Tag Archives: Animation

An Adventure in Animation Foley

I recently returned to the choppy waters of freelancing; this has proved to be both exciting and stressful. On the plus side, I’m writing this from a pretty bar in Yorkshire bang in the middle of the afternoon – the downside is that I’ve developed an unhealthy attraction and yet a simultaneous aversion to emails.

Another joyous positive for the life of a freelancer is the freedom to take on work away from the norm. I was recently invited to join Dave Darch and his team working with young people with the BFI and THAMES film music project for a Foley workshop, complimenting their 10-week music for film course. I turned up armed with a back-breaking array of props, shoes, cloths and vegetables with the full intention of wiggling them all in front of the students.

A high percentage of these items were indeed wiggled. The young people also got a chance to wiggle them to their own films that they’re working on. I think they enjoyed their day; it’s not often folks get a chance to step into someone else’s shoes or transform a hand drill into a pistol. At the request of Dave, I brought with me some examples of my Foley to picture, including a section of Moshi Monsters: The Movie. It hadn’t occurred to me that not many folk get to watch moves without the finished mix; they all seemed to be transfixed.

I didn’t write up anything about Moshi when we were busy working on it. This is due to the fact I was bloody knackered at the time.

Moshi Monsters

The film was the first by Shoreditch’s award winning digital company Mind Candy and was released straight after their win at the Children’s BAFTAs. Mind Candy’s Lead Audio Designer, Daan Hendricks, got in touch with us when I was at Creativity Media and we joined his team on the sound design, Foley and effects mixing. This would be my first theatrical animated film and I was bricking it.

I wasn’t overly familiar with Moshi Monsters and the idea of creating their movements for the first time in a film was a little daunting. Thankfully, I had Alex giving me a whole bunch of advice and we were soon strolling around Soho poking heads into various shops and market stalls looking for interesting food stuffs, toys and materials that would bring these characters to life.

The workflow of the film in terms of the Foley was a little different to that which I’m used to. Spider Eye, the animation studio, would send us sections of the film once they were fully rendered and green-lit. Therefore, we worked in a very non-linear fashion, recording and fitting Foley in a very stop-start manner until we received picture lock. We took a couple of days recording with Gwilym Perry (now of Doppler and Dubbs) in Twickenham’s theatre 3 then finished the rest of the film with Simon Trundle at Universal Sound. These two studios have their own unique characteristics and the two mixers their own separate approaches, both of whom contributed such wonderful creative ideas and experience, I really valued working with them both.

The five Moshi Monsters who lead us through the film are the same monsters that children ‘adopt’ in the online game. Katsuma (a cat with an inflated sense of self), Poppet (the level headed character), Zommer (think of Scooby Doo’s Shaggy but more of a zombie), Furri (lovable hairy oaf), Diavlo (fiery) and Luvli (sultry). They are also joined by Poppet’s favourite Moshling, Mr Snoodle (a little horse which looks like an elephant puppy).

These are characters that kids will know and love so it was pretty essential to make their movements reach expectations. In terms of cloth tracks, I pretty much followed their animal type or resorted to simple cotton cloth. The supporting characters, however, offered more creative opportunities. Shelby, a turtle character, needed an interesting material for his moves. Alex suggested using PVC which was duly adopted and had a nice sound to it. Buster Bumblechops (a Jurassic Park Richard Attenborough type in an adventurous mood) was performed with canvas and rougher cloth. The character Furry was… furry. I performed his moves with fur. Imagination was required elsewhere.

Footsteps provided the other major preparation challenge. I couldn’t decide whether to follow what was on screen or to go with the nature of the characters instead (soft, wet, rocky, bristly etc). We experimented with different materials but- for the most part- went with less abstract choices… if you can call udon noodles less abstract for a footstep. In fairness, the leads were walked lightly with fairly standard shoes. One character was barefoot but heavy set; I walked him with my hands but made them very ‘slappy’. Daan wanted a kinda plastic/rubberish footstep for Mr Snoodle. After much rummaging around, Universal’s Paul Hanks came up with using finger tips upon a wellington boot. This project induced a very collaborative environment and the Foley benefitted from this.

A section of the film that we spent quite a bit of time on was set on a snowy mountain; the footsteps involved the usual cornstarch and rock salt. The scene involved an avalanche that was a bit of fun to create. This is one of those moments where the Foley stage is used by the sound designers and fx editors to obtain something for themselves. Both Alex and Daan were keen to collate a bank of recordings that they could later affect for their own design and fx tracklays. Acquiring the help of another soundie, Ryan Lee Twyman, we flumped and bellowed pillowcases full of flour onto the floor all in full view of the Neumann and contact mic. The recordings accumulated but a distinct sound of falling snow was missing. As I brushed the ground ready for another load to drop, Alex was still monitoring the mics. Turns out a little hand brush on the concrete with cornstarch to scatter makes quite a lovely avalanche sound when you’ve got a contact mic there doing its thing.

As enjoyable as our more experimental recording sessions were, I maintain that some of the best work comes from having no time to think. The 5 days I had at Universal Sound with their handsome mixer Simon was hard work. Good grief, we had so much to get through whilst my dreamy old colleague Stelios and intern Daniel were editing the fruits of our work. As I wasn’t as familiar with the props at Universal, Simon came up trumps in suggesting props to use. We flew through scene by scene and in all honesty I can’t remember a lot of the things I used because we worked so quickly everything relied upon instinct rather than considered thought.

Something particularly enjoyable about working on this film was the expeditions to source prop material. I spent an absolute age looking in different toy shops across London; trying to find items that would pop, whistle, squish, squeak, rattle and hum. These toys proved very useful for both Foley and the sound design. Mr Snoodle’s flappy ears were made with a whoopie cushion, flies were made with buzz magnets and tuning forks, large drinking straw-like pipes were made with a whirly tube slid inside a washing machine tube and the Moshi’s arch enemy’s army of glumps were complimented in the Foley stage with a rubbery toy cheese filled with slime. It was beautifully disgusting and fun.

Here’s some pics of the recordings.

This slideshow requires JavaScript.

Here’s the trailer for the film.


Seasonal Sounds for the Festive Foley Folk

Arrived back in London from a family visit over the Christmas period which was both relaxing and indulgent. This brief stay at my sister’s home confirmed my dislike of dog hairs in dinner, if it ever needed to be confirmed in the first place. The dog was lovely, the hairs were not.

Just to clarify, the dog is the family pet, not dinner itself. I’m vegetarian you see.

Despite my lack of seasonal cheer, I was more than chipper to be involved in online Christmas greetings by both Beautiful and Hub TV. These two projects were a delight to work on, bells, chimes, glass clinkles (that’s a word, roll with it) and yuletide’s traditional DIY parts.

Yuletide DIY parts

The first piece was Beautiful’s digital Christmas card, a lovely animation consisting of baubles bouncing, crashing and stumbling over one another with a wavy swell culminating in a weighty cone passing the camera at speed, baubles in tow.

This was a delightful project to work on, I was back home in the hometown recording Foley guerilla-style for Tash Force so took the opportunity to raid my mother’s home for unusual items to strike and wobble. This was complimented by a visit to the local thrift store where I managed to bring in the slushy contents of the street off my shoes and take away their collection of porcelain bells and a wonderful candle holder with an infinitely sustained resonance which is probably still decaying at this very moment, so very perfect. It’s the copper/golden chalice looking item in the following picture, near the top, which wouldn’t have looked out of place in Raiders of the Lost Ark.* Consequently, I didn’t drink from it.

The golf balls were unnecessary

* Edit – I meant The Last Crusade… they’re all good, you know what I meant.

The use of porcelain, glass, copper, steel and tin managed to combine itself together and ensure all elements were covered… however there was a significant absence of scatter and spread. I managed to bother the lovely gentlemen in Clerkenwell’s premium Foley/DIY supply store for a variety of nuts, washers and miscellaneous clinkley items that only dads know the true purpose of. Naturally I had a wonderful time throwing these bits and pieces around on the bathroom tiles for scatter, ring and voluminous presence. My flatmate also got involved by donating a German thumb ring, fun for all the family.

Hub TV’s video required reinforcement of the personality and narrative of its two characters. I bundled the video’s director Carl Thompson into the booth for chuckles, wheee’s and grumbles… all within embarrassing earshot of his colleagues. As a result, a third and final recording session provided the necessary characterisations of the lonely and somewhat amorous Father Christmas bauble.

Throw in a good mixture of low, mid, high frequency whooshes, an obligatory jet engine, bells, bauble smashes, squeaks, creaks, foliage and tree shakes smothered with with an unhealthy dollop of reverb and delay and bingo! The story was complimented with a soundtrack of chortling determination and shattering tragedy.

It’s probably, if not totally unnecessary to go into so much detail over a couple of videos, however I’m on a long train back to London and there’s nothing else to do other than avoid eye contact/tedious conversation with other passengers. Hope you’ve all had a lovely festive break and here’s to a prosperous and happy new year to you all.

* Sentimental moment*

I’ve been ridiculously fortunate over the past twelve months in terms of experiences, mentoring and supportive friendships. If it’s not too self-indulgent, I’d love to thank Alex Joseph, Nigel and Keith at Hackenbacker, Paul, Simon, Phill, Ian and Neil at Universal Sound, Ed and Glen at Shepperton, Hugo and Glenn at Sound 24, Sandy, Robin and Alison at Pinewood, Adam at Anvil, Simon, Jason and Hannah at Molinaire, Andrea King, Jack Stew, Pete Burgis, Andi Derrick, Barney Smith, Alex at One Huge Eye, Neil and Louisa at Silent Deer, Tom and Nic at Beautiful, Dean Covill and all the team at Hub TV. I’m indebted to Chris Jones at New Life Purpose for getting me on that plane to China as well as Patch, Rachel, Beth, Renee and Syriah for the essential and gratefully received love and support. Here’s a little shout out too to all the delightfully creative and conversational folk I’ve had the pleasure of meeting on Twitter. You make bus journeys feel less lonesome and at least 13% more interesting. Thank you.