18 - How Marvel Operates/Thor Ragnarok/Every Marvel Film Since Has Been Inspired By Thor Ragnarok

39:58 - The Eccentrics Of L.A.

40:38 - Ra Is Keen To Get Mentor People

43:05 - Upkeep Of Hobbiton/Making It A Tourist Attraction

45:20 - Sculpting/Longest Part Of The Process

47:20 - Timelines Of Sculpting Being Wrong/Gandalf Sculpture 

48:50 - Working Out A Budget/Managing Pressure Of A Big Budget

50:20 - Ra Loves The Exploration Aspect Of Planning Design

51:20 - Big Bosses/Pandemic Messing With Ra’s Work

53:22 - MIQ System In NZ Is Causing NZ To Lose A Lot Of Film Productions

54:15 - Ra Is Coming Back To NZ To Pitch For Some L.A. Work There

54:50 - NZ Government Is Really Slow

55:30 - Silverlight Studio Will Only Take 2 Years To Build

56:54 - Studio Space Shortage In NZ

Bryan Walker is currently the Lead Producer at Deck Nine Games but is most well known for his tenure at Retro Studios where he was was Senior Producer on Metroid Prime 2 & 3 and Senior Director of Development on Donkey Kong Country Returns and Mario Kart 7.

#retrostudios #metroidprime #donkeykong

SOCIAL MEDIA

LinkedIn - Bryan Walker

TIMESTAMPS

00:00 - Intro

00:00 - Joining Retro Studios Right After Success Of Metroid Prime 1

03:02 - Correcting Retro Studios’ Toxic Environment

05:38 - Keys To Managing Game Developers/Management Tips

08:19 - Tanabe Is A Super Genius Of Boss Design

10:06 - Bryan Walker Can Beat The Boost Ball Guardian Outside Of Debug Mode

11:10 - Due To A Military Background Bryan Gave Input On The Galactic Federation Marines

12:13 - Bryan Praises Scott Peterson For Implementation Of Voice Acting

14:07 - It Didn’t Take Much To Convince Nintendo To Do The Metroid Prime Trilogy Package

15:05 - How Retro Studios Got The Donkey Kong IP/Miyamoto’s View On DK

20:21 - Nintendo Are Not Impressed Until They See Game Prototypes

22:00 - Western Publishers Are More Interested In Documents Than Prototypes

23:01 - Unreal/Unity Have Streamlined Development

24:00 - Mark Pacini’s Genius/Original Pitch For Metroid Prime 3 Was To Be Open World

26:06 - Bryan Feels They Fell Short With Prime 3

27:10 - Nintendo’s Slogan Is “To Delight And Surprise The Player”

28:03 - Bryan’s Experience With Satoru Iwata

29:03 - Most Gaming CEO’s Don’t Understand Whats Involved In Development

32:04 - Game Design Summed Up As “Turning Big Rocks Into Little Rocks”

33:22 - Hyper Mode In Prime 3 Took A Year To Implement

35:34 - Retro Studios Was The First Western Studio To See The Wii Remote

36:50 - Retro Studios Initially Were Really Worried About The Wii/Wii’s Success

38:28 - Iwata Was A Proponent Of The Blue Ocean Strategy/The Book - Innovators Dilemma

39:46 - Why Bryan Joined Deck Nine Games/Story Driven Games

41:45 - Writing Process Of Story Driven Games Like True Colour

43:10 - Giving Publishers The Reality Of The Cost The Implementing Certain Things 

44:32 - Headcount Determines Budget/Cost Of Running An AAA Studio Per Month

46:03 - Cost Of Printing Discs, Retail and Marketing

48:30 - Digital Sales For Games

49:13 - Publishers Do Not Pay Out Bonuses Based On Metacritic Rating

49:44 - Retro’s Work On Mario Kart 7

51:12 - Mario Kart 7 Iwata Story

53:03 - Retro Did A Lot Of The Mario Kart Retro Tracks/Retro Were Huge Nintendo Fans

54:37 - Nintendo Were Inspired By Retro Studios Design Tool Kits

56:49 - Retro Studios Went To Japan Headquarters Quite A Number Of Times During Mario Kart 7

58:20 - Moment At Retro Studios That Sticks With Bryan Walker The Most

1:00:56 - Better To Have A Superstar Team Than A Team Full Of Superstars

1:03:11 - Deck Nine Games Going Forward

1:03:37 - How To Keep Up To Date With Bryan Walker

Peter McConnell is a game composer who is well known for composing games like Psychonauts, Grim Fandango, Sly Cooper and more. He worked for Lucas Arts as well during the 90s.

SOCIAL MEDIA

TWITTER - @PeterNMcConnell

#psychonauts #lucasarts #timschafer

TIMESTAMPS

00:00 - Intro

00:40 - Peter’s Fedora

01:05 - How Peter Came Up With Musical Palette For Psychonauts 1&2

09:10 - Traditional Film Scores

10:37 - Humming Themes Into Cassette Players/MP3s

20:40 - Relationship With Tim Schafer

12:25 - Whats Special About Tim Schafer

16:10 - Learning To Take Constructive Criticism

17:12 - The Customer Is Always Right/Game Design Is A Collaborative Art

19:20 - Callouses/Difference Between Guitar & Violin/Playing Banjo

22:46 - When Orchestra Became Prevalent In Game Music

24:24 - Peter’s First Orchestral Recording

28:28 - The Process Of Recording The Music During Psychonauts 2

30:16 - Recording Remotely/Audiomovers

33:36 - Necessity Is The Mother Of Invention/Benefits Of Recording With Smaller Orchestras

34:47 - Voice Acting For Lucas Arts/Yoda 

37:01 - Peter Prefers Composing To His Days Doing Multiple Tasks At Lucas Arts

37:47 - Being Summond To Answer For Doing A Metal Version Of Imperial March

38:58 - Having To Make Music In Style Of John Williams/Music For Star Wars Games

40:39 - Lucas Arts Was A Crash Course To Prepare Peter For Where He Is Now

42:05 - Scary Time Of Being A Freelancer/Why Peter Left Lucas Arts

43:55 - Skills Peter Wants To Improve On

45:20 - Work Life Balance

46:16 - Where To Follow Peter McConnell

Associate Professor Jan Elridge is an astrophysicist at the University Of Auckland her main research is on the life and death of stars.

SOCIAL MEDIA

TWITTER - @astro_jje

*DISCLAIMER* Apologies for Jan's audio, not much I could do about it as it wasn't the greatest on her end.

#astrophysics #blackholes #gammarays

TIMESTAMPS

00:00 - Intro

00:42 - Studying Astrophysics And Still Barely Knowing Anything About It

01:11 - Studying The Stars/Gravitational Waves

03:27 - One Thing Causing An Entire Programme Model To Be Off

04:30 - Supernovae/Black Hole Dimensions

06:00 - How BPASS Programme Works

08:06 - How Long It Takes To Make A Model

10:45 - Films Portrayals Of Space/Black Holes

13:32 - Jan Is A Fan Of Sci-Fi/Dr WHO/Astronomer Debates

16:25 - Structures Of Stars

19:25 - The Sun

20:04 - What Would Happen If The Sun Disappeared

21:30 - How To Survive On Earth If The Sun Disappeared

22:51 - Gamma Ray Bursts/How They Were Discovered

27:48 - The Area A Gamma Ray Explosion Would Cause

31:10 - Shooting Stars Aren’t Shooting Stars/History

33:26 - Why Shooting Stars Haven’t Been Corrected To Be Shooting Meteorites

35:13 - Astronomy Leads To Philosophical & Ethical Questions

37:04 - Where Do We Come From

38:03 - The Flaws In Elon Musk’s MARS Mission

41:34 - Space Is Hostile/It Would Be Better To Go To The Moon First

42:50 - Films That Are Accurate In Dictating MARS 

44:30 - The Chance Of Satellites Being Destroyed From A Chain Reaction

46:37 - Bringing Space Junk Down To Earth To Burn Up In The Atmosphere

48:38 - Beaming Light From Space Satellites To Earth/Why We Use Cables

50:54 - A Difference Between Theorists And Observers

53:44 - Professional Amateur Astronomers/Theorists& Observers Collaborating

57:10 - How To Rebuttal A Flat Earth Theorist

59:43 - Where To Follow Jan Elridge