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 95 because it gives me a chance to make sure I have the right props, shoes and surfaces, and have time to come up with ideas. A film I did recently required walking in wooden clogs. Size 13 clogs aren't something that you can easily find, but because I was given a bit of notice, I had time to order them from the Netherlands. If the production is still filming or if the props from filming are accessible, I may ask for a specific prop I think might be useful to record. When Mortal Kombat was filming here at the Adelaide Studios, the property department gave me a big box of knives which proved really useful. On some of the larger films, I may be asked to provide Foley for a temp mix or test screening. I like to keep those sounds and make sure they are carried through to the final mix, re-conforming and doing patches as required, so I don't have to redo anything. On Furiosa and Mortal Kombat, I focused on particular sounds or scenes early on, either for a screening or to provide ideas and conversation starters for the sound supervisor and director. It's great hearing the Foley track back once it's all edited. I enjoy the editing process; it gives me another chance at my performance. Swapping out a footstep here and there, or even half a footstep, or adding a little bit of EQ, all the fine-tuning work to make a sound stick to the screen. After recording a take in sync to picture, I will sometimes keep rolling and perform a few wild options that may be useful in the edit and can sometimes sound more natural. Or I'll sneak a few sounds into the pre-roll; not only does it help me get into the swing of things, but there may also be a couple of bonus sounds for editing. I've been very fortunate to work on many great projects with talented directors, artists, and sound crews. A project that has been one of my favourites is a documentary about Philip Glass called Glass: A Portrait of Philip in Twelve Parts (2007, Dir. Scott Hicks). First and most importantly, it was the project where I met my wife. But it is also a film about someone I was already a fan of, and it provided me with the opportunity to work with a great team in Scott Hicks and the rest of the sound Furiosa: A Mad Max Saga (2024) Foley props. Photos by Adrian Medhurst.