Issue link: https://digital.copcomm.com/i/1529989
108 M PS E . O R G was the first time I saw how our Foley gets integrated into the overall soundscape. Seeing where all the sounds were placed and how they interacted with the other elements was fascinating and a real learning curve. Since I'm still fairly new to the artistry side of Foley, I feel like I'm constantly discovering. What I really enjoy is working alongside another artist and experimenting together to come up with unique sounds. And I'm always on the lookout for interesting items that may make unusual sounds. Luckily, I have access to Les's incredible collection of props, which is massive. Many of these items are older than I am, and they fill multiple cupboards and shelves. It's like a treasure trove of objects from various adventures throughout his career. Foley work can be complex. A strong work ethic and patience are essential for tackling the meticulous nature of this job, especially when achieving the perfect sound can be a journey. Foley requires an attention to detail that is exact. Some of my favourite projects have been those that pushed my skills and offered unique recording opportunities. I'm particularly proud of our work on Not Without Hope (2025, Dir. Joe Carnahan) which was a huge undertaking due to its focus on water. It required a lot of organisation, as we had to break down the film into different elements. Recording water was a challenge, especially since I hadn't worked extensively with it before. We built a pool on the Foley stage and used a multiple mic setup to experiment with the best ways to capture the sounds. I also got to use a hydrophone for the first time, which was a great learning experience, especially finding the perfect position to get the best results. This project was mentally exhausting because we pushed ourselves to get the best possible sounds, but this made it all the more rewarding. The result was a richly textured soundscape. The effort we put into capturing the sounds and the creativity required to overcome the challenges made this project stand out as a major achievement for me. 200% Wolf (2024, Dir. Alexs Stadermann) was a unique sound design experience because it was an animation. The story had multiple wolf characters, so we had to create distinctive sounds for each of them, and differentiate these from the dog characters, so it was quite a task. We achieved this through artist technique, careful selection of surfaces for the feet, and EQ adjustments. It was a lot of fun experimenting with these elements to bring the characters to life. Both these projects have been memorable for different reasons, whether it was the scale, the challenges, or the chance to learn something new, but they provided valuable opportunities for creative exploration and professional growth. I'd like to think that I'm improving all the time, especially with guidance and education from Les. His mentorship has been invaluable in refining my skills and understanding of Foley. As I'm slowly gaining more experience, I'm learning to be more strategic about where to spend my time and energy, and to become more efficient in my approach. That said, I'm very aware that there's still a lot to learn. I'm still relatively new to the industry, and I recognise that my journey is ongoing. Author's Note: • The contributions above are organised by length of service in the industry and are not intended to imply any hierarchy of importance or gender bias. •This article was compiled on the lands of the Gadigal people of the Eora Nation (Sydney, Australia). The author wishes to pay her respects to Elders past, present, and emerging. Terri Bellem recording Foley at Fiddess Films Foley Masters Studios, Sydney, 2022. Photo by Les Fiddess