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Posted by on Jul 10, 2014 | 0 comments

The Art and Craft of Foley

screen“Footsteps with character: the art and craft of Foley”, a great essay written by Benjamin Wright, included in the Screen journal.

“In this essay I look more closely at modern Foley performance and aesthetics, giving special attention to the customized nature of Foley effects and the importance of creating sound with ‘character’. What interests me is not only how Foley professionals have negotiated their role as sound artists but how the professional goals of Foley have shifted in response to the increasing use of digital audio workstations.”

Download/read (PDF file) / via musicofsound

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Posted by on Jun 24, 2014 | 2 comments

Should It Make A Sound?

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Allefex

 

Guest Contribution by Rob Bridgett

For the past 14 years I’ve been a proponent of sound as a deeply integral part of the video game development process, getting audio involved earlier, allowing it to become a part of decision making and concepting, allowing sound’s early presence, excitement and enthusiasm to influence the other disciplines involved in the collaborative sport of video game development.

Recently, you may have noticed a trend towards narrowing down the focus of what we consider to be multi-disciplinary game development, there are small team, minimal, retro, and almost inevitably towards audio-only games. At the Game Developer’s Conference Nicky Birch of Somethin’ Else’s spoke about their audio-only games (such as Papa Sangre) as did Brian Schmidt on a similar theme in 2013). These are games in which the player has little or no visual input or stimulus, but relies entirely on spatialized audio cues.

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Posted by on Jun 4, 2014 | 0 comments

The Secret World of Foley @ AFI Docs

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Hidden within the program of the 2014 AFI Docs festival is a short film that provides a glimpse inside the world of Foley recording, mixing and performance.

The Secret World of Foley follows artists Peter Burgis (Edge of Tomorrow, The Monuments Men, Kick-Ass 2) and Sue Harding (The Selfish Giant, Mandela: Long Walk To Freedom, Philomena) as they work their way through a challenging series of moves, walks, and other sync sounds. A deliberate ploy by writer/director Daniel Jewel was to not have any dialogue in the film, or wordy explanations of the Foley techniques involved. On the best way of showcasing the work and talents of Peter, Sue and sound designer Glen Gathard, Jewel says, “I thought we could create a specially shot short film and and then film the Foley Artists interpreting that film, with props of their choice and then cut between the two ‘films’. So without any words, we would get the sense of what Foley Artists do to bring films to life.”

The effect of this juxtaposition between the film and the Foley performance is quite mesmerising, and The Secret World of Foley will be screening on Thursday 19 June at the Goethe-Institut in Washington D.C. and Friday 20 June at the AFI Silver Theatre and Cultural Center in Maryland as part of the AFI Docs festival. Those not going will be able to catch it online later in the year, once it has completed its run of festivals.

The Secret World of Foley official website
2014 AFI Docs homepage
Third Man Films on Twitter

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Posted by on Feb 4, 2014 | 1 comment

Event: The Two Ways of Listening (Workshop)

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Photo courtesy of Hercules Lab.

The Royal School of Arts in Gent, Belgium, is holding six full days of listening technique and research this February and March. Elias Vervecken (sound recordist and foley artist) and Els Viaene (sound artist and field recordist) will each lead a three day workshop on listening, focusing on different relationships to the environment.

Starting from the point of silence, Elias Vervecken will investigate how noise can be made tangible and question how this relates to creating sound for image. Using the natural landscape as her starting point, Els Viaene will guide participants through investigation of the microphone as a subjective expression (rather than neutral observer) of the environment, and question how evocative aural pictures might then be combined with visuals.

The workshops will take place on 20-22 February and 20-22 March, respectively, from 10.00-18.00. The cost is EUR150.00 each or EUR250.00 if you attend both.

The language of the workshop is English or Dutch and the venue is Herculeslab – the conservatory’s audiovisual lab. Click on the link for more information and details on how to register.

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Posted by on Dec 17, 2013 | 5 comments

An Interview with John Roesch

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In  over 30 years working in sound, Foley artist John Roesch has amassed an impressive list of credits, including major films like “Inception” and “The Matrix” and games like “Final Fantasy X” and “Dead Space.” With over 400 credits to his name, John was awarded the MPSE’s Career Achievement Award earlier this year. I recently had the opportunity to sit down with John on his Foley stage on the Warner Brothers Studios lot in Burbank, California to talk about Foley, how he got into the business, and where he sees things moving forward.

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