A look into Post-Production

Yesterday was Monday, the start of our second week and we had the luxury of a six hour prac session! This trimester we’re delving right into post-production, which is right up my alley so I am very excited.

In our first 2 hour lot, we were introduced to a more professional brand of Foley that I have not attempted before. I did a lot of Foley last trimester, however the difference is that in the past I did not have any version of the film/animation in front of me, like you normally would in a professional situation.
Before attempting it, we watched professional Gary Hecker work his magic in this surprisingly insightful video below.

What struck me after watching this, is that there is much for of an art to Foley than I originally thought. It is a real act, you have to be precise and in time, which is a lot harder than it looks. Also, it helps if you have a lot of space and a lot of random noise-making crap to put in it (AKA be a hoarder).

Location Sound
Our second session was location sound, where we got to go out wherever we wanted to try to catch some atmospheric noises. Our group borrowed the Zoom F8, along with a boom pole and blimp, and a Sennheiser shotgun mic. As we were setting it up, we put a windsock on the shotgun mic inside the blimp, but when we got outside we realized that the windsock made the sound way too muffled, therefore we took it off. Another issue we had was with the general city noises going on outside (mower, construction, cars, the CityCat); these made it very difficult to catch a clean, crisp sound. The best one we got would be the Bird Noises found here (credit to James for recording). This was probably my least favourite session, as there are many uncontrollable issues that will always need to be overcome.

ADR – Post-Production Studio with C24
Our third and final session was very interesting, if a little overwhelming. We were taken into the Post-Production studio, which I have used before, however the C24 desk has now been put in there, as a way of controlling Pro Tools essentially without the mouse. As Stephane explained to us, getting to know mixing in that studio would be a very good way to mix using your ears rather than your eyes, as it makes it a little more analogue. I’m very keen to try that out. Of course along with getting to know the C24, we also learnt a lot about ADR. For example, how to get an ‘ADR Beep’ in Pro Tools (Command Shift + to make a selection in an empty track, then Option Shift Control 3 to make the beep itself) and also which side of the talent to put the script on and why (find out which side of the mouth the talent predominantly speaks from by getting them to make a long “aah” sound and listening from either side. Put the script on the opposite side to the one they speak out of).

Currently, to further my knowledge and familiarity, I would like to book the C24 to do some mixing during the next week. Furthermore, I have started collaborating with classmates Gabby and Keely in order to create our sound replacement project, which will most definitely have some if not all of the elements of yesterday’s practical Monday session included.

In light of all this Foley and Post-Production talk, I’d like to leave you with a funny little short film titled Mr. Foley. Thanks for reading, enjoy!



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