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 93 M&E track. We had to get through those episodes super quickly, so John and I would both be walking, picking the characters we would each cover in a scene. Working on those shows with such a tight deadline was great practice and training. Like anything, the more you do, the better you get at it, and there aren't really any shortcuts. For a while in the mid-2000s, John had a mobile recording truck that we would drive to various locations and record Foley whilst on location. At that time, he was recording on Nuendo and we had a TV set on a trolley that we would perform to. We recorded the Australian thriller Wolf Creek (2005, Dir. Greg McLean) that way. The film was shot not far from where John lived, so we drove to the location in a quarry and recorded there. Location Foley is great when it works, but obviously needs a bit more planning, preparation, and setup time. The variation of what is needed in Foley makes it constantly interesting. One day, you'll be recording bricks loudly smashing into a car, the next, you're recording the lightest skin touch. It's a matter of finding which recording tools work best in each situation. Working on films such as Mortal Kombat (2021, Dir. Simon McQuoid), Furiosa (2024, Dir. George Miller), and Kate (2021, Dir. Cedric Nicolas-Troyan), the sounds need to stand up against what else is going on around it, without the Foley sounding too processed or having the microphone too close, AND getting a healthy level on tape, whilst sounding natural so it connects to what's happening on screen—a lot is being asked of Foley! My career is constantly being Adrian Medhurst, Vanessa Carr, Tom Heuzenroeder & Pete Smith, AFI Awards, 2009. Pete Smith, Tom Heuzenroeder & Adrian Medhurst, Emmy Awards, 2009. The Lord of the Rings: The Return of the King Foley crew. Standing: Angus Robertson, Simon Hewitt, Phil Heywood, Martin Oswin. Crouching: Adrian Medhurst and Paul Huntingford, Sydney 2003.