This LO was designed to follow the first one to help follow the process. I looked into the different objects used within Foley and the fundamentals of recording. For post production, i looked into adding effects in a master scenario as I wasn’t sure if this even took place within the film. I found it can occur but is down to the discretion of the director.

As we neared the end of the mixing stage, we wanted to bring everything together in mastering.

I understood about compression regarding music but adding it to film audio was very different.

Our first attempt at compression ended with a lot of the quiet Foley being brought higher into the mix and changing the levels of everything.

Premium Beat had an article that helped me figure out where I was going wrong.

Sound Design 101: Making Your Film Sound Great

They explain how compression isn’t too common a practice and this is something that echoed through other articles and forums as well.

Most post-production seems to consist of setting levels and checking the client is happy.

This session we focused mainly on spot effects. This mostly consisted of dining sounds and a few more unique sounds.

We did our first pass which was knives, forks, plates and glasses. Recording the sounds to the picture worked well for most of these except the bigger sounds such as cutlery dropping.

As the film is reasonably simple, all of the sounds were quite straight forward to record.

Our last pass on the movie consisted of footsteps and finishing touches.

This was reasonably straightforward to track to the movie.

We tried to add footsteps in to help flow the film a little better. This helped build continuity between scenes and helps alert the audience that someone is coming.

The dialogue for the film was recorded using radio microphones and a Boom.

We also took on set ADR after some scenes that we were not happy with during filming.

A problem I encountered during editing was when the media team had not placed audio in the scene. There were a few times where the rushes were not synced to the video or were just missing altogether.

Editing the dialogue was quite simple. I went through each section and chose the best sound from the different microphones. I cropped out as much noise from in between the dialogue as I could to help clean it up.

After this, i bussed each track to a single auxiliary. I then added some EQ and compression to help level everything.

I used EQ match to help the ADR sound more as though it was in the scene. I am very pleased with how this worked out as it helped blend the ADR with the rest of the dialogue.

I used different sends and automation to add reverb in the right sections. I feel this worked well for the most part. However, there were a few parts where it sounds strange. This is due to the reverb merging the room sound on the recording. Some sections are more noticeable than others, but I decided to leave it as it did help with blending.

Overall I think the dialogue came out well and sits nicely with the film.

We decided to break the Foley up into sections.

For this day we looked at just doing clothing. We felt that going through the entire film doing one set of sounds would be the most efficient way.

During the recording process, we tried a multitude of microphones to see what would give us the best quality recordings. We tried the sound theatre kit, an SM57 and the Rifle Mic. We found the Rifle mic to be the best quality as it was great at picking up very low-level sounds.

This was perfect when it came to recording clothes as we wanted both loud and quiet sounds to be recorded at the same time.

We recorded this section by matching the movements of the characters in the Foley room and recording it.

We were happy with the result of this.