Whilst enjoying a sumptuous Sunday brunch here at the offices of sync.sound.cinema, I happened upon this great clip about the trials of foley work from the movie Modern Romance (via FILMSOUNDDAILY!). Please to enjoy:
(My favorite line: "We've got Heaven's Gate, the Short Version in here at 8.")
From The Official Dark Sector Developer Blog: Sound Designers Dustin Crenna and George Spanos talk about how they abused fruits and vegetables to obtain the raw material they needed to create the soundscapes for the game Dark Sector.
Snip:
Working in a talent-based industry is an experience in and of its own – this becomes even more apparent when you line an empty room with plastic sheets and pulverize a variety of fresh produce to capture the sounds of breaking bones, splattering blood, and tearing flesh. And all this happens on a Tuesday afternoon. Along with insightful commentary provided by sound designers Dustin and George, Digital Extremes is proud to present the results of a Foley session that left the 17th floor of an office complex smelling like cabbage…
From the boards over at jwsound.net: Track Stars-The Unseen Heroes of Movie Sound, a short film showing the foley process live along with the action.
I actually remember seeing this on cable somewhere when I was a kid; I'm sure it's at least partially responsible for inspiring my love of sound for picture.
Link to the original video. You can read its imdb listing here.
In this modern age of DAWs and desks, one of the more active jobs in audio post is that of that of the foley artist. In this tutorial, Philip Rodrigues Singer, M.P.S.E., takes us through some of the finer points. Snip:
On a film set nothing is real - the sword is made of plastic, the marble floor is painted plywood. Foley replaces or enhances that live sound; the result is a sword that rings like metal and floors that echo like marble! During filming, the location sound recordist tries to capture only the dialogue. Microphones are keenly positioned on set to record even an actors slightest whisper without the background noises from camera and crew. Foley helps to add back a controlled background layer of sound to produce a rich and realistic track.
