Established and up-and-coming Australian game composers and sound designers recently had the opportunity to expand their network and enhance their know-how at the famed Game Developers Conference (GDC) in San Francisco.
Made possible with support from the Australia Council for the Arts, the six artist-representatives spent five days attending the conference where they got to meet and exchange ideas with key players in the game development industry as well as international audio professionals, and at the same time explore career opportunities.
Game Developers Conference (GDC) in San Francisco
One of the artists, Narayana Johnson, said they had a grand time at GDC and learned a lot from their participation.
“I had an amazing time at GDC. I was lucky enough to connect with a bunch of composers and developers I respect greatly,” said the audio director behind the smash-hit and award-winning Cult of the Lamb.
“Composing can often be very isolating so I think it’s important to meet others in the industry. I’ve been keeping in touch and feel like I’ve planted seeds to some great new connections/relationships,” he added.
Also part of the Australia Council delegation to the GDC were Angela Little, Fuligin Sound (Byron J Scullin and Mark Mitchell), Brett Leavy, Maize Wallin, and Woodes.
The Australia Council for the Arts reiterated its support for the country’s games industry, including those involved in audio and sound, coming up with programs which are designed to help grow the sector not only within Australia but also internationally.
“We recognise the critical role that audio and sound plays in game design and experience, and we welcome the significant career opportunities open to Australian composers and sound designers in this thriving global sector,” said the council’s Chief Executive Adrian Collette.
As per latest research conducted by the Interactive Games and Entertainment Association, a key association for computer and video games in the region, the Australian games industry generated more than $284 million in revenue in 2021-22, a record 26 per cent increase on the previous year. It, too, recorded 770 jobs created in that period, also an all-time high.
The growth is being augmented by the Federal Government’s Digital Games Tax Offset (DGTO), which provides a 30% refundable tax offset for Australian-based companies to develop games. Even better, the DGTO, when combined with state-based incentives, can afford projects benefits worth up to 40%–45% of development costs.
In addition, research is also being readied, said Collette, for the Australian Music in Games Benchmark 2023, the results of which will be the basis for a range of priorities and decisions, including future investment programs, strategic activity, partnerships, and advice on legal and regulatory settings.
The Australia Council for the Arts said the Benchmark is ultimately geared towards increasing and professionalising Australian creators and music businesses that produce music in games.
The research project will be done in cooperation with the Queensland University of Technology and is expected to be completed by the end of the year.
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