Chris Grant Sound Designer

2023 - HOGWARTS LEGACY - AVALANChE / WARNER BROS.

HOGWARTS LEGACY software © 2023 Warner Bros. Entertainment Inc. Developed by Avalanche. WIZARDING WORLD and HARRY POTTER Publishing Rights © J.K. Rowling. PORTKEY GAMES, HOGWARTS LEGACY, WIZARDING WORLD AND HARRY POTTER characters, names and related indicia © and ™ Warner Bros. Entertainment Inc.

WARNER BROS. GAMES LOGO, WB SHIELD: ™ & © Warner Bros. Entertainment Inc. (s23)

Here you can view the highlights of my sound design contributions to Hogwarts Legacy, which was created with Unreal Engine with audio powered by Wwise. My contributions include sound designing the use/effects of all the potions the player can make, ambience in various locations inside and outside Hogwarts (e.g. Great Hall, Slytherin Common Room, Viaduct Entrance Hall, Ocean), reverb across the game, setting up many areas for spatial audio (rooms, portals etc.) some player foley (not footsteps) and also some NPC animations.

2022 - LEGO Star wars: The SKywalker Saga - TT GAMES / WARNER BROS.

For this game I was solely responsible for E3L1, E3L3, E4L1, E6L4, E9L4, Tatooine, Kef Bir, Kachirho hubs, as well as countless characters, creatures, weapons, puzzles, areas and moments within other levels. Many sound effects are the recognisable and classic Star Wars originals, however there was still plenty of opportunity (and necessity!) to craft new sounds as well as challenges to integrate sound in interesting and interactive ways.

2018 - LEGO DC SUPERVILLAINS - TT GAMES / WARNER BROS.

The second title I worked on during my employment at TT Games. For this game I was solely responsible for the sound design and sound implementation of levels 9, 11 and 12B, as well as the entirety of the Apokolips hub and all puzzles and quests therein. Generally almost everything that can be heard - ambience, puzzles, breaks, explosions, boss attacks, moving props are my work - with the exception of characters other than Sea King.

2017 - Get even - THE FARM 51 / BANDAI NAMCO ENTERTAINMENT EUROPE

'Great sound design and music accentuate the tense narrative' - Gamespot, June 2017
'But perhaps the strongest element of Get Even so far is the sound design' - IGN, March 2017
‘Exceptional audio work’ - Edge Magazine, issue 298, Nov 2016.'

'It’s the high-tech sound design that impresses the most' - Metro UK, Apr 2017
‘Legitimately anxiety-inducing sound design’ - Polygon, Aug 2016

For 14 months I worked at The Farm 51 as part of a small sound team to produce Get Even, a first person thriller coming to PC, PS4 & Xbox One on June 23rd 2017. My primary responsibilities were environmental and level-based sound design and integration in almost every level of the game, for example the creaks, dusts, drips, winds and other ambiences heard in the video, footstep material override triggers, reverb zones, interactive props, destructibles, puzzles, doors and scripted animations. I also assisted composer in setting up sound/archetypes for musical manipulation, helped to supervise/record dialogue and looked after CPU/RAM/IO optimisation and manual soundbank unloading/loading sequences in Wwise/Unreal Engine.

2017 - LEGO MARVEL SUPER HEROES - TT GAMES / WARNER BROS.

Since 2017 I have worked as a Sound Designer at TT Games Studios in Knutsford, UK. LEGO Marvel Super Heroes 2 is the first title on which I worked at the studio. For this game I was solely responsible for the sound design and sound implementation of main story levels ‘Hala, is it Kree You’re Looking For?’ and ‘The Road to Knowhere’, as well as the level and all characters from DLC pack ‘Cloak & Dagger’.