Issue link: https://digital.copcomm.com/i/1529989
96 M PS E . O R G team—Pete Smith, Stephen R. Smith, Tom Heuzenroeder, and Vanessa Carr. I remember driving around with Vanessa and Tom in his Toyota Prius to find bumps to recreate that "ba-dump" sound of a car driving over joins in a bridge. For this film, we recorded Foley on a traditional Foley stage, but also ventured out and recorded Foley/FX on location, like the kids running around upstairs in a house. Being nominated for an Emmy and travelling to LA for the ceremony was the icing on the cake. Another film that is special to me is a short animation called The Lost Thing (2010, Dir. Shaun Tan & Andrew Ruhemann), which is based on a book by the artist Shaun Tan. When sound designer John Kassab asked me to work on this film, I was very excited. I already knew of the book and was a fan of Shaun's work. Creatively, it was such a fun film as we had to come up with interesting sounds for all of these "lost things" and create the world they lived in. There's a little toaster character at the end of the film that I created a particular sound for, and Shaun really got a kick out of it. The film went onto win the Oscar in 2011 for Best Animated Short Film, and to have Shaun thank me in his acceptance speech was pretty special. There's a lot of info out there about the technical side of working in post sound and the performance of Foley, but a lot of what we do comes down to the relationships we have with people and the building of trust, be it with the director, sound supervisor, or the rest of the sound crew. Being part of a sound team is very rewarding and enjoyable, and you need to surround yourself with people whose work and character you can Acoustic Pathways Foley control room. Photo by Adrian Medhurst Random tomato squish. Photo: Adrian Medhurst Acoustic Pathways Foley stage. Photo by Richie Gordon