by Blair Jacksob Sept 2005 Mix Magazine
One of the most critical, yet underappreciated links of the film sound chain is Foley recording. You probably know the basics. It was named after the great Universal Studios sound man Jack Foley and covers an incredibly wide range of sounds that are added in post-production: everything from car door slams to footsteps, to garment rustles, to jingling keys, sloshing water, furniture moving, sword hits; you name it. Basically, Foley is everything that isn't covered by sound effects or through the production track. Occasionally, the Foley department will also supply the base sound materials for effects editors.
And though the work may seem simple as compared to, say, recording the sounds of Sherman tank treads on location (an effects task), it's actually a very demanding and precise job that, when done well, adds immeasurably to the success of a film's soundtrack. Recently, Mix spoke with three of the best Foley artists in the business to get a sense of the demands and peculiarities of this important craft.
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Interviews with foley artists John Roesch, Marnie Moore Marko Costanzo
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