The Foley Grail: The Art of Performing Sound for Film, Games, and Animation - PDF Free Download

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This content was uploaded by our users and we assume good faith they have the permission to share this book. If you own the copyright to this book and it is wrongfully on our website, we offer a simple DMCA procedure to remove your content from our site. Start by pressing the button below! All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.

Includes index. ISBN pbk. Motion pictures—Sound effects. Digital video. I have been practicing the art form of sound for more than 30 years, and I am happy to say that I still learn new things virtually every day. Nobody knows everything on a given subject—I mean nobody. There are few finite rights and wrongs in any art form.

Certainly in the sound arts there is always room for discussion and the sharing of different points of view and techniques. Many readers and some professionals have graciously commented that Chapter 17 of my own book was arguably the complete word on the art form, technique, and disciplines of Foley. Nothing could be farther from the truth.

When I received an email inquiry from my publisher asking if I thought there was room for a dedicated book on Foley, I snapped back a reply without hesitation. I wrote that there absolutely was room for a book on Foley—but, in my opinion, only if it were written by Vanessa Ament. As a veteran filmmaker myself, I am well aware of the lack of understanding among some producers and directors about how much value good Foley can bring to their soundtracks.

I would like to think that my own chapter has opened many an eye and especially many an ear of both professional filmmakers and of the future producers and directors among our students. As an educator at North Carolina School of the Arts, I know the added value that Hollywood professionals can bring to college film programs around the world, so I always thought I would love to see a dedicated book on the subject of Foley.

I had hoped such a book would delve into the many facets of the techniques, strategies, and recording disciplines that are so fascinating to anyone who visits a Foley stage. But I had also hoped that such a book could better inform those industry people who have the power to make scheduling and budgeting decisions for postproduction sound.

It is common, but completely unnecessary, for simple mistakes made at this stage to limit the logistics and creativity that Foley artists are eager to contribute to our soundtracks. The true mettle of a veteran Foley artist is the ability to create more out of nothing in less time than would be believed possible, even by experienced supervising sound editors.

Such has been my personal experience through many movies with Vanessa. I went to Vanessa hat in hand and knowing that there was no way to get any more Foley time into the budget. Both of these pictures should have had at least a tenday Foley schedule to adequately cover the sound. Instead, each feature had only two days of Foley stage budgeted—only two! I knew exactly what sound cues I could dig out of my sound library to add in.

Motion picture sound equipment and software are changing every six minutes, but you cannot go to the store, plop your money down, and buy 20 years of experience. Vanessa and the many veteran Foley artists, editors, and mixers she has interviewed for this long-awaited book have all generously shared their experience and the everyday details of their crafts with the reader.

Expect to be empowered and inspired throughout this journey with everything Foley is capable of doing for a film, for a computer game, or for any animation project. Vanessa shows you how, in every movie, sonic reality is re-created on the Foley stage. I know I will. To tell this story well, I want to introduce you to an extraordinary woman, who herself embodies a collection of the rare qualities enjoyed in different combinations by all the subjects of her writing.

The author sometimes thinks that she wears a lot of hats—perhaps too many hats to have real credibility in any single profession. But so, too, do the people she writes about.

They are the many-hatted people of motion picture postproduction. But there is a point to be made regarding this multiplicity of figurative chapeaux: People in the arts count themselves lucky when they find paying work in some field that is even remotely related to their art of preference. I believe that these people most often have a surprising variety of skills, including the ability to creatively transliterate the disciplines of one art form to another.

I tell my own students, for instance, that my experience as a visual printmaker has helped me learn to layer sound effects in movies. While the movie business has always been unfairly derided as a magnet for narcissists, loonies, misfits, irresponsible flakes, crooks, and rascals of all kinds no less than Washington and Wall Street, come to think of it , it is also an industrial magnet for smart, earthy, wellgrounded, and very substantial creative people, and most of these will never be famous outside of their working community.

This is a place where they can sublimate their artistry using specialized skills in the performing and the technical arts and discover a way to do so consistently as a professional worker. Musicians, painters, actors, and writers are among the animators, editors, mixers, Foley artists, and sound designers with whom we have had the fun of working. A hairstylist may change an appointment because she has an audition. An independent producer may be delivering your pizza.

This was the essential myth of fame for a couple of generations before American Idol. Rather, Vanessa tells us about a population of real working people, middle-class people, who make a living in the film industry. Vanessa is the quintessence of these kinds of people.

When their specialties and interests are focused in an organized way onto the minutiae of soundtracks, then the product is more than the sum of its parts. When I was first getting to know Vanessa, she was working a grueling full-time schedule as a Foley artist for television and films, then performing eight shows a week in various musical plays around town. Inspired by her interminable energy, I got off my couch and went to see her perform in Pajama Game at a local theatre.

Her character sang and danced on roller skates. Twenty years later, I get tired just thinking about it. I have known her as a creative sound-editing partner and as a business partner. We first worked together on Predator. I had already heard her magnificent work on Platoon. Vanessa and her Foley partner came through for us with their combat boots on fire. As our career paths meandered around and sometimes intersected, we made sound for a great number of movies together and an even greater number separately.

But working together was always the best. Today, Vanessa is known to be an extraordinary teacher. She knows how to watch each individual learn in his or her own way and how to guide and mentor others. She has taught school kids and has been my colleague in film school at the university level. Ask any of her college students and you will see that she is one of those special teachers that people remember forever. This book comes out of her experience teaching cinema students and answers the necessity for a book about Foley.

Being studious is another facet of Vanessa, and probably not a predictable one for anyone who meets her Auntie Mame persona. Her preaching was passionate, funny, and inspiring.

With students, congregations, and film festival audiences, she seems always alert that every living individual is on her or his own winding spiritual path.

Now the disclaimer: I have also known Vanessa as a partner in our marriage and our parenting. It should not come as a surprise to readers, even considering the weight of my undeniable bias, that she is an astounding mother, using all that energy and teaching skill to raise a delightful young person.

With the exception of this introduction, The Foley Grail is not about Vanessa, but it is the story of her relationship with this captivating and rarely understood craft. For me, the Foley craft is an irresistible one, rich with varied professional characters and their ideas, and this book offers the agreeable experience of looking behind the curtain at this particular process of movie magic.

I was a stage actress and singer, with years of dancing in my background, but was not particularly interested in film. I had recently auditioned to replace the voice of a foreign actress in a film at an independent studio in Hollywood. Little fibs like this were commonplace at the time to help newcomers get a start. The studio was Gomillion Sound, famous to many of us in the sound business as a studio where new people could get started, and perhaps be exploited but learn a lot.

I did not know any of this at the time. I simply thought this might be a good gig between acting jobs and figured I would give it a shot. The year was The world had just discovered who had shot J. Ewing on Dallas. He was an old-timer who was crusty on the outside but a cream puff on the inside. I like that kind of guy. He had been told the myth of my experience and proceeded to throw me some cues. My first cue was to drop a remote on the ground for the latest episode of the Ewing clan.

I had to walk some characters and do some prop cues. I was nervous, timid, and enthralled. I was actually working on a television show for money doing this strange new craft. By the end of the day, I was exhausted from the excitement and stress. I was pretty sure I would never hear from these people again. But I did hear from them again. And thus, my temporary gig, intended to support me between acting and singing jobs, turned into an over two-decade career that spiraled up with the growth of movie sound into a gigantic tornado of working on major features, attending awards events, publishing a newsletter, appearing at film festivals, teaching at universities about Foley and sound editing, and sparring with David Letterman.

I remember, as a little girl, watching the film Robin and the Seven Hoods. I was not all that intrigued with the story. I think I went with my parents and watched this film in the local theatre in the small town where I grew up on the central coast of California.

There was such a lovely definition to the way they walked. I was entranced. I wondered why my footsteps did not sound so wonderful when I walked. The next day, I remember trying on all my shoes.

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