Generally when I'm cutting Foley, if someone walks off screen or out of a room I'll cut at least a handful of footsteps to follow them out - their sudden absence would certainly be missed.

I'm feeling a little more iffy when it comes to cloth Foley though. Cloth is far less a discrete sound than footsteps and in my mind is thus harder to place when not keyed to a specific visible action.

My question to you all - do you let cloth movement continue for off screen action or does your cloth Foley go away once a character has left the screen?

4 Answers 4


Cloth accompanying the footsteps for a character leaving a scene can be very useful, so I would cut for perspective in the same way that you would for the feet. However depending on how detailed the foley artist is with their cloth pass, I find the attention is often drawn to the next on screen character pretty quickly, unless they make a point of discrete passes for situations where characters leave.. so you don't always have much to work with.


Depending on the context & type of cloth I'd tail it off fairly rapidly.... but a leather jacket would be heard longer than a silk blouse... same for Batmans cape vs the cats pyjamas.... Footsteps are relatively a lot louder than cloth so they would/should trail longer.... Another context to bear in mind: if there is ADR, cloth is important

  • Exactly!!!! The material, rhythm and speed of movement in harmony with the actors actions will determine this.
    – oinkaudio
    Commented Mar 3, 2011 at 6:16
  • Thanks for the suggestions everyone. The dialogue edit primarily relies on the lavs, so I wanted to ensure that the Foley tracks covered everything that was lost with the sub-par boom mic track. I ended up cutting most of the cloth for onscreen action only to keep things simple and straightforward for the mixer. Commented Mar 4, 2011 at 7:38

My practice is to cover it anyway, even a few seconds offscreen. Let the mixer decide how much of it to hear if at all.

If I'm recording/editing Foley and then doing the mixing too, it's easier to decide at the mixing stage too, when you have all the stems in a session. The cloth might get lost over the BGs, rest of the foley, music, etc. Then you'll be able to bring it up or get rid of it completely if unnecessary.


I agree with everyone above, but as an object lesson pay attention to people that leave your field of sight or walk out of the room you're in.

Your Answer

By clicking “Post Your Answer”, you agree to our terms of service and acknowledge you have read our privacy policy.

Not the answer you're looking for? Browse other questions tagged or ask your own question.