Foley+Artist

A **Foley Artist** ‘recreates’ sound effects in film and other media productions.
 * Foley Artist ** ** by Pierra Van Sparkes **

A Foley Artist works in a recording studio called a sound stage. Here, they carefully examine the production footage and use a various assortment of props to recreate or embellish sound fitting (or not, depending on the production) the footage. It is important to note that Foley tracks are not recorded as the footage is being shot, nor are they recorded in the order which the sound will be played in the final product. Eg; the screech of tires and the crash of a car being recorded in time with the footage. Rather, each component – or ‘track’ of Foley sound is recorded individually, and layered accordingly in post production. These components include:
 * Role in the Production Process **


 * //Moves//**


 * //Feet//**


 * //Specifics//**

‘**Moves**’ sounds vary from a rustle of someone’s clothes to a scratch or sniff. These sounds create realism and characterisation in production audio – without a moves track, the audio would sound sterile and unrealistic. These sounds are commonly produced by a variation of different materials – such as denim, cotton, and leather- that a Foley artist will maneuver to create the desired sound. A moves track is recorded on one continuous track that is cut up and edited into film in post production.

As the name suggests, ‘**Fee**t’ sounds are the sound of footsteps. However, recording feet tracks is not as simple as walking around a microphone. Foley artists carefully analyse footage to match the sync of the step, the surface and the feeling. Earning their nicknames – ‘steppers’ – Foley artists will walk in a range of footwear, on a range of surfaces – a well equipped Foley stage includes pits of different surfaces. Eg; wood, marble, dirt, sand, etc. Feet tracks are recorded by a nearby microphone – approximately 3 ft. away - while the Foley artist ‘walks on the spot'. These recordings are then grouped into categories of gender, surface and feeling for further use.

If a sound is not a clothing move or a footstep, it is deemed a **specific**. Specific tracks range from face punches to body falls, and therefore, require the most – and strangest – props to record. Odd discoveries made by Foley artists of effective specific sounds include:
 * Corn starch in a leather pouch makes the sound of snow crunching
 * A pair of gloves sounds like bird wings flapping
 * An arrow or thin stick makes a great whoosh
 * An old chair makes a controllable creaking sound
 * A water soaked rusty hinge when placed against different surfaces makes a great creaking sound. Different surfaces change the sound considerably
 * A heavy staple gun combined with other small metal sounds make good gun noises Coconut shells cut in half and stuffed with padding makes great horse hoof noises
 * Burning black plastic rubbish bags makes an interesting sound as it melts and drips on the ground.
 * Cellophane creates crackling fire effects
 * A heavy phone book makes great body punching sounds

Once recorded and stored, all of the above mentioned sounds are used throughout the post production studio - where the Foley artists, Sound FX editors, Dialogue editors, Music editors and [|Sound Mixers] work closely together to perfect the production's audio track.

There are no particular training requirements in the field of Foley artistry, however many Foley artists have had technical training or earned certificates in broadcast technology, electronics, or computer networking. Familiarity with technology and electrical mechanical equipment is a beneficial skill in the profession - constantly working with sound recording and editing equipment. Most Foley artists 'start at the bottom' of the media industry and break into the profession with hard work, good connections or sheer luck.
 * Training Requirements **

There are a number of potential hazards within a sound stage. Under OH&S legislation employers are obliged to provide:
 * OH&S **
 * safe premises
 * safe machinery and materials
 * safe systems of work
 * information, instruction, training and supervision
 * a suitable working environment and facilities.

The introduction of new technology has a lesser impact on Foley artists than other roles in the audio post production field, as they only produce live sound rather than edit or [|'mix'] using software. However, the introduction of new recording technologies greatly influences the quality and process of production. The development of digital audio mediums has also influenced the industry. For example, the growing ability to easily store sounds for further use attributes to the limited work available in the field.
 * Impact of Technology and Industry Developments **

While Foley artists work behind the scenes and are mostly unknown, some artists are well-known within the industry and are admired by their peers. > //American Beauty, Gladiator, Kill Bill Vol. 1&2// > //Survivor (TV series), Drag Me to Hell, Anger Management// > //Buffy the Vampire Slayer, Barney's Great Adventure, Zombie Honeymoon// > //Deep Water Black, Blackheart, Jungleground// >
 * 'Famous' Foley Artists **
 * **James Moriana**
 * **Monique Reymond**
 * **Leslie Bloome**
 * **Philip Singer**

The most notable name in the industry would be that of Mr. Foley himself.[| Jack Donovan Foley] worked at a local hardware store in Bishop, California in 1915. Aware of both the town's need of a new direction in revenue, and the budding film industry in California, Foley brought a number of studios to his sunny hometown which he said was **"An ideal location to shoot Westerns"**.
 * Notable Examples **

Among his work as a Director, Producer, Writer, Editor, and Composer in the film industry, Foley is esteemed as the 'creator' of foley sound - being the first known person to experiment with the recording of auxiliary sound in the post production process. He established the art during his time working in the sound department of films: //Spartacus, Dracula, Show Boat,// and //Phantom of the Opera.//

On a side note, Foley also contributed to the television industry, inventing the "//CC in a TV"// or, 'closed captioning' symbol used in television.

A current example of a Foley artist keeping Mr. Foley's invetion alive is [|James Moriana]. Moriana has been active since 1986 and is creating Foley sound for film, television and games ever since. He has worked in the sound department and Foley work for a range of different films, from the famous //Inglorious Bastards,// to the not-so-famous //Reefer Madness: The Movie Musical.//

Moriana is featured in the 2004 documentary //That's a Wrap,// where he talks about working within the sound department in the film industry.

External Links [] [] [] [] []

The Art of Foley, n.d. [Online], Available: http://www.marblehead.net/foley/ [2011, August 25] Foley, n.d. [Online], Available: http://filmsound.org/terminology/foley.htm [2011, September 8] Foley Artist, n.d. [Online], Available: http://www.mediacollege.com/employment/film/foley-artist.html [2011, September 9].
 * References **