CARLOS YUSIM

sound & music designer

SPLINTER CELL: BLACKLIST

UBISOFT TORONTO

As a Senior Sound & Music Designer, my tasks included the creation and integration of ambiences for some of the maps, the HUD sound design, hand to hand kill animations’ foley and VO integration, among others. One of my main responsibilities was the music design of the game. This included expanding the capabilities of music system from the previous entry of the franchise and to work alongside with Sencit, the composers, to deliver a soundtrack that fit the game’s mood and its technical needs.

Featured

sound design + implementation

SONAR GOGGLES

I was assigned the task of creating the sound for Sam Fisher's sonar goggles. Because most of the enemies in the game communicate with each other through walkie-talkies, I played with the idea that when the sonar pulse hits them, it would create an interference that would reveal their position.

sound and music design + implementation

AFTER ACTION REPORT

For the AAR, I wanted the music to evolve along with the different stats showed on screen (and not being on a static loop). Using Sencit's music stems, I created the different music loops with intros and outros for each section of the report, working closely with the UI programmer for its final integration into the game.

sound design + implementation

DETECTION HUD

The sound for the Detection’s HUD system presented a very specific challenge: this was a sound that players were going to hear a lot through the whole game. I worked closely with game designers, AI and UI programmers, in order to understand clearly how the system worked and what the player needed for feedback.

music design

START SCREEN

Using Sencit's music stems as the prime material, I designed the game's start screen's music, where a variation of Sam's theme can be heard on piano.

system design + implementation

MUSIC SYSTEM

Extending the music system used in Splinter Cell: Conviction, I worked together with the audio director and audio programmer designing new music features and redesigning its implementation in the game. The main goal was to have a system flexible enough, yet simple to integrate, allowing the sound designers to adapt the music to the characteristics of their maps.