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M OT I O N P I CTU R E S O U N D E D I TO R S 103 Chloe Turner Foley Recordist, Foley Editor & Foley Artist 56+ Credits | 1 Award | Started in 2016 > Chloe is a Foley recordist, editor, and artist working on Wangal Country in Sydney. She has worked on both Australian and international television and feature film productions, including the 2022 ASSG Award- winning Foley team for Mystery Road: Origin. She is currently freelancing in Foley recording and sound editing and strives for consistently high quality. In her past work, Chloe has enjoyed creating the sounds of a prison food fight, a house party gone wild, and a low-speed, wheelie bin police chase. initially went to film school wanting to be a picture editor. Then, when we were working on our first student short film, we desperately needed soundies. With my background playing and studying music, it felt like sound might be a good fit for me, so I gave it a go. From that point onward, I loved it and knew that I wanted to pursue working in sound for film and TV. I slowly learnt about the different roles within sound and was always drawn toward Foley, as I really enjoy the puzzle-like nature of it. And Foley is fun! My last year of film school was 2020, and due to COVID, it was not the best year to begin a new career! But I got the opportunity to record Foley with the very experienced Helen Brown for Home and Away (a TV soap opera). The turnaround on a daily, half-hour soap is incredibly fast, so it was a steep learning curve, but the benefit of working on such an established show is that you just slip into a well- oiled machine. The established structure really allowed me to very quickly gain Foley skills. And although I only spent a few months there (due to the COVID lockdowns), I learnt so much from Helen about what was essential Foley for an M&E mix, being discerning for a fast turnaround show and so much more. I then spent the next few years working at Longstocking Studios for Blair Slater. Here, I had the opportunity to work on some incredibly complex and difficult projects, including lots of shows from overseas. It was interesting going from fast production turnarounds on Home and Away to eight-part dramas with high production values. The expectations for Foley coverage were definitely very different! You have the time to focus on smaller details, like jewellery, which really fill out and complete a scene. I loved being surrounded by Foley all the time, recording and editing Foley every day, and getting the chance to try out walking in a well- equipped studio. Boy Swallows Universe (2024, Australian TV show) has been my favourite project to work on for a multitude of reasons. I grew up in Brisbane, so it felt really special to capture the essence and heart of the place I'm from, especially as it's a city that isn't usually featured in high-quality dramas. It was also an incredibly Foley-intense show. Every episode had multiple big scenes which required a huge amount of detail, from a prison escape to a violent domestic fight involving multiple characters. Also, when presented with a show that's been created at such a high quality, you really want to match that and make it even better through great sound. I think we realised how special this show was, so we all put in the extra effort to create some great sounding Foley. From the outside, Foley probably looks like a bunch of people picking up random props and making noises. But I think the I Chloe Turner mixing Foley at film school, AFTRS, Sydney 2020. Photo by Adam Daniel