2. • From silent era to "talkies”
• The need for post recordings
• Jack Foley and the evolution of Foley art
• What Foley sounds serve in a film
• Requirements for Foley artists
• Practices for Foley production
• The Foley crew
• Foley studios & prop rooms
• Creation of cue sheets
• Websites for Foleys
3. Foleys
Sounds that add detail to the visual stimuli that
otherwise would be lost if used only from the
production track.
4. Sound on film Sound on Disc
Good Sync Bad Sync
Easy editing Hard Editing
Longer life Direct deterioration
Expensive Low cost
Low dynamic range Wide dynamic range
Big fr. response Small fr. response
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5. In the first few years of synchronized sound
filmmaking, Hollywood films rarely employed
complex marriages of dialogue, music and
effects, preferring instead to concentrate on
dialogue, nondiegetic music and the
occasional narratively pertinent sound effect.
Since most actors had different walking
cadences, it proved to be difficult for
engineers to match a 78-rpm recording of
footsteps properly with the picture.
The Talkies era
8. First Foleys were Footsteps
A single man was needed to walk the entire
movie: continuity to footstep and character &
style
Marlon Brando’s footsteps were “soft”
John Saxon’s…. “nervous”
10. Foleys
• Replace and reinforce particular elements from
the production track and match the Sync to the
original recording.
• Often foley is used when the effect is hard to
record outdoors due to background noise.
• Foley sound serves the dramatic functions of
the narrative by characterizing and dramatizing
the smallest of diegetic sounds.
• Need for synchronization with emotional
resonance during a performance
(Zodiac Film 2007)
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11. The Foley Artist
• Listening Skills
• Rhythm / Tempo
• Acting - Performance art
• Innovative
•Background: dancers, film directors, sound editors, radio
engineers, actors
• Prop materials provide the basis for foley artist’s creative
interpretation sound element and its dramatic function
within the film.
• The performance should fit into the flow of the production
track
12.
13.
14. Practices for Foleys
• Miking for two distances
• Studio acoustics is avoided
• Listen mics
• Two or more sets of actions for the same take
• 30 day Schedule for big releases - 1 week for low budget movies
• Takes with stomach growls, breathing & unwanted mov. sound need rerecording
• Foleys are cued early in the sound design
• Footsteps, cloth movement, props
• Doors, explosions, weapons fire, vehicle engines (Sound Editorial)
• The mute record – armed tracks function on Pro Tools
• Recording Schedule: movements, footsteps, specifics
• Sound eng. provides cues from the cue sheet
15. The Foley Track List
• 8 Tracks -16 Tracks – 24 Tracks
• 1-2-3 Footsteps (principals)
• 3-4-5 Footsteps (non principals)
• 6-7 Props
• 8 The cloth track
16. • Foley Artist: person who produces sounds
other from dialogues
• Foley Mixer: combines the separate tracks into
one
• Foley Editor: prepares cue sheets
• Foley Recordist: recording on sep. tracks,
provides cues to the FA
• Sound Editor: responsible for synchronization
• Studio Supervisor: Keeps the project on
schedule
The Foley Crew
17.
18.
19.
20.
21.
22.
23. Foley Editor, Show title, Reel No & foley, page No, total page No
Foley track, time code for start and end of each action,
description of each action.
STR_06_-03-57_JIM_FS_(04)
