All right, I'm back We'll come back to this complete making off for video game sound effects. I'm synthesizing creating sound effects for a video game Actually, it's a 2d space game and so far I've synthesized sounds for the laser beam My mouse cursor wasn't visible because I was recording something else before and it didn't yeah So that was probably a bit not fun. Well, what to do? Let's continue. I have created the sound effects for the beam now. Let's create the sound effects for the actual for the little like Plasma gun like this So we have these projectiles and I think We should do is do a single sound effect And we could even try and reuse what something we've made already It's often a good idea Example we could we could duplicate this one maybe move it to the bottom. Yeah, and see which frame Here The projectile appears I'm gonna call this plasma Shot And obviously it's way too long. So I'm gonna disable the cq for now. Well, it's I think it's a bit too big Maybe maybe it's not a problem now. Remember. We're not using surges Audio effects because they don't work very well in this lv2 version that I'm using and also I've decided realize that LFOs above free don't work. Well at all too you know what actually I'm Going to hide this and Create a sequence of notes so that we actually cover multiple shots So let's we have One. Oh actually it's a little bit before this note starts Here it is. Okay Where does the next shot start? Here it is. Okay, I Think that the screencast wasn't perfectly Like capturing every single frame and we have a little bit of Okay, we have another shot here So basically you see we are now making like a mock-up And if that works with the video reference we have Then we can be sure that the sound we're making is gonna work good in the game So then we process it to make it ready for actual export and That's it. We deliver Now you can see the footage doesn't look like the shots are actually occurring in a Like a steady rate. It's more of a it's it's quite jittery. It doesn't look very smooth Okay, I think that's double do am I missing something No, I'm not okay Let's go back to our synthesizer first thing I'm gonna make this sound shorter So I'm gonna do an envelope down also. Where's my playhead? Here's my playhead. Okay? Right too short. Oh, I think we could go up with this Maybe with this up actually we might not need a fam for this Is there a category in it? Really? I don't see it anywhere Give me the in it category. I Want in it? I want to in it the patch Why is there no in it? Oh I right-clicked and there's a different list. I think it's a list of actual What is this by the way? Oh, oh, it's the same thing. Ah, all right. Good. Okay. I'm gonna disable the FM So we have just a single thing Maybe I will just clear all Like LFO an envelope. All right nice Good Extended range Okay, now we can make this actually affect our pitch. Let's make it shorter. Okay. That's a little bit painful, but Actually, it might not be a bad thing. It might be a good thing that is a bit painful Now it's very simple and it's lacking some character So I would like to try and maybe add a little bit of something else Okay, that's a very very low saltive wave maybe we can Do something interesting with it. Unison voices. What about making the stereo in a sandy tune? Okay, all right, so we're using a super saw to kind of reinforce that sound Okay, but we need to do it very delicate All right, and of course the highs are a little bit painful. What about the feedback? Is that useful What does it do? It's going for the wave shaping Oh, that's better That is better We could also use this third oscillator as another like side wave to like include a little bit of a low and thump I would like to Have a little bit of low frequencies here Mmm. It's a gun. So it should have some kick Oh, we're distorting All right, that's not bad Yeah, but we need to extend the range of that Okay, maybe that's it about making Okay, what if we used our comp filter? And we can use it on just the sort of Uh Oh, oh, ah, oh now. Oh no Okay, now it's going through both filters always just this is the stereo Okay Let's use this to have hands Oh, I'm seeing Ha it's in actually it's enhancing our Laserness Okay, I wonder if we could use a little bit of noise maybe to like create a tiny little bite Or like a high-pass thing I wonder maybe we could use a different scene for that. So let's go to scene b And we can have them do all Yeah, so they play at the same time. I'm gonna go keep it single first so I can control this easier. All right, so no oscillator, but noise generator and also stereo, please Yay now a filter Let's use a bandpass Narrow or please What the hell? Oh Let's go all the way Wait, that doesn't sound like it's actually Working correctly. Maybe it's just way too Okay, it's not steep enough wasn't narrow enough now. I'm gonna use an LFO to I'm going to change it to an envelope and Do some Some of that also let's change the this deform it Oh the sustain isn't zero Let's make it faster Let's increase the factor And also decay All right, how do they sound together? Oh, I like that Simple but effective Oh, there's also bright for our sauté oscillators I don't hear much difference, but I like The thing the thoughts that it might be a little bit brighter This painful. Yeah, uh, we need to correct the EQ Let's see our preq Frequency response. Okay, maybe we can boost something around like the lower mids Oh, yeah, that's nice. I like that Give me another give me another bell What if I used a resonant high pass filter to boost Lowest bit snare No, that doesn't make sense in the context of the game at all I think this is cool. Like this doesn't look like a very heavy projectile So it wouldn't make sense to have it like You know, like let's save it for the explosion. Okay All right, I think This sound effect is pretty much good to go What is that though? Oh, we copied it from a different From a different region Actually, we could use that Now the question is do we want this? To be a single sound effect that's played over and over or do we want to make multiple different variations? Like, you know, pitch it up and down because we could make a bunch of different variants and actually There's no hurt in doing that If the game Can randomize it a bit. It's gonna sound nicer Okay, they differ very slightly But you know, if you're gonna hear a sound over and over like hundreds of times Maybe it's good to have a little bit of variation of variation in it All right, I'm not sure if Maybe I'll increase the spacing between them so I can very clearly like, you know, I'm gonna Oh, I can time stretch midi or I can okay I'm gonna shorten them select all and See the levels. Is it like touching the limiter or not? I think it's pretty pretty okay. It's it's close to the limiter. That's good. All right, let's Create the regions weapons plasma And I'm gonna call it shot and underscore zero one and What I'm gonna do is just copy and paste that same thing and then change the numbers and I'm going to use a little trick to speed it up So you'll learn that too. Okay.  So I'm gonna just copy and paste And I'm just gonna change the numbers two zero three zero four zero five zero six all right Now I can close that and we have our regions Good now, let's export that Alt E and I'm gonna deselect all and select the plasma shots Okay, let's export and see how it looks All righty. So here we have the analysis of all of our exported files They all start right on the start which is really good And they look pretty okay Uh, they're not peaking. They don't need to like this sound shouldn't be deafening We're gonna save it for the explosion again I think it's good. Yeah, nice. I will actually send it to gdquest Let me do that All right, so that's second Another sound effect done what I'm gonna do also is put a location marker and it's called this plasma shot Just for myself. So it's easier to find it if I'm gonna be like tweaking it It's gonna insert here this beam All right, let's see what's next and this to synthesize to make sound effects for All right, it's flying So we needed an engine sound. All right. I think uh, let's create a new midi track Actually, we could use Zinfusion for that change things a bit Zin Actually, I'm gonna add three instances of it right away because why not also? I'm thinking we could we could actually um, just to save ourselves Um processing power we could disable the tracks. We are not gonna export So this deactivate That's the activate all of that and that's gonna lower our cpu load Because ardor is not gonna process all of that and because we've already exported these files We're not gonna re export them because we don't have a reason to do that So it's gonna save us some cpu cycles needlessly processing effects that are not contributing anything to what we're doing right now Um, I think I've hidden the video play preview. Okay All right How do we do this? Should this be also a start middle end? I guess it should be Okay, let's start out by creating a note that will like last the whole time period of of this Thing existing Okay, I think the motion actually starts before that like it starts here Yeah All right, and Ends here actually I think I can do Oh, oh no Jay and k Oh, okay, okay Oh, it doesn't work for notes. All right. It works for regions it ends Right about there Okay, I guess that the throttle in this game just works like you press down a key And it starts throttling you release it. It stops. So it should be pretty much the same pattern as with the laser gun the laser beam where I'm gonna call this thrust Where you have a start you have a middle and you have an end Possibly even just the start. This is the middle loop could work But we could embellish it with a start and end All right, I think I'm gonna start with something noisy And like go for a like a rocket engine sound and then we'll we'll see what it where it leaves us So I'm gonna open the nuts of fx Actually, it's infusion. It's the new user interface So I want to make sure that both fit very well on the screen so you can see everything clearly Okay, and let's maybe You could start with the subsinf which is Actually an additive synthesizer Well under the hood it's not but what it does it generates a white noise and then Uses about a bunch of by of bandpass filters that create harmonics But if we increase the bandwidth of these filters, we we get a nice like smooth noise frequency spectrum So we can just sculpt in noise with this Why don't I have audio output from it? So That's strange Oh, maybe I haven't enabled it. No, I have Wait, okay. Why isn't it am I on a different? Ah, okay. I was on a different MIDI channel on my keyboard. That's that's sorted out All right, so we have something like that. So this sounds more like a Pipe with with something in it like a pressurized pipe or some other pressurized container Maybe if we can reduce the bandwidth All right, that sounds weird. No, not really You can make these in harmonic because we don't want this to resemble anything, you know, cyclic or a tonal sound We just want this randomly No, this sounds really much very much like Pretty much like a pipe full of gas All right, let's use a bandpass filter on top of that Make it narrow Now I would like to distort this I'm gonna go to effects part insertion and insert distortion Oh, I enabled ads and no Now by default it makes it mono. So I'm gonna enable stereo and Also move this all the way here. So it's full stereo. All right, not that great This is dry wet by the way so we can have a little bit of harsh distortion mixed in or You know different variants can also use different functions Stereo Also, this is low passing our sound. How about the asymmetric? So it's low passing Okay, I think now we can blah bandpass this again And we can use this high pass and low pass. I think it's a bit harsh Distortion is very crackly and doesn't sound real Now this sounds a bit too low. Maybe if I up this I think this could be one layer But we need more. So I'm going to go to Second part. I'm gonna middle click here to disable the first part. Now we have a second part. We can have 16 of these Now by default, let's go to the part settings Each part plays on a different midi channel. So if I go part three, it plays on channel three But I want all of them to play on midi channel one So that they all Play together For the same note That's what I want Okay, let me I need to go to the bathroom. Give me a give me a second All right, I'm back. Okay. Now it's we're doing the engine sound We're doing the second layer of that So let's see First layer The second layer. Okay, so I want to I want to lower noise So let's go to the modulation and change this oscillator to Pink noise maybe Yep Now let's go to the voice Filter enable the low pass Okay, I think what we can do is like play with the attacks and releases of the envelopes and then Bounce or record all of that into audio and manually Stips just like cut off the start The middle and the end loop the middle And have it all like loop together nicely and go one into the other so I think we could use some like maybe like an envelope Just I like this to be neutral Yeah, and then again when it stops it could like ramp down a bit so Release time Then we need a little bit of release on the global amplitude Yep I think our global Sorry, I think our attack is a little bit too long Maybe up the real And also make this noise stereo by just Increasing the unison to two Lower the spread So it's not 100 stereo But it's still a little bit more Wide. Okay, let's add some distortion It's stereo. I want to make this a bit more Stereo Okay, how about two layers one on top of each other? Okay, our first layer starts immediately and it's very off-putting Let's go there and add a little bit of amplitude All right, doesn't sound very good What about the filter? Oh, no, that's frequency. Oh frequency could also do Yeah And release also just we need to have the amplitude give us some release Filter we have a filter here and we could also like use the envelope to I think the releases of our amplitude Are a bit too short maybe okay, let's switch to the second one and Maybe change the amplitude to there I'm not sure it's a little bit long and I don't know if I like that that much Okay, I will definitely want some high frequency components. I'm going to go to voice free part three. I'm going to mute this other two Okay, I already changed the midi channel to midi channel one so it plays And I'm gonna Actually use frequency modulation to generate that So I'm gonna have Quite a lot of that All right, let's detune it And also change the frequency so it's out of tune with the bass Way from now. Okay, the oscillator.  Let's use a voice filter Make it a high pass You could also use a global filter and I want to change it to a notch And I want this notch to go up and down depending on the like Yeah, like make it ramp up and down Or maybe the other way around I have the release value up. Oh, yeah Sure, I just need some amplitude So the release can be heard I'm gonna change switches to free mode so I can Add like ah, oh no at a point And I want the release like have a some time but then decay quickly Not just be decaying all the way through I think it's kind of kind of kind of okay Not perfect like I'd like some I like some some more modulation maybe happening there Maybe I will use a little bit of a phaser And I'm a bit afraid that it might not loop very well Also, it's very loud. So I think I'll enable all the other parts The attack doesn't sound good. It's too quick It just attacks right away Let's go to the mixer and Basically lower the amount of I'm not sure it's I'm not sure it's really nice I think I might try something else like A non propellant based sound like something more like, you know, electromagnetic based engine that doesn't really Exhaust gaze gas Or maybe this could be really nice if we just Smash it with multiband compression LSP multiband Compressor stereo There it is I think it might actually be just Much better. Oh, I added to the master bus. No cut Thrust here is where I want to put it All right, let's give it 20 decibels of gain on the start and now set the ratios to 10 and gain down I think I like that more I will also compress it after the fact anyway Before this compressor didn't seem to work properly Oh, but it does now I think it must be something It must have been something with my signals being weird. Okay, I would want to use any cue Before that compressor to like Cut some of the lows. I don't want them to affect this as much And also there's something annoying in this in the mids. I want to Get rid of Possibly something more But we're missing somebody. Maybe I'll try to compensate Okay, I think the sound doesn't work that well. I think we need to try something else. So I'm gonna Uh, just copy this region to a different track Mute it call this Thrust 2 and I'm gonna try a different sound entirely And what I want to try now is a fem Maybe I will go with surge because Like zen has quite nice a fem But it has a little bit glitchy and it doesn't always like produce clean results It it has some noise and distortion. So maybe I will try Maybe I'll actually move this and just call this in and call this Thrust 2 and Use surge. Of course, we need to disable strict IO. So our audio is fed to the output All right, we have it. What note is that by the way, it's D and move it one octave Or two All right Let's do it Let's make this FM based So I want an envelope to like grow from this Yeah, nice. How about release? What's long Okay, it's kind of it's okay, but There's nothing happening in the middle and then we need some pulsation with some movement in there And also it gets thin when it goes to the middle. So maybe Can change the ratios Yeah, be very metallic. Let's reduce the amount of the Huh, again, this sounds interesting, but I am a little bit afraid. It's might be too realistic and gritty Uh, let's see if we can kind of What about m2 amount and m3 amount two? All right m3 arbitrary Oh, I like this tuning of the different frequencies. That's nice. This is 1.0. What if we do 2.0? What if we go to in something? All right, doesn't doesn't sound harmonica. What if we go free? Nice, let's give it more see Okay, I think what we need is a little bit of wobble in here. So maybe we could do sine wave But like Okay, that's not gonna work. All right, I see I understand there It's okay. So let's keep this one as an amplitude clearly and then just add a little bit of LFO on top of that Maybe change the ratio tiny bit. Ah, no, no, no Whoa. Whoa. Whoa. Whoa. Whoa. Three point zero. Okay. I want to assign this as a modulation not as a Right, that's pretty crazy It's getting crazy very quickly. All right How about trying different octaves? No pain Yeah, this reminds me, you know, I've been doing some I have been doing some sound effects For spaceship some time ago for a client, but uh, well, I can't really show you But I am using some experience of that But now they were going for realistic sounds. So maybe this won't work that well Maybe maybe if I blend maybe if I blend the two together, it's gonna sound great Also, I want to use some more layers of FM. So I'm going to use this thing as another much later And I'm going to um modulate the amount of that Oh, that's way too much Huh, huh. What if we do this in stereo? And now for example change the unison voices a bit Is this is this gonna create some stereo feeling? Yes No, but nice wobbly wobblers All right I think if we filter the two sounds and like blend them together, we might get something really nice Let's do that. I'm going to copy Yeah, I'm actually going to Might use both of them move this one up All right Let's copy the multiband compressor and paste it here I also want to add a little bit of our Early reflections reverb just to give this a tiny bit of space Whoa, whoa, whoa Not as much Oh, I think it broke I think dragonfly reverb broke Oh, no, it was lsp multiband that broke or maybe dragonfly broke lsp multiband Okay, let's delete the model event compressor. I'm going to say this by the way I'm going to copy it again What if I use a different note? I mean not just an octave different. Maybe something else. All right, it doesn't work lower Nah All right, let's band pass the two sounds and see what we get R door a low pass no high pass a high pass low pass filter. This is a great plugin It's a stock on our door plugin What it does it gives you two filters High pass and low pass and you can simply Choose what you want All right, so I want that part of this sound and maybe the low Lows from this sound. I don't know So we started a 200. We're ending at 200. Let's go with Let's go with a less steep filter I'm thinking that this sound might be way too involved Also, what if we move this on up an octave? Uh, I think I misclicked I think I like that better. What if we make it louder? Okay What if we give it more highs? What if we started a bit later so it doesn't like Come in as early. I think that's a sound. I'm not sure if it's the sound we need uh What we could do also is give them give it a common bus. So I'm going to create a bus here audio buses stereo position before selection And I call this thrust I have I have a habit of creating of calling buses with all capital letters. It helps me differentiate between them So now these These two will feed their sound here instead of to the master. So now I can apply like, you know, another layer of compression To maybe glue them together. Yeah Oh, I think it works pretty cool pretty well This is starting a little bit too late and this has way too much early reflections in my opinion Okay, now what we need to do is bounce this to audio and cut it up into start middle and end so that we can Deliver it and play it in the game, right? All right. So what I'm gonna do is Just record this on the looped All right, there was an x run, but it was before anything happened really. So I don't care Uh, sometimes ardo doesn't refresh well. So I just Cut this region it does. So, yeah, that's all Now I'm going to mute these two regions so that This is the only thing that plays So let's where's where does the Actually Okay Okay, I think it's here Now if I press s you can see an ardo slices where my playhead is and that's because this is where the edit point is set It's it's set to play head Could be good for this purpose I think this could be the the end Now let's separate them and see if this loops Pretty much does. I don't think we need to do anything else As you remember ardo creates short crossfades. So this actually should just work right now so The game will have to like, you know Smartly start this sound right after this one and we can like simulate what happens if we play them in in sequence I'm gonna maybe snap to oh I just snapped to Region bounce there was an option like that before in ardo I don't know if there is an option for that now I think if I hold alt it just snaps to okay. Okay. Now. Let's imagine we are Playing this loop three times and then it ends somewhere in the middle Ah, okay. I'm not snapping what I don't want to and then we play the end All right, it will will that sound natural Okay, apart from this thing not being aligned. I think it sounds pretty good I think our little simulation I think it proves that this works Uh, let's create the markers and export the sound and then test it in audacity. Make sure it sounds like it should So i'm gonna create this. Let's call it thrust underscore start Let's call this thrust underscore end Oh, no This one is end. Okay And this one is loop thrust underscore loop all right Let's Save this project and go to the export dialogue time span i'm gonna select deselect all of that And go start thrust start thrust loop thrust end all right channels Looped Yes, we're actually exporting everything from looped. Maybe we should call it bounce I think we can can we rename it here? No, we can't. Okay All right, let's export and analyze and see Good So this is our end. It looks good Arthur isn't playing it well This is loop and this is start. All right. Let's Uh load it up into audacity. All right. So here is our start loop and end what we're gonna do is First play them in order Oh, wait, I'm gonna make you hear it too All right, I think it should work now if we copy and paste this a bunch of times then Delete part of that and I'm not even Applying any fade outs. I'm just cutting in the middle. So wow that was lucky So it there could be a click but well, let's see if it will mask it No, it didn't mask it. There was a click Okay, so the actual game should make a little fade out If we want to have this loop nice, so we will need the game to perform a tiny tiny fade out And then I think it should work Yeah, and you see we don't notice that there's any gap here All right, so the files are actually properly done The implementation is gonna require a little bit of work But I think the result could be good now this sound might not be the best And maybe we'll need to redo that later. Maybe it will gonna get rejected. I don't know Uh, but that's sometimes what you just do you make something and you ask if it sounds right to the client And if it doesn't you make it something else Yeah All right, I think I'm gonna take a break now So I'll see you Later when we'll be making another sound that sound another sound will be What it will be I think it's gonna be the explosion. Yeah, yeah, it's gonna be the explosion.


Live from Las Vegas, it's theCUBE, covering AWS Executive Summit, brought to you by Accenture. Welcome back everyone to theCUBE's live coverage of the Accenture Executive Summit here at AWS re-invent. I'm your host, Rebecca Knight. I'm joined by Tristan Morrell-Lorsett. He is the Managing Director North America Intelligence Cloud and Infrastructure. Thank you so much for coming on the show. Thanks for having me, Rebecca. So I know that your primary focus is cloud management and optimization. Tell our viewers why those are two critical things. They're two very important things. The cloud is wonderful.  It evolves all the time. It's wonderful for developers. They love to leverage this. There's broad implications for IT departments. IT departments are used to buy in big bulk IT services every three years, they park it, and then they renew that five years later. So from how do you constantly consume the cloud in an innovative way, and additionally, while the developers are enjoying the services, at the enterprise level, there's broad implications on the tools, the skill sets, the load that you're putting on the infrastructure, on the network, on the security. And so you really have to benefit of the cloud, to benefit of all the innovation. You have to take a step back and say, what does it mean to run in the cloud and to manage and optimize it? And that's why we call it run different, because you have to take it completely from the ground up and rethink it. Okay, so run different. Describe what this means, what this is. So we look at run different as five core pillars. First, you have to manage it, of course, and that doesn't go away. Because you put an application in the cloud, it doesn't mean you don't manage it. So you have to manage it, the tools, et cetera. You have to optimize it. Optimization, if cloud is all about innovation, and every day in this morning, we heard all sorts of new innovations come out. From quantum computing, to contextualized AI, to new types of storage, you now have to onboard this into your environment. How do you optimize it? The third is you have to consume it. So you have to consume differently. It's completely changed. Procurement departments have to adapt to it. The security framework has to evolve. And finally, the governance across all of the cloud that you're consuming at the enterprise level has to change. And those five pillars are critical to what we mean by run different. So we're going to get into all of these in just a second, but the premise is that the old way of doing IT doesn't work anymore. So when you explain this approach and this strategy of thinking in this new way, is there any pushback? I mean, so much of technology and new strategies and approaches is not necessarily the technology itself. It's the change management. It's the people. With the implication that your way is not going to cut it anymore, it's wrong. How is it understood in the organizations that you work with? In many cases, not understood. Because in many cases, people look at the individual technology and how am I using this individual technology? And this morning, as of this morning, a lot of clients were looking at how do I use these widgets that I use? That's not the point. The point is, if I'm there, the belief of why I'm moving in the cloud is not for one particular capability, but the belief that the capabilities are going to get better over time, better operationally, so developers are going to get new features, and by the way, better financially. Because if I'm using the right innovation, financially it gets better over time. So you're moving from a very static environment, applications that don't move, to a very dynamic environment. And that is a complete shift in mindset. It's a shift in mindset for the developers, for the people managing applications, for procurement departments, who now have to buy something every day. And so the change management of the enterprise is very complex, because by the way, you can't completely over rotate. Just because you're moving a SAP application to the cloud doesn't mean you don't manage it anymore. You still have to make sure that ERP system is operating properly. So that's what we mean by a multi-mode operating model, is across the spectrum, you still have to have the more traditional management, but you have to evolve it on an ongoing basis. And that is a complete shift your workforce has to change all the time. This morning, CO should have woken up and said, how am I going to use ultra warm? I now need skills on that. I now need tools on that. And so that's a complete shift, which is very difficult for enterprise at a large scale to adapt to and to embrace. But they have to, if they do not, they won't benefit from the cloud. So let's go through these things. Let's start with cloud management services. Tell our viewers a little bit about that. So cloud management, the wonderful thing about the cloud is you can automate it. And so you can now automate the resolution of incidents. Frankly, we don't care about incident management anymore. If something fails, we just spin something else up and it resolves itself. So it's much more about how do you make sure that things are automated so that there's no human intervention. From a, when something goes really wrong and you need to do problem management, you now need different set of skills. So instead of having the old network skill and storage skill and operating system skill, I need an AWS platform skill. Somebody that can engineer the application from top to bottom, full stack engineer on that platform. That's a completely different type of skill, number one. And number two has to evolve over time. So how are the engineers at any client or IT department are going to learn about how to manage the new quantum computing that we heard about this morning? Or wavelength and enable 5G. So those skills normally have to be different and platform enabled, but they have to evolve over time. So managing the cloud that is still require skills and tools, but they have to evolve and change over time. So as you said, CIOs and CEOs are saying, wow, I have a lot of work to do to make sure my workforce is up to speed. Cloud optimization services. Yes. You said that was next. So that to me is the fundamental shift. If management over time, hopefully if fully is automated and that function shrinks to almost zero. What now becomes is cloud is available to all the developers. The problem is they're consuming it as much as they want. So you now have to shift from fixing a problem to fixing the consumption. Am I making sure that, am I using the right type of service? So instead of having a EC2 instance and a database, am I using RDS? Instead of RDS, am I using Lambda? Instead of Lambda, am I using Fargate? So am I using the right type of service for my application and for my business? And that is constant optimization to drive the right service. And when I'm consuming too much, am I identifying that consumption event? Very recent example, a client of mine explained to me how at Christmas one of his developers left a key out in the open. Somebody used that key to spin up a bunch of AWS instance to mine Bitcoin. Now, that's not a incident. The system's working fine as advertised. So it's not a incident in the real idle term. It's an incident in the terms of, it's a consumption event that I have to catch and identify. That is the shift. You have to manage the consumption in real time, not the incident in real time. And that's what optimization is all about. But then there's another consumption element to it too. There is, because procurement departments, used to buy things on an annual basis.  Now, they're buying things every month. If you take Accenture for example, every month we have 900 million lines of bills for our cloud providers. Now Excel only processes what, 64,000. You have to have special tools. How do you reconcile this? How do you translate these bills back to the application owner so that they drive the right consumption? How do you align it back to the business? All of those are new features of the procurement department that has to exist in the IT department to deal with the cloud. So next is security. And this is of course on every CIO's mind right now. How do you ensure security compliance? Compliance, but also secure. So how is it secure? And how do you ensure security compliance? The great things about the cloud, new capabilities have security embedded. Unfortunately, clients realize that they can't outsource security. That is always a responsibility that's a board level responsibility the CIOs are accountable for. So how do you relate the security component that is in the cloud versus the security component that you're still responsible for as a CIO? And the default security features and configurations of the cloud services may or may not be aligned to your own security policies. So as you're using the cloud you have to align their security to your IT estates policies and you have to monitor it in real time. So it becomes a monitoring of the security feature and how it's complementary to your policies as opposed to driving end to end security individually for every widget. It evolves over time and as your developers consume new services you don't have control over that but you have to monitor it so you can address any shortfalls as they come and as you identify them. So the final element of this approach is cloud governance. How do you define this? So cloud governance, what's fascinating and one of the big lesson learned from this morning actually is you are not going to go to AWS to be public cloud. You're going to AWS for the cloud without posts now being generally available. You may go to AWS for private or public and now by the way for quantum as well. So even if you have one primary cloud provider and let's say it's AWS or another you have to manage multiple cloud platforms and you have to govern it across the platforms. Developers don't care where they're consuming it. They just want it available and that governance across all the AWS clouds in most cases multi-clouds is critical to get that total visibility of your entire estate. And so that's why that fifth pillar is critical in a foundation of all the others. So this is really interesting.  Yeah, so we're using this approach at all of our clients. So we fundamentally believe that is how you have to manage it and it's no longer just a fixing the incidents it truly is about automating and optimizing. I think the best example is Accenture. We've moved 95% of our estate in the cloud. You're your own use case. We are and I could name a lot of clients but Accenture is our best example because we run the risk in being in a cloud to completely over consume. And when we spend hundreds of millions in the cloud, you have to manage that very, very carefully. Are you using the latest capabilities? Are you consuming it properly? And how are we dealing with the bills? In fact, this framework was built on the lessons learned from our clients, but really from what we did internally to Accenture. So other than implementing run differently stat, what is your best advice for organizations that are really looking to have a more organized and systematic approach to this? Yeah, I think clients will have to one, every client's on a big cloud journey. And I think what we're seeing is clients are accelerating their cloud journey. They have to make a real decision. Run different is a framework, which we advise clients either they can do it themselves and they have to adopt this concept or they can use a third party. The important concept is if you want to benefit from the cloud, it evolves. If you are investing in your tools and your skill sets, we will absolutely support it and encourage it. But you have to understand that that is an ongoing investment, every year you have to update your platform, every year you have to update your skills. So some clients are fully committing to that. Our technology companies at the core and are making those investments. Other clients realize that that is something they would prefer to use a third party for and they come to a number of providers, including Accenture. Great, well Tristan, thank you so much for coming on the show. A really interesting conversation. Thank you so much, Rebecca. I'm Rebecca Knight, stay tuned for more of theCUBE's live coverage of the Accenture Executive Summit.