'First time for everything' today, with an exploration into 'Foley':
Foley is the reproduction of everyday sound effects that are added to film, video, and other media in post-production to enhance audio quality.[1] These reproduced sounds can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass. The best foley art is so well integrated into a film that it goes unnoticed by the audience.[2]It helps to create a sense of reality within a scene. Without these crucial background noises, movies feel unnaturally quiet and uncomfortable.
Foley artists recreate the realistic ambient sounds that the film portrays. The props and sets of a film often do not react the same way acoustically as their real life counterparts.[2] Foley sounds are used to enhance the auditory experience of the movie. Foley can also be used to cover up unwanted sounds captured on the set of a movie during filming, such as overflying airplanes or passing traffic.[2]
The term "Foley" is also used to describe a place, such as Foley-stage or Foley-studio, where the Foley process takes place.
The start of my 2nd MA units practical sound recording aspect, As my studio work is at an early stage I had a rough idea of general noises that will be required for the 'Animatic' I am looking to produce.
Breaking down core sounds for the ambient noises that will help to create immersion within my production, with the intension to use the rough noises as a base for manipulation such as stretching and reverb.
My list of noises and attempted Foley'ing went as follows:
Breeze / wind noise: Breathing through closed lips with varying levels of pitch, introducing a vase and cardboard tube to add reverb, playing with distances and angles combinations of both objects.
Atmospheric / additional element to wind noise: Using combinations of various grades of sand and gravel, with additional elements of stone and brick, rubbed and scraped together.
Rustling foliage: Initially I gathered dry leaf and rubbed between my palms with the intention to push the basic sound in post production, I will possibly use different types of leaf and varying ages of decay from fresh to crispy, this will hopefully give me more range if the 1st sound is limited.
Water pouring / moving: Beginning this experiment by pouring from a watering can into a bucket, the 1st half of the pour was unusable where as the end of the pour with the sound muffled by the fuller bucket gave a subtle babbling noise which should hopefully act as a good base.
I introduced a glass vase into the bucket to get variation in the initial pouring sound, again the beginning of the pour into the empty vessel was unusable, but again near the end of the pour as the vase filled, there was a subtle but ideal babbling.
Whilst performing this sound aspect I was thinking of a large metal, shallow bowl I have at home which would be ideal as it replicates the actual pool base seen in my environment, will make a note to bring this for the next session!
Fantasy Flower sound: My intention was to create a light pinging, hi pitched frequency sound to emulate a glowing / fantasy flower with its own resonating energy source. In the Foley equipment storage was a small and unusual instrument made of a number of metal picks angled into a small hand sized piece of wood, the sound seemed ideal as a base to tweak.
Chanting / humming: To give an extra element of fantasy and complement the atmosphere of the environment I pan to introduce a vocal element, trying to string out my own vocal tones was difficult and this may require some stock sounds to use instead.
Homework / study: http://soundworkscollection.com/videos/avatar
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