Issue link: https://digital.copcomm.com/i/1524863
M OT I O N P I CTU R E S O U N D E D I TO R S 69 in the rest. Each web shot has at least 15 elements. One day, I was experimenting and implemented a new set of Miles' thwips that were extremely short and percussive. About 30 minutes later, Bryan Intihar, one of our game's directors, messaged me saying that Miles' thwips were broken and asked if I could fix them. Hearing them in- game I completely agreed, and it was back to the workstation; those sounds obviously didn't work. Can you describe the process of creating Foley sounds for elements like the wing suit, weapons, and environmental sounds such as leaves and trees? What materials and methods did you use? Blake Collins: Marvel's Spider- Man 2 was full of all sorts of sounds. Our heroes had different suits, movements, and abilities. There were many different enemy factions and bosses that we had to create sounds for. A theme in this game on the Foley side was size and variation. We have our big bad, Venom, but there are also symbiote factions that vary in size and weight, yet still need to exist in Venom's universe. For these, we used varying degrees of leather, celery, and wet chamois. On the mixing side, I was able to help this along with pitch shifting, a sub-harmonizer, and other plug-in effects to attribute more alien sounds to the Foley being performed. We took the same approach with Kraven and the hunter faction. We started with a big, beefy hunter sound for Kraven, incorporating big boots, a little fur, and some tactile belt sounds. We added a bone necklace sweetener for him to help him stand out from his goons. For the many different surfaces that Spider-Man can visit, we really had to use all our tricks on the Foley stage. We went to a Hobby Lobby and bought some fake foliage of different types. That, in conjunction with some 2" and 1/4" mag tape and a mixture of real branches and leaves we found while driving around town, allowed us to create a wide variety of sounds, from jungle environments to Central Park to Kraven's hunter den. Herschell Bailey: For our wing suit, we tried to stay away from 100% cloth flaps. We wanted the opening, closing and flight sounds to be more organic. To achieve this, we used slightly moistened balloons. We inserted our fingers into the ends of the balloons, and then, wiggled, flapped, crushed, rubbed, and flicked our fingers. Were there any particularly challenging sounds to capture or