Tag Archives: Foley Editor London

Spotting a Honeytrap

Honeytrap Film Poster

Brixton-based drama Honeytrap came out in UK cinemas last Friday and received positive reviews. Based upon the 2009 case of a 15 year old girl who lured a boy to his death by a gang, director Rebecca Johnson drew on her experiences working with young people in the same area with her not-for-profit Fierce Productions filmmaking workshops.

Layla, played by Skins’ Jessica Sula, comes to stay with her mother in London having grown up in Trinidad with relatives. As the film progresses she falls deeper and deeper into trouble as she desperately wants to fit in with her new peers and gain affection and attention from the local top boy, Troy. 

I had the opportunity to sit in the spotting session for Honeytrap with Rebecca, sound designer Alex, dialogue/ADR editor Adele Fletcher and re-recording mixer Richard. Spotting sessions are great aren’t they? We combed through the final cut (shout out to picture editor John Dwelly and Rebecca for the great edit) scene by scene as Alex and Rebecca determined the feel of the sound design. Adele, Rebecca and Richard made their ADR notes, hard effects were noted for sound editor Stelios and we noted down the Foley necessities.

It’s so great to have a detailed plan and communicate requirements to the Foley stage (Universal Sound recorded and performed the Foley) and give attention to scenes that require ADR coverage or creative attention. Attending this spotting session also let me know which scenes or parts of scenes would be dropping production/sound effects in favour of music and design. It would appear that proper planning and preparation not only prevents piss poor performance but also nourishes creativity and allow it to flourish, especially with time constraints to adhere to.

Honeytrap is in UK cinemas right now. Updates on DVD and international releases are available via the film’s Twitter and Facebook feeds.

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.

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Here’s the trailer for the film.

Rubber Soles, Plastic Foley

Plastic Movie Poster

Today sees the UK theatrical release of heist thriller Plastic. Directed by Julian Gilbey and produced by Terry Stone, the film is based on a true story of a group of university students supplementing their loans with credit card fraud, suddenly finding themselves in need of £5m to get a gangster and the threat of violence off their backs.

Got to say, I’m pretty darn proud to have been in the sound team on this film, coming out of the re-recording theatre, we were all pretty chuffed with the final mix. It’s loud (where needs be) and proud. The Foley sat in nicely, some spot-on recordings by Universal Sound, and got featured nicely in the mix. Mmmm.

Last year I started to be more active in assisting Alex in the hard FX side of our films. Mostly helping out with doors and cars. The doors I love, the cars less so. There’s so much faffing around trying to get the right sound out of a multitude of different library tracks and complimentary elements (animals, tyre squeals, gravel crunch, machinery and miscellaneous sounds in the library named ‘track 01’). Nonetheless, Plastic proved a really thrill to assist on the FX because everything needed a bit of beef and creative attention. It felt good to step up and assist on the more literal parts leaving Alex to get on with his design and the scenes requiring a lot of attention. Of which there were many.

The other challenge on this film was my first venture in looking after the VFX, more to the point, looking after the master sound PT session and trying to maintain its structural integrity once the VFX updates have come in. Alex warned me I’d have a task on my hands, turns out he was right. There was lots of liaising with our picture department and the VFX supervisor, then there were spreadsheets. Oh joyous spreadsheets. There’s quite a lot of organisational considerations looking after these VFX. You’ve got to determine which VFX shots will have to be checked out for sync purposes or needing some more effects laying down. Muzzle flashes need double checking in the session in case the gunshot sync has changed, blood spurts need new sound effects adding to compliment the new visuals, iPhones and laptops need new fx laying down if the visuals have changed and the Foley often needs revisiting in case on-screen typing has changed the keyboard tapping sync.

So here’s the trailer for Plastic. It’s our first Paramount release. Not only was the Foley and effects a pleasure to work on, the mix was damn good fun. Julian has such enthusiasm and awareness of sound post and its impact upon the film’s excitement and emotion. This made me extraordinarily happy.

Plastic is released in UK cinemas today.