Jede grandios inszenierte Figur, im perfekt gestalteten Bild, erhält durch die Arbeit der Foley-Artists eine hörbare und dadurch fast greifbare Haptik.
(…) Der Moment, wenn im Sounddesign die Geräusche eingebaut werden, ist wie das Einfügen einer weiteren noch unbekannten Dimension (…)
Foley makes it possible to truly experience the actions and events in a piece of work, whether this is a film, a game, a radio or a theatre play. In addition to dialogue, Foley forms the basis of film sound and is often the basis for sound effects. Sounds ensure attachment and engagement to the film characters, but they can also create distance, emphasizing the mental state or mood of the character.
Sounds are detailed, precise, clean, but often also rough and abrupt- ideally, it is not possible to distinguish them from the original sound.
Foley is the only way to guarantee full control over film sound and the emotional impact it has on the audience.
Foley is the only way to guarantee full control over film sound and the emotional impact it has on the audience.
Foley is always created in a team consisting of a foley artist, a sound engineer and a sound editor.
the member of the sound team who transforms the visual elements into sound. Like the actors transform themselves into characters, so are the Foley artists, who become these characters for a moment.
They express, interpret and embody roles in order to make the emotional connection sound perfect. They choose the right floor, the right shoe, the perfect prop – and drive the audience into the world of the protagonists.
during the recording of the material, by filtering and adjusting the spatial perspective to ensure that the noise generated sounds as it should and, above all, is perceived as matching the film image. We are the first instance to assess the consistency of the sounds produced and communicate this during recording.
During the often non-linear working process, it is necessary to keep an overview (what do we already have, what do we still need? What have other sound departments already done – how can we supplement and enrich what we already have). Important questions about sound, character or needs and requirements are usually decided by the Foley artist and Foley mixer as a team.
Sound recordings are small-scale. They consist of many small particles that form an overall sound experience. Here, perspective, sound, intensity must be in tune with each other. The task of the foley mixer is complex and requires a high degree of experience, inner sound perception and technical competence.
is responsible for the interplay of the individual sound elements in the edit and synchronizes the sounds perfectly with the picture.
The most beautiful and best sounds always have the human factor, the inaccuracy, which makes the sounds come alive but has to be corrected to the original sound and for the synchronicity of the sound to the picture.
This does not necessarily mean absolute simultaneity of sound and image – sometimes a delay in the sound or a dramatization of the action through acceleration is the means of choice. Because sound editing is much more than just cutting in sync with the picture – sound editing is shaping, highlighting, selecting the sounds.
Making these decisions correctly requires a great deal of experience and confidence. Making a sensible pre-selection in order to leave room for the sound mixer’s creative work is a very important part of the sound editing process. Making a sensible pre-selection in order to leave room for the sound mixer’s creative work is a very important part of the sound editing process.
Foley editing means communication in all directions – to the recording team, to the original sound editor, to the sound designer and to the mixing engineer – in order to get the best out of the foley.