Issue link: https://digital.copcomm.com/i/1529989
104 M PS E . O R G most important part of that is knowing how those random noises and props can layer together to create a singular sound that effectively conveys the action or prop to the audience. Each layer could sound absolutely ridiculous by itself and out of context, but a Foley person understands how in the minute details of a scene and making sure all the important elements are covered. Then zooming out once all the Foley's edited and making sure it all works together. My favourite sounds to create are crunchy sounds— dry leaves, glass cracking, gritty pathways—these all perfectly scratch my little Foley brain. Generally, I don't get the chance to sit in on the pre-mix or final mix unless it's a smaller or independent project, so usually the first time I hear the Foley mixed is when the project is released to the public, either at the cinema or on TV. I always find it interesting to hear what's been kept and what's been thrown out, or if the Foley has been turned right up or is barely audible. It's also a great chance to realise what could've been done differently—a particular prop might sound great when playing the Foley by itself but doesn't have the same impact when mixed in with everything else. And of course, it's always a little devastating when all these layers interact with each other, and they can figure out what's missing to create a really awesome sound. I'm still in the beginnings of my career, so I have a lot of experience to gain and lots to learn, but I think I'm becoming more detail- oriented. I love getting engrossed Recording Foley for Boiling Point, Longstocking Studios, Sydney 2023. Photo by Chloe Turner An interesting collection of props used for Red Rose, Longstocking Studios, Sydney 2022. Photo by Chloe Turner Digging through mud Foley for Boat Story, Longstocking Studios, Sydney 2023. Photo by Chloe Turner