Life is what happens when you are busy making other plans. Through a series of career twists and turns, she ended up in the East Village working as Administrative Assistant for the late great Howard Guttenplan, Director of the legendary Millennium Film Workshop, back in the days of Super 8 and 16MM.
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Foley is such an interesting part of sound. I’ve done some work on a DAW and know how complicated it can be to combine multiple tracks to create a cohesive sound.
It surprised me that most sound from a film is done in post. It makes me wonder what parts of the sound is done by a boom mic.
I enjoyed that part of the article focused on whether the artist uses headphones or not. When I worked as a board operator for some live shows, I only used headphones for certain mics during mic check or for PFL. I didn’t use headphones during the live show because I needed to mix based on what the audience heard- the sound affected by the room, the people, etc- not based on the clean tracks. When I worked on recorded tracks for music, I mixed on headphones, because a large part of my audience would wear headphones when listening to the music. I heard of some designers checking their sound across different speakers, like car speakers, to try to envision how it might sound in the real world, but headphones were still used to mix in the clean sound.
But with a film, the sound could be transmitted on any type of speaker setup. I’m interested to know how foley artists and sound artists in general work on films to make the sound work across a variety of outputs.
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