Tag Archives: Foley

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.

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Sound of Cinema, Sound of Panic

Oh hello. It’s been a while since I wrote some words on here. I’ve been setting aside free time to learn Chinese and watch Breaking Bad (still haven’t seen season 5, please don’t spoil anything please, please, please). Anyway, by the time I’ve gotten through all of that, I’m a bit reluctant to look at the computer any longer.

Well, this is a shame as there’s been so many cool things happening over the past year. One of which, I thought I’d share tonight.

At the close of 2013’s beautiful summer (it was bucketing down outside), Alex and I appeared on BBC Radio 3’s In Tune live broadcast at Southbank’s BFI theatre 1, launching the broadcaster’s Sound of Cinema season. The producer asked Alex to discuss sound design and he invited me along to talk about Foley. It was around this time that the first nerves wafted over.

This was rehearsal, there were a few more people there when it came to broadcast.

This was rehearsal, there were a few more people there when it came to broadcast.

On the day of the broadcast, we were in Soho with the Mind Candy sound crew mixing the Moshi Monsters movie (ah man, that’s a whole different post, so much fun) and so had the capacity to accumulate some interesting items to audition on stage. We sourced some rhubarb, a melon, some knives and forks and Alex’s toy plastic tennis racquet. My good friend and fellow sound editor Patch also came up trumps and donated his (empty) wallet and a builder’s trowel.

So here’s the actual broadcast. Patch was good enough to record this for me and it’s not on the iPlayer anymore so I figured it’s cool to share.

So a few things happened…

1. I forgot how to form sentences

2. I forgot how to say words without sounding like a 1950s newsreader

3. I declared that we use leather for creaky floorboards (wat?)

4. I forgot that wet leather does not creak

5. Alex smashed it

Despite points 1-4, it was still a whole bunch of fun. Once I’d gotten over the intensity of my heart beating at around 80 decibels, the sight of a room full of people hearing about sound design and Foley, possibly for the first time, was brilliant. They were either really interested in our craft or had mastered the art of looking really interested in two people bash things around on a stage whilst waiting for the classical music to return.

The fruity aftermath

The fruity aftermath

So yeah. That happened. I think the best thing was my mum and dad were listening at home and I think they finally understood what us noisemakers do every day. Thanks to Alex (and the radio show producers) for inviting me along and Patch for the mute wallet.

A Puzzled Foley Artist

At some point in the autumn of last year, I got a call off my friend and long time collaborator Dean Covill, giving me a heads up on a short film he was working on for Oliver Kember at some time in the then near future. I was reel deep in Foley editing to the point of alcoholism and delirium, so could only grunt a few words back such as “sure” and “of course I’ll have a good, long think about making the sound of a Rubik’s Cube.”

In all honesty, that was the last I thought of it until the morning came when I was supposed to actually get on with the recordings. That wretched, slow realisation of disorganisation dawned upon me and I was left with no option but to rummage around in the Foley boxes and hope for the best.

There’s something to be said for abandoning forward thinking and relying on instinct because I swear that all the times I’ve had oodles of time to prepare and consider forthcoming recordings, I tend to accumulate a whole lot of items that get pulled, bashed, shook and snapped, yet never really hit the mark. Over-thinking gets in the way of instinctive imagination, whereas just glancing round the room will transform an umbrella to a yacht’s sail or an old kettle into a steering wheel . In this instance, I was saved by a 50p toy car and the removable wheel from my plastic stacking drawers.

Rubik's Car

The wheel itself was quite thin so weight was gained from the car. I could place the car’s wheels in the grey wheel’s groove and mimic the rotation and slide of a Rubik’s cube. As long as I held the car’s wheels quite tight whist pushing and twisting it against the grey wheel, the rattle remained muted and clacky rather than thin and annoying.

The short film is entitled Puzzled and drifts back to the 1980s when Rubik’s Cubes were the best thing since Etch A Sketch and the ultimate goal was to be the first kid at school to solve it. As a result, there was quite a lot of fiddling with the car and wheel to do, every now and then the car would slip and it would come loose. I was worried this would all be too noisy and the whole recording would sound like a toy shop falling over, however upon playback with a little level reduction, it slotted into place and felt kinda reminiscent of gun handling Foley; utter ridiculous upon solo, however perfectly feel-good when played against the picture.

I think the whole exercise was a bit of a confidence boost. I’ve got a film coming up in a few weeks where I’ll be the only Foley artist in the recording theatre and the temptation to pre-plan and prepare each and every prop has become harder and harder to resist. In reality however, all Foley artists rely on their intuition to find the right materials to create the correct sound with the perfect performance. Easy!

Anyway, I must thank Oliver and Dean for having me in on this project. I rather enjoyed the story, will link it here if it finds its way online, it’s rather endearing. I also love how each project Dean sends my way there’s some lovely leather satchels to record. This is always appreciated mate, especially because I spent a lot of money buying them from vintage stores before discovering the magic of charity shops.

Both Oliver and Dean are on Twitter. Follow them if you fancy.

Seriously Rubbish Foley

A feature-length documentary I worked on, Trashed,  is going to be up for best documentary award at next week’s Raindance Film Festival in London. This film was refreshing to work on, I was brought in to help sound designer Jack Gillies and dialogue editor Richard Fordham on the project, tracklaying atmospheres and hard effects where necessary. Naturally I waved my hand high in the air and requested, nay demanded any Foley be sent my way.

The documentary produced by Blenheim Films is an investigation into man-made waste and its environmental effect upon the world’s inhabitants. There’s a nice review on Ecocentric for your intrigue. Anyway, the section of the film I was looking after involved a heck of a lot of boats, waves and beaches. Not to mention a good collection of plastic bottles.

I scrambled along with some nice Foley here and there, be it faffing around with items on a trawler deck, scraping a petri dish in a laboratory or the flap of a plastic bag causing a nuisance to an otherwise beautiful landscape. Some items were a little more difficult, I had a pile of langoustine to move around and interact with. With a total absence of anything shell-like to hand, I had to resort to using stones, odd pieces of glass, porcelain and a parsnip.

Other more creative endeavours involved the sound of a sea worm burrowing in sand on the seashore. Can’t quite remember what I used but my hands were definitely covered in a ton of moisturiser in that pass. My hands were pretty soft by the end of it all. I remember having a lot of wet vegetable items for the sound of sea weed. Possibly spring onions, it all smelt a bit unpleasant by the end of the day.

Amongst all this enjoyable mess, Richard contacted me in need of the sound of a man balling a melon in a restaurant scene he was working on. I wasn’t sure if he was joking or not but having scrolled forward, there it was, a close up shot of a man balling a melon with no production sound present. How unusual, for those readers who aren’t sound orientated, watermelons are often or at least historically used to create ‘gore’ sounds by using both the flesh and the juice providing disgusting and effective results.

This surely had to be the first and only time I’d ever needed to do the opposite. Especially when my fridge was completely melon-less. Well it would be wouldn’t it? I sacrificed my pre-planned bolognese meal then grabbed a courgette and tomato with unhealthy intentions.

On his way to the kitchen wandered an intrigued Patch, my flatmate and old Radium colleague who is used to such activities and I kindly volunteered him to perform the deed. Armed with a serrated knife, he scratched at the hard flesh of the courgette for an audible, resistant scrape. We then recorded a few passes of tomato squishes which, without the context of the video, are utterly vile in a whole manner of ways.

Not a Watermelon

So have any other sound editors found themselves in a complete inverse situation from the norm? I remember going on a Foley workshop at London’s SoundFjord where we experimented using a starter pistol to simulate a sliding mechanism/lever. I guess thats a bit opposite of using mechanisms for gun handling (I don’t have any deactivated firearms to use due to the fact I would have absolutely no idea where to get them from).

For the environmentally enthused out there, Trashed has a Twitter and Facebook presence. It’s a documentary that’s had an effect on me since working on it, to the point where I’m freaking out about the sheer amount of unnecessary plastic littered about our daily lives. Our whole bathroom is absolutely full of it! Let me know if you get to see it at all in forthcoming screenings at festivals. It also has Vangelis as the composer. Vangelis! Absolutely brilliant.

The Right Type

I’ve been after a bloody typewriter for ages. Not exactly sure why, I’ve never needed to use one. They seem to be staple accessories in Foley stages and I figured it’s best to have one than get caught short. They are also rather delightful.

Here is the latest acquisition.

It’s a bit broken, that’s okay

It’s pretty, not as much as the attractive metal-framed beasts found hipster’s living rooms but at £5 and housed in a sweet leather case, it’s a steal and a welcome addition to the family. I also managed to find two pairs of mens shoes that fitted a treat and ticked two essential boxes.

The first pair have a slight heel (and at a size six, the ability to slightly crush my size seven feet) which offer a minor clop reminiscent of a subtle ladies heel or a prominent man’s shoe. The second pair are much flatter but with smooth leather soles offer a distinguished and commanding footstep, similar to the brown brogues featured at the top of this blog, without the distracting and unusable weight that those same beautiful shoes find themselves hampered with.

I’m sharing this boring update because it’s something that I’ve had to come to terms with in regards to my shoe collection. Many of the various shoes that I’ve collected are absolutely ideal when walked in a guerrilla fashion (the alleyway behind the block of flats, the stairwell in an office building), however in the controlled environment of a Foley stage, they sound ridiculously over the top. When we were recording Fast Girls, the majority of my shoes remained in my holdall, two pairs of subtle flats were called upon above all others.

This is a bit of a nuisance as I’m having to purchase shoes that I already assumed to be covered, replacing exaggerated ladies heels for shoes that have a heel without the capacity to distract and take prominence over everything else in the mix. Thankfully I found some amazing thrift stores in the midland’s Leamington Spa, this is always the case with more affluent places, the shoes tend to be of a higher quality and therefore offer a more appropriate sound. I’m hoping my guerrilla shoes and these new acquisitions will complete the collection and offer more options when in the pits. In the meantime, I’ve got to find somewhere to put the unnecessary, yet treasured typewriter.

Tappity Tap, Don’t Talk Back

Late as ever to the party, but surely it’s never too late to wish one another a wonderful new year full of experiences and adventures; be they work related or in those fleeting hours we call our spare time.

This forthcoming year is filling me with trembly anticipation towards a plethora of new projects to be undertaken both in the (sound) edit and the pits. The thought of treading floorboards makes me so happy I could vomit, however this nausea may also be as a result of some trepidation in developing flat feet and the dreaded rumble tum/bum.

So I’ve decided to wind back the clock to childhood days and take up tap dancing classes.

On the left. I hated that dress.

It makes sense to devote time and energy to footsteps, the more difficult aspect of Foley to master. I remember drilling this into my head when reading Vanessa Theme Ament’s The Foley Grail back in my Radium days, she mentioned how many Foley artists entered the industry with a background in dancing and stage performing, however it was an aversion to hairspray-filled dressing rooms littered with ribbons and eye shadow that kept me away from the dance studio.

I’ve read almost every book by writer and martial arts expert Geoff Thompson. Near the end of last year I re-read an article entitled Armstrong’s Hills where he described pushing himself away from his comfort zone into writing screenplays for film and the stage. His observations into Tour De France champion Lance Armstrong’s training approach gave me an essential kick up the arse. To quote:

I got the idea after reading about Lance Armstrong, the serial Tour de France winner. What inspired me about this great man was not just that he managed to fight cancer against horrendous odds, but also that he went on to win The Tour De France an unprecedented six times. He won it so many times that the organisers of the race actually changed the route (I believe four times) to give the other riders a better chance of winning. What intrigued me was not so much that Lance Armstrong won the race so many times, rather it was the way in which he went about it. He looked at the Tour route and realised that the hardest part of the course, the part that every rider struggled with, was the hills. He realised that if he could master the hills, he could dominate the whole course. So that is what he did. Whilst the other riders concentrated on their flat riding Armstrong was on the hills, up and down again and again and again until he mastered them, until he was comfortable with them, in fact until he loved the hills.

I don’t particularly expect to win the Tour DeFrance, or become a master at footstepping, but the idea of concentrating efforts on the most difficult areas of one’s field, in this case Foley, by getting more acquianted with rhythm and utilising all areas of the feet whilst avoiding the temptation to perfect less challenging and, dare I say, more ‘exciting’ aspects of the art, may offer some relief to the butterflies forming in my stomach region at present.

Aside from finding an excuse to don a tutu and avoid jogging in the evening rain, it will feel good to try and tip my hat towards the legacy of Foley artists who began their careers as professional dancers. Near the close of last year, Alex linked to me a wonderful article by Lionel Selwyn about the UK’s Foley heritage. The photo of the late Beryl ‘The Boot’ Mortimer hard at work in the pits is mesmerising and it’s most humbling to read about how many artists worldwide came into the Foley theatres from… theatres.

And now onto something completely different.

It seems uncouth to maintain all attention on the forthcoming months without taking the time to appreciate the twelve just passed and those that have made 2011 so incredible.

May I offer my sincere gratitude and love towards Alex Joseph, Richard Kondal and Patrick Fischer at Creativity Media. Many thanks also to Beth Lovell, Charlotte Radford, Rachel Chapman, Syriah Bailey, Renee Vaughan Sutherland, Sophie Mallett, Carlos Wisteria, Patch Morrison, Anne Marie Kennedy, Spencer Lowe, Mark Watts, Emily Kidson, James Walters, Christopher Jones, Dean Covill, Nigel Heath, Ayush Ahuja, Matt and Aleah at Zelig, Kate and David at Hub TV, Nic, Tom and Shaun at Beautiful, Neil and Louisa at Silent Deer, Alex Amelines and the delightful Olivia Comberti. You’re amazing.

Wasting Business Cards

Last year I was creating some sound effects for Tootles, an kids cartoon by my good friend Alex Amelines. As a sweet gesture, Alex created a lovely business card design so I could refrain from thrusting my iPhone in the direction of people I’d meet, bleating excuses of a terrible default Vistaprint purchase and pleading for their Twitter username instead.

I finally took 15 minutes out of an admin day to get the designs printed with Moo and joined the professional pool of freelance creatives who can manage the simplest tasks of passing on contact details and understanding the concept of branding.

The week that they arrived fresh, crisp and stacked ready for distribution, I was offered a full time job by Creativity Media. I now have 150 fresh, crisp and wonderfully designed business cards that I’m probably never going to use.

It was in my favourite colour and everything!

So the silver lining I guess is that I will now be working full time for Creativity Media as a Foley editor, receiving training in effects editing, dialogue editing and all sorts of sound post activities. This is no means a sign off from the Foley Diaries though, if I don’t pour my babbles about props n’ cloths on here, I’ll inflict it upon friends and family which will result in eye rolls and social shuns.

So on that note, look at some sexy new props acquired in China. The bells, they are delightful.

The scary tweezer looking thing is an old, weird razor, or so the vendor claimed

Ropes, ratchets and more ropes? That’ll be nautical Foley then.

Everything has been used except the dog ball/rope toy

In all seriousness, I’m absolutely delighted to be doing this full time and getting to push myself both in terms of improving my Foley editing and in learning new sound post skills, becoming more useful to the company and generally discovering how it feels to REALLY appreciate the weekends. Wish me luck, yo.

Creativity Media are on both Twitter and Facebook. I’ll be updating the accounts here and there so do say hello.

Screwed Sound Post; An Awkward ADR Recording

Last month the Creativity Media team were sat in Goldcrest’s Dean Street Theatre for the mix of Reg Traviss’ Screwed staring James D’Arcy and Noel Clarke. This was my first experience in seeing everyone’s contributions melded into a final product ready for picture, the process was fascinating to watch and offered an insight into the decisions that are made at the final stage and how to pre-empt them in the editing process.

The mix involved Richard and Alex jumping in and making occasional alterations to the soundtrack, either replacing or enhancing the sound with new elements recorded from scratch or alternative material in the session.

One scene that required this intervention was a sex scene between the lead character Sam and his on-screen wife Danielle, played by Kate Magowan. The scene needed a little more skin slapping presence and was missing a vocal acknowledgement at the start of proceedings by Danielle.

Being the only woman in the studio that evening, the task of performing a little physicality and moaning fell to yours truly. I’d never encountered a sex scene before unless you count an awkward make out session with my good friend Patch Morrison in an ill-thought out student film I made whilst at university (I will never link to that mess, ever).

Picking up the skin Foley was an easy enough task. Upon returning home I promptly dropped my trousers, splashed my thighs with water for a sweaty, slippy surface and slapped the skin with as much romance as one can do with their socks and shoes still on.

The area where I came a little unstuck was vocalising that first moan. I had a few attempts with the best of efforts despite my flatmates’ audible giggles in the room next door, the only problem is that despite being born in the age of punk and disco, I still have a voice like a teenage boy. This was not suitable for the scene at all. One of the giggling flatmates would have to be brought in front of the mic.

This is where I must thank my lovely friend Emily Kidson for coming up with the goods where I had failed. Normally when I bring a friend in for recording they forget how to perform basic body tasks such as laughing, walking or standing remotely close to the microphone. Thankfully Emily was immune from red light syndrome and took to the task with much gusto and enjoyment, and as always, the first take was the winner.

Here’s the trailer for the film, it’s out in UK cinemas on Friday June 3rd. Other than cultivating awkwardness with my flatmates and wet slapping my inner thighs, I was given the role of assistant Foley editor on the film. It was a real joy to work on; cutting feet in prison cells, the satisfying jingle of keys and a fight scene crafted by Alex and the Foley team at Universal Sound who made me never want to go near a razor blade ever again.

Screwed has a Facebook page, as do Creativity Media here.

Anuvahood – Foley and Fruittellas

This Friday sees the UK theatrical of Anuvahood, written and directed by Adam Deacon. The film is the spoof of UK street movies such as Kidulthood and Adulthood, it tells the story of Kay, a young MC failing at music, women and life, set in the council estates of Notting Hill. It’s also bloody funny.

I’m going to be drinking an inordinate amount of whisky this weekend in celebration of the film, it’s the first cinematic release that I’ve worked on as an assistant Foley editor and I loved every single cut, nudge and volume adjustment throughout each reel. Working under the instruction and guidance of Supervising Sound Editor, Re-recording Mixer and Associate Producer Alex Joseph, I noticed an unfolding improvement in my sync, noise reduction and levels awareness as the timecode ticked away.

Working on this project offered a rare opportunity to discover more effective means of fitting character movements, feet and props, blending naturally into the production sound and still cutting through when sitting amongst the soundtrack’s punchy hard effects, sound design elements and busy music tracks.

I soon found an affection towards experimenting with fades. Yes, this paragraph is indeed talking about the thrilling subject of fades… sorry about that. Previous to this project, I’d only used the standard slow fade in/out in order to prevent pop and clicks after leaving sizeable handles of room tone to prevent audible swells of noise floor. Having gained an insight into the relationship of cutting Foley amongst the dialogue and it’s own moves tracks, I began to use fades in a more aggressive and corrective manner; using the variety of different shapes to cut into regions or leaving long fade outs between footsteps, reducing noise without chopping in and out of the feet in a sudden and noticeable manner.

This is probably most obvious to other soundies, however it gave me real confidence in tacking the recordings without hesitance or meekness and consequently has affected my approach to sound editing in general, be it a feet track or a jet ski pass by in a corporate film. I normally have no reservations in tacking a physical object with gusto and intrigue, hitting it about, setting fire to it, biting it in half… so it’s thoroughly relaxing to now have a more daring approach to the sound once it’s lying ready and waiting to be fitted amongst its counterparts.

Is this interesting? Possibly not. I wanted to share.

So sod it, the film is out this weekend, I’ll be up in Scotland on a trip away from the city, enjoying fine whisky at an awesome club night dressed as a cowboy and come Saturday night will be at the cinema with a hangover, eager ears and a large bag of gratitude to Alex and a hell of a lot of people who have advised and encouraged me up until this point. If you happen to see it (UK only at this point), let me know your thoughts on the film and the sound.

Continuity in Sound Post Production

To sync or not to sync? That was the question.

When a cut dramatically changes the pace of a character’s movement or creates and stutter/delay in their forthcoming footstep, what does one do? Continue with the previously established rhythm and hope the viewer doesn’t notice or follow the sync to each hit point regardless of the continuity issue?

I posed this question to supervising sound editor and sound consultant Eddy Joseph, a guest and panel speaker at BAFTA’s Continuity in Film evening back in November.

This was an issue that I had encountered whilst working on a project at the time, it seemed an ideal opportunity to receive an experienced opinion on the matter. The subject was tacked in the brief Q&A at the event in terms of picture editing by Terry Rawlings, however I was curious as to the implications of continuity issues within Foley.

Eddy suggested I blend the old pace into the new, I guess as a house DJ would mix a faster BPM record into a slower one, then subtly increasing the speed back again. The first few steps are best served maintaining rhythm than achieving perfect sync… gradually adjusting to the new walking pace and not distracting from what is actually going on in the story.

It felt a huge relief to be unburdened of an almost obsessive desire to ensure every step and movement is perfectly in time. I recently worked as an assistant Foley editor on Anuvahood and put this blending of rhythm > sync into practice when editing the feet, I noticed a significant difference upon playback in terms of presenting the performance, even when listening/looking out for sync issues.

Has anyone/everyone else had this issue and come to the same conclusion?. Let me know your thoughts.