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 105 a scene you've put a lot of effort into ends up scrapped for a music- centric mix! In early 2024, I took the plunge and went freelance. It was super scary but definitely worth it. I'm really enjoying having a little more freedom and control with the projects I take on. I'm currently working on an indie feature, which is the first film where I've had complete control of the Foley, including managing my time and figuring out an appropriate budget. The film has six main characters and they're always doing something: handling props, like deshelling a whole cooked crab, or being continually on the move. So, there's a lot to think about: What type of shoes match each character and what does it reveal about them? How much of this scene do I fill out until it just becomes an indiscernible wall of sound? And where do I buy a whole crab from and how do I shell it? I'm big on work-life balance as I don't want to work myself into hating my job. I love to crochet and have lots of different projects on the go. I like it because it gives my hands something to do whilst listening to podcasts or casually watching TV. It's a good way to relieve some stress and, at the end of the process, I have a new beanie or scarf! And I love travelling. I always have at least one, usually multiple, holidays planned for the future, ranging from domestic weekend getaways to longer overseas holidays. I really want to keep working in sound for a long time and, in order for me to avoid burnout, I try to prioritise my all-round well-being. From my observations so far, this seems to be a different mindset to other generations before me. Terri Bellem Foley Recordist, Foley Editor & Foley Artist 24+ Credits | Started in 2018 > Terri is relatively new to the industry. Starting at a local radio station, a pivotal moment in her career came in 2020 when she met Les Fiddess MPSE whilst she was working as a second sound assistant on The Furnace. Fascinated with Les's work in Foley and his long list of credits, she started working with him, acquiring skills in Foley mixing, editing, and performing. Career highlights include Not Without Hope, which presented unique challenges in recording water sounds, and The Deb which was a Foley-heavy project and pushed her to explore the artistic side of Foley. rowing up in a family that was passionate about movies meant I was always surrounded by films and TV series. I initially pursued a professional degree (Bachelor of Commerce and Law) right after high school, but as I got toward the end of that, I realised it wasn't fulfilling for me. I saw other people at university driven by their chosen path, but I knew I lacked the motivation to continue something that didn't excite me. That's when I discovered the Bachelor of Sound course at the School of Audio Engineering (SAE). During my studies, I found a particular passion for post- production sound, especially Foley. The hands-on, creative aspect of Foley work fascinated me, however, I was aware that it could be a challenging field to break into. After completing my studies, I volunteered at a local Perth radio station. This period was particularly significant for me, as I was navigating the recent loss of my father. The radio station became a lifeline, offering both a supportive community and the opportunity to record bands for live segments, which I look back on with great fondness. A friend at the radio station helped get me a meeting with one of the owners of a post- production studio in Perth. This led to an opportunity to observe them recording sound effects for a feature. From this, I was offered a job as a studio assistant, where I worked my way up to become a Foley mixer. This gave me the chance to meet and work with industry veterans like David Raines and Les Fiddess, who were instrumental in expanding my G