I hadn’t seen the game at that point but I figured it would be pretty good being from Epic, so I accepted and that was it.ĭS: How was your relationship and collaboration with other members of the audio team? and what about the rest of dev teams? I turned around that trailer in a couple of days and they all seemed to really like it because they offered me the lead sound design gig for Gears of War just a few days later. I didn’t hear from them for a while after that until they needed help on an E3 trailer for Unreal Tournament 3 (then called UT2007). I did a lot of work on that game and continued to do odds and ends for them on games like UT Championship 2, and Unreal 2. Heh… I was a bit consumed by the original UT just a few months prior, so you could say that I was a bit of a fan. I offered to do it and I think my ability to match it proved to him my value because he then started asking me for original sound designs, which I was happy to take on. I met Cliff Bleszinski during those sessions and the topic came up of the dialog processing, which he needed matched to the previous game’s dialog. She used my studio to record her voice actors from time to time and luck of the draw landed the UT2003 recording gig in my lap.
I was living in San Diego and was working with voice director Lani Minella.
Jamey Scott: I started doing sound design work for Epic in 2002 for Unreal Tournament 2003. Hope you enjoy it!ĭesigning Sound: How did you get involved with Gears of War? →You cannot use “For Reference Only” content in any manner that entails advertising, marketing or commercialization of any product or service.įor Full Edition of Pikbest License Agreement, please click here to the Pikbest License page.Here is an interview I had with Jamey, talking about his work on Gears of War 1 and 2 from Epic games. →You cannot imply that the content is created or claimed to be the copyright of the artwork by you or someone other than the copyright holder of the Pikbest content. →You can only use an Item for lawful purposes.
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