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Chapter 10: VOICEOVER (6/6)
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Chapter 10: VOICEOVER (6/6)
by Heather Maxwell Chandler
The Game Production Handbook, 2nd Edition
THE GAME PRODUCTION HANDBOOK, Second Edition
Copyright
Dedication (1/3)
Dedication (2/3)
Dedication (3/3)
FOREWORD
PREFACE
ACKNOWLEDGMENTS
ABOUT THE AUTHOR
Part I: GENERAL PRODUCTION OVERVIEW
Chapter 1: GAME PRODUCTION OVERVIEW (1/3)
Chapter 1: GAME PRODUCTION OVERVIEW (2/3)
Chapter 1: GAME PRODUCTION OVERVIEW (3/3)
1.1 INTRODUCTION
1.2 PRODUCTION CYCLE
1.3 PRE-PRODUCTION
1.4 PRODUCTION
1.5 TESTING
1.6 POST-PRODUCTION
1.7 CHAPTER SUMMARY
Chapter 2: ROLES ON THE TEAM (1/5)
Chapter 2: ROLES ON THE TEAM (2/5)
Chapter 2: ROLES ON THE TEAM (3/5)
Chapter 2: ROLES ON THE TEAM (4/5)
Chapter 2: ROLES ON THE TEAM (5/5)
2.1 INTRODUCTION
2.2 PRODUCTION
2.3 ART
2.4 ENGINEERING
2.5 DESIGN
2.6 QUALITY ASSURANCE TESTING
2.7 TEAM ORGANIZATION
2.8 CORPORATE
2.9 CHAPTER SUMMARY
Chapter 3: PROJECT MANAGEMENT METHODS (1/4)
Chapter 3: PROJECT MANAGEMENT METHODS (2/4)
Chapter 3: PROJECT MANAGEMENT METHODS (3/4)
Chapter 3: PROJECT MANAGEMENT METHODS (4/4)
3.1 INTRODUCTION
3.2 PROS AND CONS
3.3 PERSONAL SOFTWARE PROCESS (PSP)
3.4 SCRUM
3.5 PROJECT MANAGEMENT INSTITUTE (PMI)
3.6 CHAPTER SUMMARY
Part II: BUSINESS INFORMATION
Chapter 4: LEGAL INFORMATION (1/3)
Chapter 4: LEGAL INFORMATION (2/3)
Chapter 4: LEGAL INFORMATION (3/3)
4.1 INTRODUCTION
4.2 INTELLECTUAL PROPERTY RIGHTS
4.3 LEGAL AGREEMENTS
4.4 LICENSES
4.5 CHAPTER SUMMARY
Chapter 5: DEVELOPER AND PUBLISHER RELATIONSHIPS (1/4)
Chapter 5: DEVELOPER AND PUBLISHER RELATIONSHIPS (2/4)
Chapter 5: DEVELOPER AND PUBLISHER RELATIONSHIPS (3/4)
Chapter 5: DEVELOPER AND PUBLISHER RELATIONSHIPS (4/4)
5.1 INTRODUCTION
5.2 PITCHING A GAME TO A PUBLISHER
5.3 MANAGING THE DEVELOPER-PUBLISHER RELATIONSHIP
5.4 THIRD-PARTY GAME APPROVALS
5.5 CHAPTER SUMMARY
Part III: MANAGING PEOPLE
Chapter 6: HIRING AND RETAINING TALENT (1/3)
Chapter 6: HIRING AND RETAINING TALENT (2/3)
Chapter 6: HIRING AND RETAINING TALENT (3/3)
6.1 INTRODUCTION
6.2 HIRING TALENT
6.3 RETAINING TALENT
6.4 TRAINING
6.5 CHAPTER SUMMARY
Chapter 7: TEAMS (1/6)
Chapter 7: TEAMS (2/6)
Chapter 7: TEAMS (3/6)
Chapter 7: TEAMS (4/6)
Chapter 7: TEAMS (5/6)
Chapter 7: TEAMS (6/6)
7.1 INTRODUCTION
7.2 PROJECT LEADERSHIP
7.3 PICKING LEADS
7.4 TEAM BUILDING
7.5 TEAM BUY-IN AND MOTIVATION
7.6 QUALITY OF LIFE
7.7 CHAPTER SUMMARY
Chapter 8: EFFECTIVE COMMUNICATION (1/2)
Chapter 8: EFFECTIVE COMMUNICATION (2/2)
8.1 INTRODUCTION
8.2 WRITTEN COMMUNICATION
8.3 ORAL COMMUNICATION
8.4 NONVERBAL COMMUNICATION
8.5 ESTABLISHING COMMUNICATION NORMS
8.6 COMMUNICATION CHALLENGES
8.7 CHAPTER SUMMARY
Part IV: TECHNICAL PRODUCTION
Chapter 9: MASSIVELY MULTIPLAYER ONLINE GAMES (1/3)
Chapter 9: MASSIVELY MULTIPLAYER ONLINE GAMES (2/3)
Chapter 9: MASSIVELY MULTIPLAYER ONLINE GAMES (3/3)
9.1 INTRODUCTION
9.2 DIFFERENCES BETWEEN MMOS AND OTHER GAMES
9.3 PRE-PRODUCTION
9.4 PRODUCTION
9.5 POST-PRODUCTION
9.6 CHAPTER SUMMARY
Chapter 10: VOICEOVER (1/6)
Chapter 10: VOICEOVER (2/6)
Chapter 10: VOICEOVER (3/6)
Chapter 10: VOICEOVER (4/6)
Chapter 10: VOICEOVER (5/6)
Chapter 10: VOICEOVER (6/6)
10.1 INTRODUCTION
10.2 PLANNING FOR VOICEOVER
10.3 CHOOSING A SOUND STUDIO
10.4 CASTING ACTORS
10.5 RECORDING VOICEOVER
10.6 VOICEOVER CHECKLIST
10.7 CHAPTER SUMMARY
Chapter 11: MUSIC (1/3)
Chapter 11: MUSIC (2/3)
Chapter 11: MUSIC (3/3)
11.1 INTRODUCTION
11.2 PLANNING FOR MUSIC
11.3 WORKING WITH A COMPOSER
11.4 LICENSING MUSIC
11.5 CHAPTER SUMMARY
Chapter 12: MOTION CAPTURE (1/2)
Chapter 12: MOTION CAPTURE (2/2)
12.1 INTRODUCTION
12.2 PLANNING FOR MOTION CAPTURE
12.3 WORKING WITH A MOTION CAPTURE STUDIO
12.4 PREPARING FOR A MOTION CAPTURE SHOOT
12.5 MOTION CAPTURE CHECKLIST
12.6 CHAPTER SUMMARY
Chapter 13: MARKETING AND PUBLIC RELATIONS (1/3)
Chapter 13: MARKETING AND PUBLIC RELATIONS (2/3)
Chapter 13: MARKETING AND PUBLIC RELATIONS (3/3)
13.1 INTRODUCTION
13.2 WORKING WITH MARKETING
13.3 PACKAGING
13.4 DEMOS
13.5 MARKETING ASSETS
13.6 GAME BUILDS
13.7 ASSET DELIVERABLE CHECKLIST
13.8 CHAPTER SUMMARY
Part V: PRE-PRODUCTION
Chapter 14: GAME CONCEPT (1/5)
Chapter 14: GAME CONCEPT (2/5)
Chapter 14: GAME CONCEPT (3/5)
Chapter 14: GAME CONCEPT (4/5)
Chapter 14: GAME CONCEPT (5/5)
14.1 INTRODUCTION
14.2 BEGINNING THE PROCESS
14.3 DEFINE CONCEPT
14.4 PROTOTYPING
14.5 RISK ANALYSIS
14.6 PITCH IDEA
14.7 PROJECT KICK-OFF
14.8 CONCEPT OUTLINE
14.9 CHAPTER SUMMARY
Chapter 15: GAME REQUIREMENTS (1/4)
Chapter 15: GAME REQUIREMENTS (2/4)
Chapter 15: GAME REQUIREMENTS (3/4)
Chapter 15: GAME REQUIREMENTS (4/4)
15.1 INTRODUCTION
15.2 DEFINE GAME FEATURES
15.3 DEFINE MILESTONES AND DELIVERABLES
15.4 EVALUATE TECHNOLOGY
15.5 DEFINE TOOLS AND PIPELINE
15.6 DOCUMENTATION
15.7 RISK ANALYSIS
15.8 APPROVAL
15.9 GAME REQUIREMENTS OUTLINE
15.10 CHAPTER SUMMARY
Chapter 16: GAME PLAN (1/7)
Chapter 16: GAME PLAN (2/7)
Chapter 16: GAME PLAN (3/7)
Chapter 16: GAME PLAN (4/7)
Chapter 16: GAME PLAN (5/7)
Chapter 16: GAME PLAN (6/7)
Chapter 16: GAME PLAN (7/7)
16.1 INTRODUCTION
16.2 DEPENDENCIES
16.3 SCHEDULES
16.4 BUDGETS
16.5 STAFFING
16.6 OUTSOURCING
16.7 MIDDLEWARE
16.8 GAME PLAN OUTLINE
16.9 CHAPTER SUMMARY
Part VI: PRODUCTION
Chapter 17: PRODUCTION CYCLE (1/2)
Chapter 17: PRODUCTION CYCLE (2/2)
17.1 INTRODUCTION
17.2 DESIGN PRODUCTION CYCLE
17.3 ART PRODUCTION CYCLE
17.4 ENGINEERING PRODUCTION CYCLE
17.5 WORKING TOGETHER
17.6 CHAPTER SUMMARY
Chapter 18: PRODUCTION TECHNIQUES (1/4)
Chapter 18: PRODUCTION TECHNIQUES (2/4)
Chapter 18: PRODUCTION TECHNIQUES (3/4)
Chapter 18: PRODUCTION TECHNIQUES (4/4)
18.1 INTRODUCTION
18.2 GETTING A PROJECT BACK ON TRACK
18.3 PROJECT REVIEWS
18.4 CRITICAL STAGE ANALYSIS
18.5 WEEKLY STATUS REPORTS
18.6 RUNNING MEETINGS
18.7 RESOURCE ALLOCATION
18.8 PREVENTING FEATURE CREEP
18.9 ESTABLISHING APPROVAL PROCESSES
18.10 TASK FORCES
18.11 CHAPTER SUMMARY
Chapter 19: MAKING BUILDS (1/2)
Chapter 19: MAKING BUILDS (2/2)
19.1 INTRODUCTION
19.2 BUILD PROCESS
19.3 MULTILINGUAL BUILDS
19.4 BUILD NOTES
19.5 PREVENTING PIRACY
19.6 CHAPTER SUMMARY
Chapter 20: SOFTWARE RATINGS (1/3)
Chapter 20: SOFTWARE RATINGS (2/3)
Chapter 20: SOFTWARE RATINGS (3/3)
20.1 INTRODUCTION
20.2 SOFTWARE AGE RATINGS
20.3 ESRB (UNITED STATES)
20.4 PEGI (EUROPE)
20.5 BBFC AND VSC (UNITED KINGDOM)
20.6 USK (GERMANY)
20.7 OFLC (AUSTRALIA)
20.8 CERO (JAPAN)
20.9 KMRB (KOREA)
20.10 CHAPTER SUMMARY
Chapter 21: LOCALIZATION (1/4)
Chapter 21: LOCALIZATION (2/4)
Chapter 21: LOCALIZATION (3/4)
Chapter 21: LOCALIZATION (4/4)
21.1 INTRODUCTION
21.2 CREATING INTERNATIONAL CONTENT
21.3 LOCALIZATION-FRIENDLY CODE
21.4 LEVEL OF LOCALIZATION
21.5 LOCALIZATION PLAN
21.6 ORGANIZING ASSETS FOR TRANSLATION
21.7 INTEGRATING TRANSLATED ASSETS
21.8 TESTING
21.9 CONSOLE SUBMISSION
21.10 LOCALIZATION CHECKLIST
21.11 CHAPTER SUMMARY
Part VII: TESTING
Chapter 22: TESTING (1/3)
Chapter 22: TESTING (2/3)
Chapter 22: TESTING (3/3)
22.1 INTRODUCTION
22.2 TESTING SCHEDULE
22.3 TEST PLANS
22.4 TESTING PIPELINE
22.5 TESTING CYCLE
22.6 EXTERNAL TESTING
22.7 CHAPTER SUMMARY
Chapter 23: CODE RELEASING (1/2)
Chapter 23: CODE RELEASING (2/2)
23.1 INTRODUCTION
23.2 DETERMINING CODE RELEASE
23.3 CODE RELEASE CHECKLIST
23.4 GOLD MASTERS
23.5 CHAPTER SUMMARY
Part VIII: POST-PRODUCTION
Chapter 24: POSTMORTEMS (1/2)
Chapter 24: POSTMORTEMS (2/2)
24.1 INTRODUCTION
24.2 PURPOSE OF A POSTMORTEM
24.3 CONDUCTING A POSTMORTEM
24.4 LESSONS LEARNED DOCUMENT
24.5 CHAPTER SUMMARY
Chapter 25: CLOSING KITS (1/2)
Chapter 25: CLOSING KITS (2/2)
25.1 INTRODUCTION
25.2 DEFINING CLOSING KITS
25.3 CREATING CLOSING KITS
25.4 ORGANIZING CONTENT
25.5 FINALIZING CLOSING KITS
25.6 CLOSING KIT CHECKLIST
25.7 CHAPTER SUMMARY
Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (1/11)
Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (2/11)
Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (3/11)
Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (4/11)
Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (5/11)
Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (6/11)
Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (7/11)
Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (8/11)
Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (9/11)
Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (10/11)
Appendix A: CASE STUDY—GAME PRODUCTION CYCLE (11/11)
A.1 INTRODUCTION
A.2 PRE-PRODUCTION PHASE
A.3 TECHNICAL PRODUCTION
A.4 PRODUCTION
A.5 TESTING PHASE
A.6 POST-PRODUCTION PHASE
Appendix B: GLOSSARY
Appendix C: RESOURCES
BOOKS
ARTICLES
WEBSITES
Appendix D: BIOGRAPHIES (1/2)
Appendix D: BIOGRAPHIES (2/2)
KARIN GROEPPER BOOSMAN
TOM BUSCAGLIA
MELANIE CAMBRON
CAREY CHICO
DON DAGLOW
STEPHANIE O'MALLEY DEMING
JAMIE FRISTROM
TRACY FULLERTON
RAYMOND HERRERA
CLINT HOCKING
LEE JACOBSON
TODD KEISTER
CLINTON KEITH
PAUL LESKA, JR
ERIK LOUDEN
JEFF MATSUSHITA
LUCIEN PARSONS
JAY POWELL
STUART ROCH
AMANDA RUBRIGHT
TOBI SAULNIER
CORAY SEIFERT
TOM SLOPER
WADE TINNEY
PATRICIA VANCE
Appendix E: ABOUT THE CD-ROM
INDEX (1/2)
INDEX (2/2)
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