Audio For Visual Media School

Start with the brief: target platform, style, and memory/CPU limits. Build an asset list, gather references, and prototype quickly. Record/perform foley and VO, synthesize and layer FX, and keep sessions organized with clear naming/versions. Design with interactivity in mind—variations, parameters, and real-time control for states (health, distance, materials). Implement in‑engine via industry middleware, set attenuation, mix in context, and optimize (loop points, file size, voice limits). Playtest, iterate, and fix integration bugs. At OIART, you’ll practice end‑to‑end game audio: capture, design, implementation, and in‑engine mixing, so your reel shows both sound and systems thinking.

Many roles hire on portfolio, but some employers prefer or require formal training/credentials: broadcast audio (A1/A2), corporate AV and events, post‑production facilities, larger live‑sound companies, some government/education roles, and certain unionized or safety‑sensitive positions. Formal training can also speed hiring for entry‑level assistant/editor/tech roles where standards, documentation, and reliability matter. OIART’s 11‑month program gives you recognized, career‑focused training plus 650+ hands‑on studio hours, which employers value alongside your reel.

That’s the Foley artist (often with a Foley mixer/recordist and Foley editor). Foley artists perform footsteps, cloth, and props on a dedicated stage to match pictures; the mixer captures clean, perspective‑accurate recordings; the editor syncs and polishes for the final mix. At OIART, you’ll learn Foley performance, mic’ing, recording, and editorial basics so you understand the full pipeline from stage to re‑recording mix.

 In audio, a game audio engineer (or technical sound designer) bridges creative sound with implementation. They integrate assets, script triggers and states, build interactive systems (layers, randomization, parameters), mix in‑engine, optimize performance/memory, and squash bugs. They collaborate with designers, programmers, and composers to ensure the game feels responsive and cohesive. OIART trains both sides—sound design and technical implementation—so your portfolio demonstrates you can design great audio and make it work in game.

Build a focused, playable portfolio: 2–3 small games or level mods showing implemented SFX, UI, and music, with short breakdowns of your decisions. Join game jams, collaborate with indie teams, and contribute to community projects. Network consistently (Discords, meetups, conferences), apply for internships/junior roles, and show your process (before/after, implementation videos). Keep learning, ship frequently, and be reliable. At OIART, you’ll create real projects, get portfolio coaching, and tap into career support to target your first role.

Teams blend multiple disciplines:

• Design: gameplay, systems, UX
• Programming/technical: engine/scripting, tools, performance
• Art: 2D/3D, animation, VFX
• Audio: sound design, VO, music, implementation, in‑engine mixing
• Production: scheduling, QA, documentation

Strong collaboration, version control, and problem‑solving tie it together. OIART focuses on the audio track—design, capture, editing, and in‑engine implementation—while teaching you to collaborate smoothly with non‑audio teammates.

For audio roles, you’ll want production sound basics (location mic’ing, wireless/RF, set etiquette), post workflows (dialogue editing, ADR, Foley, sound design), re‑recording mix, and deliverables/loudness standards. Pro Tools fluency, session organization, naming, and backups are essential. A strong reel, references, and the ability to work fast to picture will open doors. OIART’s Audio for Visual Media training covers the pipeline—from capture to edit to final mix—so you graduate with practical skills and portfolio pieces aligned to industry expectations.

OIART’s Audio for Visual Media track trains you across the full post pipeline: dialogue editing and cleanup, ADR recording/editing, Foley performance and editing, SFX editing/design, creative sound design, assistant re-recording mixing and mix prep, music editing and conforming, and game audio implementation (asset creation and middleware/in‑engine setup). You’ll practice real deliverables, spec sheets, and session organization so your reel shows both creative and technical readiness.

ADR (Automated Dialogue Replacement) is re‑recording lines to replace or enhance production dialogue. Workflow: prep cues to picture, use beeps/visual streamers, match mic and perspective, record multiple takes, then comp, edit, and sync precisely in Pro Tools. You’ll learn to match tone/space with EQ/NR/verb, manage slating and reports, and deliver clean tracks that integrate seamlessly. OIART runs guided ADR sessions so you can run the room confidently.

Stems are mixable submixes: DX (dialogue/ADR/VO), FX (Foley/SFX/backgrounds), and MX (score/songs). Delivery usually means separate stereo or surround bounces with a shared start (2‑pop/leader), proper head/tail, correct sample rate/bit depth, loudness/spec compliance, and clear naming. At OIART you’ll practice building stem buses, printing to spec, and packaging final deliveries for broadcast/film/game handoff.

You’ll learn boom technique (shotgun/supercardioid patterns, perspective, handling), lav placement and concealment (wired and wireless, RF coordination, gain staging), and plant mics for coverage in cars/sets. Training covers phase checks, redundancy (boom+lav), room tone capture, and matching production aesthetics so the post has clean, usable tracks.

You’ll work across eight student‑dedicated studios and surround‑capable classrooms/mix rooms designed for accurate monitoring and critical listening. Spaces can be configured for ADR/Foley workflows and post sessions, with industry‑representative microphones, preamps, dynamics, and leading plugins in acoustically treated rooms. Bookable lab time is in small groups (max four) so you get real seat time. For specifics or a tour: live chat at oiart.org, call 519.686.5010 x22, or contact admissions.

Yes, projects are designed to simulate real‑world briefs, and students often collaborate on cross‑discipline work and community/client projects when available. You’re encouraged to bring in material and build your reel across music, post, and game audio; instructors help you source and scope portfolio pieces that reflect industry standards. Ask Admissions about current collaboration pipelines and opportunities.

Common roles include dialogue/ADR editor, Foley artist/editor, SFX editor, sound designer, assistant re‑recording mixer, music editor, post‑production assistant, podcast/broadcast post, and game audio implementer/integrator. OIART’s Career Management support starts day one and continues for life (resume, interview prep, job search strategy). OIART reports a 100% job placement rate for graduates; connect with us to see current outcomes and roles. Live chat with us today, call 519.686.5010 x22, or reach admissions.