// Battlefield 1 · Full campaign cinematics · Game capture courtesy of Gamer's Little Playground
Supervising Dialogue Editor on Battlefield 1's cinematics, and sound design on the Battlepack opening sequences. Cut in Pro Tools and handed over as sessions ready to mix.
// Scope & Responsibilities
Battlefield 1 tells its campaign as an anthology rather than one continuous story. Instead of a single cast and a single through line, you get a set of self-contained war stories, each with its own characters, its own setting and its own mix of languages and accents.
That changes the job. On a game with one protagonist you learn one voice and one recording setup and you settle into it. Here you're resetting every few scenes, and consistency has to hold within each story rather than across the whole campaign. A line from one war story sitting near a line from another doesn't need to match. A line that doesn't match the one before it in the same scene very much does.
Supervising rather than only editing means being the one who decides what finished looks like, and making sure everything arriving at the mix has been held to the same standard whichever session it came out of.
// Tools & Pipeline
Cut in Pro Tools, prepped and handed over ready for mix down.
The wrinkle on this one was where the dialogue came from. A lot of it was captured on lapel mics during mocap, which is a very different starting point from a booth. A lavalier is pinned to costume, it moves with the performer, and on a mocap stage the performer is doing a great deal of moving. So you inherit clothing rustle, the mic catching the suit, footsteps coming up through the body, and a room that was never built for recording in the first place.
That meant more repair up front than a studio session needs. De-click and De-rustle offline on the clips, then denoising, before anything else got near it. De-rustle is built for exactly this problem, lavalier clothing noise, and it handles it better than a general denoiser because it's hunting for movement artefacts rather than a steady noise floor. Get that out of the way and the rest of the chain is much the same as any dialogue job. Clean it, level it, make it consistent, hand it on.
// Battlepack Opening Sequences
Separate from the cinematic work, I did the sound design for the Battlepack opening sequences. These are the reward crates players open to reveal weapon skins and other cosmetics.
The sequence has a clear shape to it. The pack whooshes in and thumps down onto the ground, which is the beat that has to carry the weight. Then the padlock, which gets shot and chipped away at rather than simply popping open. Then the cut to the next screen, a small mechanical reload, and the strike through on the weapon image as the item registers as yours. The same sequence carries across the Battlepack tiers.
It's a different discipline from dialogue editorial, and the job there is timing and weight more than anything else. Every beat is locked to an animation that plays identically every time, so there's no room to be approximate about where something lands. The player is also going to trigger the whole thing hundreds of times across the life of the game, which sets the real constraint. It has to hit hard enough to feel like a reward on the first open and still be something you don't mind hearing on the two hundredth. The thump is the one that decides it. Sell the mass without letting the low end smear into something that wears you down.
// Battlefield 1 · Premium Battlepack openings · Game capture courtesy of MaXxGaming
