The introduction to the presentation starts at 7:40.
There is a false ending to the presentation at 1:34:20, but then around 1:41:00 some more questions came up and Joanna got right back into sharing her enthusiasm about Foley until the end of the video. As you can tell, we had a wonderful time learning about Foley.
Gary Louie lightly edited the video.
The pre-meeting description:
In filmmaking, Foley is the reproduction of everyday sound effects that are added to films, videos, and other media in post-production to enhance audio quality. These reproduced sounds, named after sound-effects artist Jack Donovan Foley, can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass.
Foley sounds are used to enhance the auditory experience of the movie. Foley can also be used to cover up unwanted sounds captured on the set of a movie during filming, such as overflying airplanes or passing traffic.
Places where the Foley process takes place are often referred to as a Foley stage or Foley studio. Foley artists recreate the realistic ambient sounds that the film portrays. The props and sets of a film often do not react the same way acoustically as their real life counterparts, requiring filmmakers to Foley the sounds. The best Foley art is so well integrated into a film that it goes unnoticed by the audience. It helps to create a sense of reality within a scene. Without these crucial background noises, movies feel unnaturally quiet and uncomfortable.
How do we craft sound effects for a warm embrace, a desperate walk, or a fluttering heart? Filmmakers, game developers, and musicians often try to render meaningful and empathetic performances through sound design and Foley. But what is the implication for Foley artists in a world that's exponentially recorded and archived? Where is the line between "cheating" a sound for an audience's emotional response, and achieving forensically accurate sound reproduction in increasingly augmented or fully virtual productions?
About Joanna Fang
Joanna Fang is an Emmy Award winning Foley artist and sound editor. An alumna of NYU Film, Joanna spent the first 12 years of her career performing custom Foley and sound effects for film and TV in New York with Alchemy Post Sound. Having transitioned into interactive work, Joanna was recently brought on to co-lead and develop Sony Playstation's in-house Foley team. Her Foley can be heard in films (The Texas Chainsaw Massacre), games (Horizon Forbidden West), and music videos (Mitski's Working for the Knife).
Foley on Wikipedia: en.wikipedia.o...)
2 окт 2024
