Issue link: https://digital.copcomm.com/i/1335892
M OT I O N P I CTU R E S O U N D E D I TO R S I 17 aware of how important sound is for fi lm. It's funny, people think all the info comes from visuals." Foley teams, along with the other sound teams, are given the fi lm after the picture is locked. Since they're one of the last on the list for a fi lm's production, Foley artists are often given precious little time to do their work. To begin their work, Foley teams will typically watch the fi lm in its entirety, and make a cue list of sounds they need to add or replace. When they record, they aim to get a clear sound with no imperfections, and no effects added to them at all. After all the Foley is recorded, the tracks are handed to the editing team, who edit the sounds and condense them down into a pre-dub, or a smaller number of tracks designed to make mixing easier. All the seven elements of sound are condensed into their own set of pre-dub tracks. The Foley team then delivers their work to the mixers at 0db. The mixers are the ones who balance everything, add effects, and bring the Foley down in order to bury it within the production. Each element is mixed differently depending on the medium: dialogue and ADR are mixed mono; FX, music, background are mixed in surround; Foley is stereo. Once everything is mixed, each set of elements is printed into a stem, in preparation for the fi nal product. Music is in a stem on its own, dialogue is in a stem on its own, and the last fi ve are put together on the last stem. The Digital Age The digital age has brought about technology that eases our lives tenfold, especially within the entertainment industry. So surely the workload must have been eased, right? Well, not really. According to Midge Costin, "You have to do more in a shorter period of time, so the pressure is still on." The sheer amount of production output across the world has increased due to the fact so much more can get done in this shorter period of time. But it's also for this reason that sound for fi lm is now a full-fl edged industry. As with any other modernized business streamlined, effi cient workfl ows make it that much easier to get a lot done in a shorter amount of time. Even then, the work asked of sound teams can be very demanding, and sometimes they don't have the time or budget to record every sound fresh. This is where sample libraries become very useful. "A lot more lower budget fi lms can now use more Foley sounds from libraries," as Midge Costin says. Lower budgeted projects now are able to attain a more polished product with sampling libraries without breaking the bank. It's a very useful and powerful tool for a sound editor, and could allow those lower budget fi lms more of a chance of competing with blockbusters, as long as the editors are willing to put in the work. Still, only so much can be done with a sample library, since sound needs to be synced up to fi lm. You won't always fi nd the perfect sound hidden away in your vaults for every single action on screen. Solange Schwalbe, for example, much prefers the unique perspective each new take of Foley gives: "It is always better to record Foley fresh. One, you're getting elements you've never heard before, and two, they're in sync with the picture. If there's no money, I can do Foley out of a library. In a perfect world you'd record all your own sounds but with current events or students not being able to be present at a stage or the budget not allowing to do so, sound library's have been an excellent resource." Still, budget studios or independent products might not have the money or the means for proper Foley, so a library will often do the trick for much less. The Big Idea So why go out of your way to do Foley in the fi rst place? In short, production is hard to control when it comes to sound. There are any number of things out on set that could ruin a recording; traffi c, wind, other people talking, generators, gear, etc. By doing sound, especially Foley in post-production, the fi lmmakers can regain control over the sound they are aiming for. Yet, the general public doesn't seem to talk about Foley at all. Well, that is the whole point of it; as Solange Schwalbe says, "If you hear Foley, it's bad. It's supposed to sound like production." Once everything comes together in the fi nal cut and the Foley sits subtly within the whole mix, you know you've done a good job. For such a massive industry, there are defi nitely plenty of people out there who are interested in becoming a part of it, and those people may need some advice. Luckily, both Solange Schwalbe and Midge Costin are pioneers of their craft, and have been at this kind of work since before the digital age. If there's anyone to take advice from, it's them. When it comes to fi nding your way into the industry, Solange Schwalbe says, "It's not about who you know, it's about who knows you." Solange Schwalbe has hired many graduated students of hers at Doghouse Post Production in order to help launch their careers. She also places importance on talent and skill, and knowing what you're doing before you start. "Not only do you have to be talented, you have to be available." Make sure you're getting to know the people you work with; they could be your way in. Midge Costin, a driving force at the USC School of Cinematic Arts, chairing the sound department and launching many careers in the industry, including bringing together some of her past students to work on her fi lm Making Waves: The Art of Cinematic Sound. She places emphasis on marketing oneself. "Because everything is freelance, you want to get hired again, so you have to think about how do you want to act, who do you want to be?" One commonality between Solange and Midge is their dedication to not only the craft, but fostering future generations of fi lmmakers. Both envision a future fi lm industry that fosters inclusiveness of all people, while elevating the artistry of fi lm sound to its highest standards and accessibility. Solange Schwalbe explains the importance of proper track labeling and layout to a Foley student. Photo courtesy of Solange Schwalbe