Before You Begin

Foley, as all other Audio-Post, is done when the project has reached final cut.

The first step is an Audio Spotting Session. Using the Sound Effect & Foley Spotting Sheet sit with the rest of the crew, watch the project final cut, and 'spot' where, and what kind of, SFX and/or Foley will be required.

Next, gather and prep all your props for the required effects.

Then, prep your recording space (foley studio) and your recording equipment.

Do a 'Moves' pass first, then a 'Pats' pass. This will provide a good opportunity to get to know the material, get a feel for the flow and action, before you do the 'Feet' and 'Specifics' passes.

... and, before you jump to it, here are a few other tips:

• Always wear shorts.

• Bring MANY different shoes.

• When recording 'Feet' Foley artists often watch actors shoulders to determine when footfalls should occur - especially if the feet are off camera.

• Remove all rings, watches, etc. 

• If the scene is crowded with extras, you don't have to do everyone's feet. A good approach is to only make cues on the foley cue sheet for the extras that you notice on your FIRST look at a scene. Chances are, an audience will only notice what you notice when viewing the scene for the first time. 

• Practice!  

• Practice!  

• Practice!

What is it

Anything 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. 

Common Specifics Tricks

• Corn starch in a leather pouch makes the sound of snow crunching

• A pair of gloves sounds like bird wings flapping

• Arrow or thin stick makes a whoosh

• An old chair makes a controllable creaking sound

• Water soaked rusty hinge when placed against different surfaces makes a creaking sound. Different surfaces change the sound considerably

• A heavy staple gun combined with other small metal sounds make good gun noises

• Metal rake makes the rattle/squeak sound of chain-link fence (it can also make a metallic screech when dragged across a piece of metal)

• Heavy car door and fender can create most of the car sounds needed but having a whole car in the studio is better

• Burning plastic garbage bags cut into strips makes a realistic sounding candle or soft non-crackling fire when the bag melts and drips to the ground

• ¼” audio tape balled up sounds like grass or brush when walked on

• Gelatin and hand soap make squishing noises

• Frozen romaine lettuce makes bone or head injury noises

• Coconut shells cut in half and stuffed with padding makes horse hoof noises

• Cellophane creates crackling fire effects

• A selection of wooden and metal doors is needed to create all sorts of door noises, but also can be used for creaking boat sounds

• Heavy phone book makes body-punching sounds

• Acorns, small apples and walnuts on wooden parquet surface can be used for bones breaking

• Canned dog food can be used for alien pod embryo expulsions and monster vocalizations

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. 

Performing

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.

Break each action into layers of sound. If an actor lights a match, then perform the sound of the match movement as the actor pulls one out and then do the sound of the match strike.

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 Result

With 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