Issue link: https://digital.copcomm.com/i/1335010
etc. After that, it changes based on what is heaviest in terms of content, but it could be doors, chairs, beds, car movement, armor, gear, horse saddles, or anything else! Then we'll move onto any other props that remain or the most complex setups and performances, like water in a bathtub. In-game assets in video games are dealt with entirely on a case-by-case basis. Do the Foley teams you work with become more involved in a film's overall sound design based on the genre? For example, was the Foley team for Game of Thrones asked to create sound effects that would not normally be considered Foley? Brett Voss CAS (back right) with the Game of Thrones sound editing team. Honestly, Foley has become an ambiguous term for what is considered sound effects and sound design to most people. In my world, when it comes to something that would traditionally be covered by an FX editor or sound designer, we'd just augment the work they've done with finer details. For example, let's say, a car explosion. The FX editor would lay in a richly layered explosion and then we would add debris, close up specific metal buckling, glass cracking, an errant tire rolling away, and other additional textures. Does your approach to mixing Foley change based on the genre you are working on? Not really. We handle all linear storytelling the same way. 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? Two things to always remember: First, we're all trying to help tell the story as efficiently and effectively as we can without detracting from it. Second, unless you're the executive producer, someone else is paying for it. We may or may not completely agree with their take on the story. We can offer suggestions, when appropriate, but that's the true extent of it. Other than that, we do our best, have fun, and deliver when we promise.