Q2 2020

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20 C I N E M O N T A G E W H A T O U R M E M B E R S D O Q Where are you currently employed? My last employer was Warner Broth- ers, working on "Scoob." Q Current projects? I w a s d i s c u s s i n g p r o j e c t s w i t h different supervisors right before the pandemic hit, so things are in the works but not yet firmed up. Q Describe your job. When I supervise foley on a project, the first thing I do is communicate with the sound supervisor. We review the schedule and discuss the film and ap- proach, including specific areas that will require foley. Next, I discuss the schedule with the foley artists and mixer and address any specifics they may need to Willard J. Overstreet know, such as special props and surfaces. After these clerical issues have been addressed, you begin work on the film. Foley generally falls into two cate- gories: footsteps and props. To identify which scenes require foley, you program, or cue, the desired areas. (It's like spot- ting a movie for scenes that need music or other sound effects, but here you spot for foley.) Programming means watching the film frame by frame and marking where you want foley to happen. When this was done on paper it was called a cue sheet, but now we use Pro Tools, a digital audio program that has become the in- dustry standard for use in film and music. Once you program the areas you want to cover, your Pro Tools session is turned over to the foley stage where they use it to record what you want. After the foley is recorded into a session, it's given back to the editor who begins the work of putting it in tight sync with the picture and other sound that will go into the film. As the director and picture editor make changes during post-production, scenes for which foley was recorded may be cut out of the film, or there may be new scenes that weren't there before and require foley. Other changes include moving scenes or sequences that lived in one spot to another spot in the film. Or the director and picture editor may decide to use a different take of a shot. P H O T O : C O U R T E S Y W I L L A R D O V E R S T R E E T SOUND EDITOR

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