Benoit Tigeot delivered an engaging online lecture on his experiences working on the Just Dance series and the intricacies of sound design in dance video games. His talk provided an in-depth look at the challenges and creative processes involved in crafting immersive audio for an interactive, music-driven game.
From Live Sound to Game Development
Benoit’s journey into sound design began with work on live shows, concerts, and exhibitions, which provided him with a strong foundation in audio engineering. After completing his studies in France, he gained experience in television production, animation dubbing, and studio recording before transitioning into video game audio. His background in live and recorded sound gave him a unique perspective when he joined Ubisoft to work on Just Dance.
Adapting to Game Audio
Despite having no prior experience in game audio, Benoit quickly adapted to the demands of interactive sound design. He worked on multiple Just Dance titles, learning how to integrate music and sound effects into gameplay while ensuring high-quality production standards. The fast-paced development cycle required him to balance creativity with efficiency, as each version of Just Dance was produced in a matter of months.
The Sound Design Workflow
Benoit outlined the workflow for sound design in Just Dance, highlighting key stages such as:
- Track Preparation: Receiving licensed music, ensuring audio quality, and making necessary edits, including removing inappropriate language. For example, in Black Eyed Peas’ songs, multiple words were edited out using backward reverb and other subtle audio modifications to keep the track family-friendly while maintaining its musicality.
- Marker Placement: Adding timing markers to synchronise choreography, animations, and gameplay elements. Benoit emphasised the importance of precision, as even a millisecond difference could impact the timing of dance moves and scoring.
- Sound Effects (SFX) Design: Creating introductory and concluding sound effects for each song, as well as UI and gameplay sounds. In Just Dance Japan, additional sound effects were incorporated at the beginning and end of tracks to enhance the user experience. The sound team also created unique effects for different dance modes, such as battle mode, where transitional audio had to blend seamlessly between competing tracks. Over 150 different SFX variations were tested to find the right balance between energy and smooth musical transitions.
- Integration and Testing: Implementing audio into Ubisoft’s proprietary engine, collaborating with developers and artists, and ensuring synchronisation across multiple platforms. Benoit described how the team used text-based scripting in Sublime Text to adjust pitch, loop points, and volume, allowing for quick iteration and adjustments across the game. He also discussed how the team recorded crowd reactions and player feedback sounds in a dedicated studio space to ensure an immersive experience.
Challenges in Dance Game Audio
Working on Just Dance presented unique challenges, including:
- Multi-platform Development: Adapting audio for different consoles and ensuring consistency across devices.
- Cross-Studio Collaboration: Coordinating with teams worldwide, including those in France, India, and the UK.
- Real-time Testing: Evaluating sound integration in a dynamic, open-plan workspace filled with music and dance rehearsals. Benoit noted that sound designers had to contend with a noisy environment, making it difficult to hear and refine subtle audio details.
- Genre Adaptability: Designing sound for a wide range of musical styles while maintaining a cohesive experience. He explained how the team had to ensure that different styles—ranging from electronic dance music to country—had consistent and engaging audio treatments without overwhelming players with excessive effects.
Reflections on Sound Design in Just Dance
Benoit’s lecture provided a valuable look at the evolution of Just Dance’s audio technology. He discussed the transition to a new game engine, which improved workflow efficiency and allowed for greater creative flexibility. His work on developing in-game sound effects, enhancing music transitions, and refining player feedback mechanisms contributed significantly to the game’s audio experience. For instance, in Just Dance’s battle mode, the team spent weeks fine-tuning SFX to ensure that energy levels were maintained across song transitions without jarring interruptions. Additionally, subtle effects such as footstep sounds, applause, and even costume rustling were layered in to enhance immersion.
For aspiring sound designers, Benoit’s talk underscored the importance of adaptability, collaboration, and technical proficiency. His ability to bridge creative and technical aspects of sound design made him a key contributor to one of Ubisoft’s most successful franchises. He also highlighted how working in a rhythm-based game required constant iteration, as any mistake in beat markers or mixing could significantly impact the player’s experience. The balance between technical precision and creative storytelling through sound remains an essential aspect of game audio development.
Benoit’s lecture offered a fascinating glimpse into the behind-the-scenes work that brings rhythm-based games to life. His experiences serve as an inspiration for those interested in audio design for interactive media, highlighting the rewarding challenges of working in the field of game sound.