Issue link: https://digital.copcomm.com/i/1335010
78 W I N T E R 2 0 2 1 I C A S Q U A R T E R L Y KARI: Usually, we talk with our sound supervisor or director about what they need and what they don't. In some cases, we will have notes on Foley. I may ask for details about props, materials, and surfaces. Based on those discussions and our notes, I will design how I'll technically capture Heikki's performance in an appropriate way. Design includes what microphones to use, what room should be used to capture the right ambience, and if there is need for special equipment such as contact microphones or hydrophones. How does H5 Film Sound's involvement in a film's overall sound design change based on the genre? For example, were you asked on Ad Astra or Sound of Metal to create sound effects that would not normally be considered Foley? HEIKKI: I know that with Ad Astra there was Foley created by me which was not expected to be done by a Foley artist, such as the rattling and shaking of the spaceship when landing. During Ad Astra, I was introduced to a solid drive speaker which I used so that I could do some rattle of the pilot's bench, and then I played it back through a small speaker. The speaker would be resonating against a metal surface that I was able to control with my hand by moving the speaker and watching the film at the same time. With Sound of Metal, I think the body resonating sounds were something which usually are not a Foley artist's job. I'm really happy that (supervising sound editor) Nicolas Becker asked me to do them. His advice was: "Think about one line on empty paper. If you do it right, it looks like somebody's face." We were looking for organic texture using Foley techniques. I used a stethoscope microphone and was moving my body while watching the film at the same time. PIETU: On Ad Astra, we did quite a lot of work for the spaceships. Not just the sounds that are based on characters' movements, but also a lot of different layers for spaceships themselves. For example, benches and different objects rattling as the spaceship speeds up. We also made contact mic recordings through spacesuits to get into the feeling of being in that suit. Heikki made these recordings using the spaceship rattles that were already recorded. He then played them back in the suit and recorded them with contact mics. Does your approach to editing and mixing Foley change based on the genre you are working on? If so, how do you alter your workflows and processing decisions to fit the genre's sonic style? PIETU: Yes, it does a bit. On an action scene, I am trying to edit rhythmically, listen to other sounds, and watch the picture and the edit. It's not always the objective sync with picture but rather the flow, rhythm, and melody that sounds make together. It is the same thing in more realistically styled films, but not quite as obvious. It is about always making sure that we help to lead the focus to the right place in the story. I do not really think about genre when I'm working on it. Those kinds of decisions come from a backbone of having worked long enough with many different kinds of films. Also, watching a lot of films makes you smarter and more sensitive. KARI: I always try to do my best to catch Heikki's performance to fit in the film's sonic style, but there are no major technical differences in my workflow. What other considerations are there to guide your approach in creating Foley for a particular project? How does the overall sound design of the piece affect your decision-making and creative instincts? HEIKKI: There are different sound designers and supervisors, as we all know. Sometimes, it's good to watch something they have done before, talk about some other films, or talk life in general. One thing is that there are always so many motives already in the picture. It's good to talk about these different options as well and try different things. With sound, you can talk a bit, but pretty soon there comes the moment where we need to start doing the work. As I said in the beginning, I try to trust my emotions following the first screening I have with the film. During the process, I try to keep these emotions with me and with every sound. PIETU: If we have a good [understanding] of the overall sound design already, it affects a lot; it serves as our guide through the whole film. We can hear what the supervisor and director like, what kinds of sounds they seem to leave out, where their focus lies, etc. It is often easier to communicate with sounds rather than with words. KARI: In all cases, it is the desired sound design, visions, and opinions that dictate how the movie should sound. Sound design and Foley are a fine art, and my job is to catch the performances that are asked of us to the highest technical standards. Foley mixer Kari Vähäkuopus at H5 Film Sound.