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8

Film Soundtracks are made up of 3 components: Dialogue Sound Effects Music Each of these three components can be broken down into two distinct types: Production Post-Production These types define when the sound was generated. This can either be during the "Production" phase of a film shoot, or during the "Post-Production" phase, after the principal and ...


7

The first thing I do when I'm beginning a film is to WATCH it. (Better yet, I READ the script BEFORE I start to design anything). You only get one first impression. I take in the look and feel of it, the attitude and mood, and try to recognize any overarching themes or ideas the director is trying to convey. Only then do I start listening to sounds or ...


5

Watermelon - dig through it with your hands raw chicken in marinade - awesome 'slimy guts' sounds raw egg - for some more slimy goodness hand soap - for the same macaroni and cheese - for some smush bread soaked in water - gives a nice fibrous squishy sound bell peppers - rip them apart if you need some nice crunch Grab your apron and get messy ...


5

It depends on the sound I'm trying to create ;). Pragmatically, it also depends upon the availability of a quiet, reflection-free outdoor spot vs. a foley studio — both of which can be hard to find (or afford). A project that calls for a more stylized foley track might best be served by a foley studio with an enormous assortment of props, shoes, pits, cloth,...


5

small skinny rope with a lightly weighted object tied (VERY SECURELY) to the end - record two layers - one of big looping swooshes for the initial flight out the window - maybe a 10 foot extension of the rope, then shorten the rope to 2 feet or so and go much much faster in a circle for the uncoiling. xlr cable could also work.


5

The two things that come immediately to mind are that you should look at photography and sketches of 19th century London, and you should listen to any audio material you can find from cities that are at about that level of technological development. Photography and sketches will help you determine what noise-creating objects you need to simulate. It is safe ...


5

shorts and a t shirt, to minimize clothing noise when doing a foot pass. clothing moves can be added separately. pants swishing noise can build up when doing multiple passes of feet.


5

A lot of Foley artists use sweat pants, soft clothes that don't make sound when rubbing together. Also take off any jewely, belts, etc.


5

For the sound of dog I actually normally just use a kind of heavy-duty gloves I've epoxy-glued paper-clips on. I was gonna try other things as well when it was still just gaffed on, like pieces of horn and different types of wood, but truth be told I found this configuration to be absolutely spot-on for what I needed instantly! For the sense of weight, I've ...


4

Sounds like a fun challenge! Flour is soft, not coarse like sugar. Maybe very soft, pillowy sounds would be good to add: Impacts into pillows, cloth hits, maybe even foley of things being dropped into talcum powder or flour itself (guaranteed to be messier than any liquid, though). Maybe even experiment with snow foley?


4

Business Cards? Post-It Notes? Credit/plastic cards? These are just some ideas, but it also depends upon the action required. Break away from the literal sound playing cards make and think of textures and frequency variances. All the above props offer different tonality, brittleness, frequency characteristics. It's the juxtaposing of various carefully-...


4

depends on what the moves are. if they're of shuffling, dealing, etc you may want to bring someone in that's had a lot of experience doing those things. card moves can sound dramatically different in the hands of a pro vs in the hands of an amateur.


4

As for the horse, you can watch a top artist doing it here. The dryer, why not record a real dryer drum. Just open one up and spin by hand. I've done this before. Sweeten it with the metal box idea. Usually the simplest idea is the best. Laser beam...you should probably do something that no one suggests...that way it's original :) Old school method would ...


4

For Foley Usually LDCs (large diaphragm condensors) since of prime importance, they retain a lower noise floor. U87s are often used for this, sometimes with an MKH 416 or KM81/82 as a room mic. Octava makes a good LDC I've used, although I cannot recall the model number - it's cylinder-looking one. AT2035 would more in the bargain range. For FX, it can ...


4

"It depends" <- everyone's favorite answer On the films that have M&E deliverable requirements for foreign markets, basically everything's got to be covered by either cut FX or foley. It's often good practice to make sure everything is covered. That being said...depends on time. If the production is great for somebody struggling with a doorknob, ...


4

No one sound is going to do this, to get this right your effect is going to need to be a composite of several different layers. Your celery idea might form part of one layer, but is never going to do the whole job. I'd be thinking: Low ground rumble (sub) Dirt/soil movements Roots snapping Wood tearing/splintering/creaking Branches scraping Foliage ...


4

Well they are harsh sounds... First make sure that what you do as step number one is to control the source, change material (paper/board type, different pen or chalk etc) until you get a sound you really like. Authenticity is rarely important, fake it! Second, mic choice can go a long way, try a dynamic mic. Stay away from regular dialog/boom mics, use ...


4

To get rid of harshness at recording try the following: Record with a distance. Rarely do we hear a paper get torn from a distance of 20-30 cm. More so 50cm+++ Go off axis. This will get rid of directional and thus high frequency material a bit. Try DeEssers or Multiband Compressors to get rid of peaks in the 4000 and 8000 Hz region Use dynamic mics instead ...


4

It depends. If I know for sure there are no way anyone would see me, and I'm in my own studio - tee and boxers. In extreme cases also a thick Palestinian scarf (textured with skulls and crossbones for that extra audio push!) covering my mouth and nose to further reduce the risk of accidental breaths or such. But mostly I use a tee washed with a lot of ...


4

Usually the smaller more intimate sounds will provide the detail, so you'll have those larger, slower, heavier wave sounds as the body and you can provide movement and texture and detail with smaller splashes, sprays etc mixed in.


4

You have some options. You can obviously burn a piece of paper, although that might pose a hazard if not contained. It's fairly simple to reproduce a sound like it, but not exactly like. I would take some cellophane stretch wrap and twist/fold it around, but you could also use aluminum foil or some other thin material. I think the foil would sound too ...


3

Record a wheelbarrow with well-lubed bearings on the surfaces you need: No motor noise, true pneumatic wheel. I can't count how many effects I've generated with wheelbarrows..!


3

Start off with slowly run a (damp) finger along a deflated balloon. Then record unrolling a large roll of parcel tape. Fiddle with the pitch of each sound, EQ them, put them together, and you should have something good, or at least good for a basis.


3

Hi, I've recently recorded 10 different dry erase pens and had great succes with a close mic'ed mkh50 into a RME Fireface UC. Mic was about 10 cm away from the board which was cheap. Be very quiet (breathing and movement) and take care to keep the distance steady for all recordings. You don't have to do exactly what I did, experiment with the distance and ...


3

"i'm afraid i could confuse a low amplitude region with an empty one" Hiya, if you delete the "Audio Files" folder after spotting all offline clips will be greyed out. The recordings have a colour, so you will easily be able to tell what's a spot clip and what's a recording.


3

http://www.epicsound.com/sfx


3

I'd say it will depend very much on the position of the camera (how close it was to the subject), and then you'll have other factors such as how reflective the room is and where the rest of the crew was standing in relation to the camera and subject. Was the camera recording using only the onboard microphone? There are a lot of questions that can lead you in ...


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