Here’s what Ubisoft Senior Foley Artist Bastian Gerner has to say about the position:
“Fellow Foley Artists, want to work with us – and with me in particular – here in Düsseldorf, Germany? We are collaborating with various projects and Ubisoft studios worldwide.
Please consider that this is not an entry level position. You should be comfortable to handle performing, recording and editing Foley and SFX on a world-class level with at least one credit on a AAA game or similar linear media reference.
Although Cinematics (Cut Scenes) and Trailers are only a very small part in the day-to-day business – linear performance has to be spot on!
Expect that you will get a bit rusty with footsteps because we mainly record linear content in bulk once cinematics are ready – then we can be doing it full on for weeks or even months but again: there might be periods of 6 months or more without recording any linear media! Then it is more about custom SFX production often not in sync to picture.
We are part of the Dev-Teams and therefor involved early on. Starting a project means mainly exploring sounds and systems together with the Audio Designers and having a lot of back and forth. Post Alpha we turn on production mode and apply the explored findings to record and edit all the assets needed from our end.
We focus on quality, not quantity. There will be physics collisions, yes but also iconic sounds that stick out and we get enough time and resources to come up with extraordinary results!
The team here is quite big with Game Audio Pros from all over the world and Düsseldorf is a nice city – especially when you have kids. Cologne and a lot of major German cities as well as Belgium and the Netherlands are nearby (45min car radius). ”