Caoimhe Doyle of Ardmore Studios, who has worked on Game Of Thrones, shows the award-winning science show Futureproof how to make sound effects for movies.
Adelaide Screenwriter : Screenwriting, Movies, Tuckshop & Charm School.
Adelaide Screenwriter : Screenwriting, Movies, Tuckshop & Charm School.
1 comment:
This is an important lesson in how foley artists work. They don't do the dialogue or the engine sounds or the wind in the trees. They do the kisses, the skin touches, the handling of guns, the breaking of bones and noses, horses' hooves, screeching tyres.
I find it astounding in this day and age that 80-90% of big budget movie sound is manufactured like this. A good engineer could create microphones to catch the sounds. Many movies are ruined for me because the fake foley sounds are so limited and even mistimed.
I'm sorry, but broken bones do not sound like broken celery. Horses hooves do not hit the ground like coconuts. Foley artists have admitted this themselves by upgrading from coconuts to real horses' feet. What they have yet to do is to match the hitting of hooves on the ground in time with the horses' shoulder muscles. And to have other horses in the distance. Or to have other natural sounds in the distance. Squeaking a bit of leather does not adequately simulate a ride.
As the foley artist says herself, if the audience's ears and brain expected real sounds we'd be in trouble in the film business.
This could be part of the reason why big budget movies do not hold the attention. They are so fake in so many ways.
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