Issue link: https://digital.copcomm.com/i/1504731
M OT I O N P I CTU R E S O U N D E D I TO R S 65 on Foley exclusively for all of this, or was anything sweetened with additional SFX? JY: I focused more on its authenticity. I collected almost all the props from set and some other props that we thought should be recorded from the production company before the start of post-production, specifically for the Foley department to use. Additionally, Junsheng would modify certain costume props to suit his needs. I truly appreciate the presence of Foley. Although we often use Foley with restraint, I believe that good Foley is indispensable in a film, and a skilled Foley artist can truly be an ARTIST. EM: There's a lot of snow in the film, some of which I imagine must capture good Foley in a studio for scenes involving thick snow. So we brought the Foley team to the set and went on location for a few days. In the freezing valley with temperatures below -30°C, Han Junsheng, our Foley artist, took off his down jacket and repeatedly threw himself onto the thick snow to capture the best 'bodyfall' sounds he could. Although everyone was freezing during those days, the results were fantastic! The recorded sounds were incredibly valuable. In post-production, we recorded more Foley sounds with Junsheng and everything fit together really well. EM: Props such as gear and weapons the characters are holding were all very detailed in this film. We see them in lots of insert shots, so they're clearly crucial to the story. Did you rely have been VFX. How did the VFX schedule affect your work on this project? NZ: I don't think it had much of an impact. We had good coordination among the production team, and the key creative members were frequent collaborators with the director, making the collaboration smooth. The director also plays a crucial role. He has a clear vision for the sounds and visuals, making everyone's job easier. JY: Sometimes after reviewing a couple scenes without VFX, he would say things like "the wind in that scene can be a little softer, and the impact in the other scene can be more intense." When the VFX were added, I realized that sounds he suggested earlier didn't need any The production sound team of Cliff Walkers.