Issue link: https://digital.copcomm.com/i/1529989
M OT I O N P I CTU R E S O U N D E D I TO R S 101 incredibly exciting. However, if I had to pick a standout, Plus One (2019) would definitely be one of them. Directed by Jeff Chan and Andrew Rhymer, and starring Jack Quaid, it was my first feature film. Even though the film didn't feature grand action scenes, performing natural-sounding, realistic Foley in a studio setting proved to be just as demanding. The challenge was to ensure every footstep, every small movement, was as authentic as possible. The experience taught me about the importance of subtlety and precision. It pushed me to refine my skills and adapt to the unique demands of feature film Foley. Working on Plus One remains a highlight because it marked a significant milestone in my career, demonstrating how even the simplest sounds can make a big impact when executed well. Another particularly fun yet incredibly strenuous project was working on Bear Grylls' You vs. Wild (2019), an interactive series where viewers get to pick their own adventure. This project required us to create a vast array of sounds to match the diverse and dynamic scenarios presented in the series, to think outside the box and experiment with different techniques and materials to achieve the right effects. It highlighted the importance of versatility in Foley work, and, despite the challenges, it remains a standout project in my mind. Ironically, while I can't stand gore or horror when I'm watching films or TV at home—I'm the first one to cover my eyes or change the channel—working on these kinds of projects is an absolute blast! It's fun diving into the gory details and crafting sound effects that bring those intense moments to life. It's when you really get your hands dirty and just have fun with it. A film we did, Nekrotronic (2018, Dir. Kiah Roache-Turner), was a low-budget comedy sci-fi horror, and for the climactic scene, we were tasked with creating the sound for a giant demon. We came up with using ultrasound jelly for the demon's skin, and let me tell you, it was a game changer. The jelly produced a fantastically slimy, sticky sound that was perfect for every time the demon moved. It felt like we had conjured up the most delightfully gross sound effect ever! There's something incredibly satisfying about turning wild ideas into visceral audio experiences, and moments like these make working in Foley both thrilling and enjoyable. One of the recent projects I'm most proud of was working on Ron Howard's new film Eden (2024). I was the Foley editor on this project, and the experience pushed my skills and understanding of Foley to an entirely new level. The sound team on this film was exceptional—supportive, collaborative, and incredibly talented—working with Wayne Pashley, Libby Villa, and Greg Fitzgerald. Their guidance and the overall team dynamic were invaluable, and the project itself became a profound learning experience for me. When the final mix was completed, hearing the cohesive sound design that we had all contributed to was deeply gratifying. It wasn't just about the finished product but about the journey and growth I experienced along the way. The project taught me a great deal about my own capabilities and reinforced the strength that comes from working together as a team. I'm immensely Recording passing through foliage Foley for After the Flood, Longstocking Studios, Sydney, 2024. Photo by Blair Slater