Issue link: https://digital.copcomm.com/i/1529989
106 M PS E . O R G taught me things that I hadn't learned during the SAE course. His mentorship was invaluable, and I've had the opportunity to collaborate with him on a few projects since. And under Les Fiddess's guidance, I began to understand what a Foley artist does and grasped the distinction between sound effects and Foley. Foley isn't something that can be taught in a classroom; it requires practical, hands-on experience. Les was the one who really showed me what an artist does; he would bring me into the Foley booth and guide me on how to create sounds with various props. It was through these hands- on sessions that I started to learn how to pay attention to the details of each prop in order to produce the right sound. Les first educated me to be a Foley recordist, and under his guidance, a Foley mixer and trainee Foley artist. Before Les arrived, there wasn't much of a Foley industry in Western Australia, so having access to his experience and knowledge was an incredible opportunity. His depth of wisdom in the craft is remarkable, and I feel fortunate to be learning from him. I believe the results you achieve in a collaborative environment are irreplaceable. As I'm still learning the artistry side of Foley, it's incredibly helpful to work with a mixer when I'm performing. That dynamic allows us to bring out the best in the final product. Each project presents unique challenges, and it takes time and multiple projects to develop proficiency in this craft. When starting a new project, the first step is usually a spotting session, which is essential for understanding what the project requires. It helps align everyone in the direction of the project and identify any specific sounds that need attention. We begin by cueing the film—going through the reels and marking where each sound will be needed. This step is crucial for ensuring that no sound gets missed, that we stay organised, and that we make the most of our stage time. We also incorporate any notes from the spotting session into this process. Before recording starts, I usually watch the project in full and have a conversation with the Foley supervisor to clarify any questions or specifics. Once we begin recording, we follow a set process, starting with covering feet and moves, then moving onto spots. Track planning is key here, and it's something we always discuss beforehand to ensure the sessions run smoothly. On projects where there are complex layers of sounds, having a clear plan in place is essential to managing all the elements effectively. My time can be spent performing as a solo Foley artist or coordinating the project's requirements with other Foley artists. For instance, I might be responsible for creating sounds for specific characters or scenes or performing various layers of sound effects simultaneously with a colleague. Each task requires careful attention and an understanding of how the sounds will fit into the final mix. I've only had the chance to sit in on one mix for a feature film and that was The New Boy (2023, Dir. Warwick Thornton) at Soundfirm in Sydney. I spent a week watching re-recording mixer Rob Sullivan, and it was eye-opening for me. It knowledge and skills in the field. Their mentorship has been a significant factor in my growth and development in the industry and allowed me to deepen my skills and love for Foley. I worked with David Raines as a second sound assistant on The Furnace (2020, Dir. Roderick MacKay). It was my first time working on a feature film of that scale, and the role opened my eyes to the full scope of the post- production process, from turnover to delivery. David not only guided me through the technical aspects of sound production but also Les Fiddess MPSE and Terri Bellem at The New Boy mix, Soundfirm, Sydney, 2023. Photo by Danielle Wiessner Rob Sullivan and Terri Bellem, final mix for The New Boy, Soundfirm, Sydney, 2023. Photo by Les Fiddess