Everybody wants to be a Foley artist for (more than) one day

This post is part of a series called One Year in Sound by sound designer Carlo Ascrizzi.

It’s only the Term 1 but you need to get used to the standards of the entertainment industry. It’s time to learn the concepts of mixing for visual media. You’ll figure out the difference between a mix for television, film, commercial and Internet. Also you’re going to set your workflow up just going through the mixing routing and the virtual signal flow, such as AUX, busses and I/O.

The main mixing processing techniques for visual media are explained and practiced during class, including compression, limiting, equalization and effects. The stereo mix for 4 film scenes will be the final assignment for this course. Never fear: the main goal is to build a good workflow and learn how to use the several routing processes and all the different processing techniques. After all, you’re mixing with your headphones because you still have no access to the mix labs and other facilities yet. You need to learn tons of stuff first!

ADR control Room

It’s time for Foley and ADR! You’ll deal with these two guys all year long and in Term 1 there are a couple of introductive workshop style courses. The school has 2 foley rooms, 2 ADR rooms and a Props Room, where you can find…everything!

Props Room

In the first foley project students are organized in teams and right away they set the foley sessions up to perform and record sounds for an animation clip. Everybody has the chance to be in the seats of the recording engineers as well as the foley pits. You are going to record foley sounds including clothes, footsteps and props, such as body movements and body falls.

Spotting notes

The second foley and ADR project is more technical and requires an advanced workflow. You’ll learn how to create efficient foley and ADR templates to run a good session. Again your classmates and you are divided in groups to perform and record foley and ADR stuff for few film scenes. At last you also learn about Spotting and ADR scripting.

Carlo Ascrizzi

Contributor at sounDesign
Freelance sound design and music artist Carlo Ascrizzi creates original sonic contents for film, animations, multimedia and beyond. From brand commissions to experimental collaborations, his work has reached international multimedia arts festivals, film award nominations and digital arts magazines. An all-round creative, tireless traveller, Carlo is also the author of SounDesign's beloved series One Year In Sound.

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