Specifics
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What is itAnything an actor touches or effects is considered a Specific and recorded as a separate element often involving layers of sound.Specifics are the real fun in Foley. They allow you to paint with sound, recreating the actual movements in an enhanced way.Much of the magic associated with sound effects is considered a Specific. |
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| You will need many props for your Specific tracks (whatever you see in the film). It's impossible to say what you will need until you see the picture and as time goes by you will add to your collection (if you have space). |
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Common Specifics TricksCorn starch in a leather pouch makes the sound of snow crunchingA pair of gloves sounds like bird wings flappingArrow or thin stick makes a whooshAn old chair makes a controllable creaking soundWater soaked rusty hinge when placed against different surfaces makes a creaking sound. Different surfaces change the sound considerablyHeavy car door and fender can create most of the car sounds needed but having a whole car in the studio is betterBurning plastic garbage bags cut into strips makes a realistic sounding candle or soft non-crackling fire when the bag melts and drips to the ground¼” audio tape balled up sounds like grass or brush when walked onGelatin and hand soap make squishing noisesFrozen romaine lettuce makes bone or head injury noisesCoconut shells cut in half and stuffed with padding makes horse hoof noisesCellophane creates crackling fire effectsHeavy phone book makes body-punching soundsAcorns, small apples and walnuts on wooden parquet surface can be used for bones breakingCanned dog food can be used for alien pod embryo expulsions and monster vocalizations
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Various surfaces act as a sounding board to amplify and change any sound: this is an important principal of Foley and sound creation! |
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Recording
| The microphone should be placed about one meter in front of the Foley Artist and away from the face to reduce the sound of breathing (the mike is so sensitive it can easily pick up the sound of a breath).You will need to 'ride the level' more than ever when recording specifics as some sounds are soft (a kiss) and some are very loud (a car exploding).You will need a track for each specific sound. Some tracks last the whole length of the scene (snow crunch or lapping water) while some effects are very short (a match strike or a punch) so planning the tracks is very important.Try to keep like things on the same track throughout - water on its own track and guns on their own track - that way the mixer can set the EQ (Equalization) at a consistent level. |
You will need to select the appropriate props as they are seen in the film. Each prop is your instrument and you must learn to play it.There is no reason it has to be done all at once or on the same track since you are trying to get the best sound.Do not try to match the visual of the prop but rather the sound. Audiotape sounds just like grass (without the mess and fuss) but it doesn't look like it. Understanding how things sound and storing these records in your head for future films is the way a Foley artist must think - play around with objects and combinations to see what neat sounds they make.Animate the sounds - make them bigger than life. |
End ResultWith all the Specifics in place you should have a complete sounding track! Every nuance, every subtle action should be covered so well that it sounds like the original. |
Now that you have a basic understanding of foley, let's have a look at the Soundscape Exercise |
Additonal Resources ArticlesVideosFoleySound Design |
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