‘We go to great lengths to record real sounds’ — Battlefield 6 team reveals they shot up cars and destroyed shipping containers to capture authentic audio | Daily Reports Online
- The Battlefield 6 audio team dropped cars from cranes, fired real-world weapons, and more to capture the perfect sounds
- Senior technical sound designer Goncalo Tavares revealed the team will “go to great lengths to record real sounds”
- Audio in the game “comes from a real-life context first,” he said
The Battlefield 6 audio team has revealed that they destroyed cars, walls, shipping containers, and more in their quest to capture the perfect sound.
In a new interview with TechRadar Gaming, senior technical sound designer Goncalo Tavares explained that every audio clip in the game “comes from a real-life context first.”
“We go to great lengths to record real sounds, because it’s easier to record reality than to try and replicate reality,” he said. “We’ve been accompany, for example, the Swedish military on some of their exercises, recording for reference.”
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From crumbling buildings to exploding vehicles, Battlefield 6 features plenty of destruction, which requires its own sound profile — some of which the developers recreated in the real-world.
“We tried a bunch of experimental techniques on those recordings,” said Tavares.
“We did things like put microphones under the ground to see how it would sound through the floor vibrations, putting microphones inside buildings to hear how it would sound obstructed through a couple layers of walls. And probably my favorite, even though it cost me one recorder, was that I attached the microphone to a shipping container that we dropped and filmed in slow motion.”
Tavares also brought up another incident where the team “were recording bullet impacts” by shooting the side of a car and accidentally hit “at least one of the recorders.” Luckily, he says it turns out “the last sound of a recorder is pretty cool.”
Similarly, senior audio director Mari Saastamoinen Minto recalled the team building “brick walls to knock them down and dropping cars” equipped with a microphone (a microphone that Tavares quickly specified “did not last”).
Lots of weapons were recorded too, though senior audio director David Jegutidse explained that in instances where it would be “really hard” to record something (he gave “large projectiles like tank shells or artillery shells or rockets” as examples), the team relied on paid sound libraries.
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