|May 14, 2010 (Last Update)|
EXCLUSIVE INTERVIEW WITH JULIAN KWASNESKI
THE VOICES ARE
We all heard the thousands of dialogue
lines on The Dig (maybe without paying any special attention to them)
but there a was a little group of people at LucasArts who had to cut,
edit, process and masterize all of these lines manually (one by one).
One of these fearless heroes is Julian Kwasneski who worked on The Dig
as a voice editing assistant. He worked on voice editing and sound design
on the most brilliant games that LucasArts has produced, like: Full
Throttle, Grim Fandango, The Curse of Monkey Island,
Outlaws, Escape from Monkey Island and also worked on
most of the Star Wars games.
Can you tell us a little about yourself, and how did you get into the sound industry?
Once a stockbroker working for Merill Lynch, I got bored quickly and left to pursue things I was actually interested in. I had been in a band for many years and was started working as a second engineer at various recording studios in the area (as well as waiting tables and bartending). I eventually opened up a small music production facility which kept me busy part time. While doing all of this I somewhat stumbled upon Lucasarts and responded to an opening in the Voice department. I ended up not getting the job but eventually found myself working in the Tech Support department as a temp. A few months later I got hired on to do a contract voice editing job for Tie Fighter CD ROM and joined the Voice department soon after that. From there I was hired into the sound department and was thrown right into the action with no time to really consider what was happening. Those were crazy busy times, but I sure do miss them...it was one big happy most of the time family. So you could say that I did not choose to do game audio for a living, it chose me.
Since the history of The Dig goes back to 1989. How early in the game have you been involved?
work on the Dig was all voice work as I was in the Voice Department
back then. Darragh OFarrell would cast and direct all of the talent,
most of it in LA, and then we would get select take DATs (no hard drives
and DVDs yet unfortunately). We did do a few sessions locally, some
of which I engineered, but mostly my work on the project was editing
and mastering the DATs with Khris Brown and Coya Elliot. That project
had some pain.....I recall having to de-ess about 2600 Boston voice
files manually. I had two Quadra 650s working in tandem to pull it off.
There were plenty of ad-hoc, one-line recording sessions too. Im
sure my thin ol voice is somewhere in there....
I honestly dont
Hmmm, well, we all got
thank you letters signed by Spielberg.
Absolutely, though I
dont recall if they still happen sadly. It was a great opportunity
for all LEC folk to voice their opinion either anonymously or non-anonymously,
eat pizzas and enjoy a few beers with the people we spent the majority
of our lives around.
I love the DIG. I miss
those old games.
February 2 2005
Thanks a lot to Julian and his collegues at Bay Area Sound. He is a really cool guy and I'm sure we'll keep 'hearing' his work for a long time.
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