Filemail.com – screaming students
Having used foley before in filmmaking, I am aware of just how hard it can be to create an accurate representation of the sound you are visually conveying. The slightest increase of a movement or positioning of a mic can completely destroy the sonic image you’re trying to create.
In todays session we were using the foley to create sounds that we didn’t have visuals for yet and what I took from that was, without a visual guide for your sounds it is even harder to accurately reproduce the sound. When paired with visuals your brain has something to work with and can match the movement of the visuals to the sound. But without, it separates the sound from the image and makes it an entirely separate thing, which of course it is, but as a viewer you never make that separation. If that separation does come into play for the viewer, it can completely take them out of what they’re watching and so it is incredibly important to make sure your sounds are as accurate as possible.
However, when it comes to radio, our perceptions are very different as we are relying purely on the sonic aspect. Perception is so important for radio, you’re thrown in blind and each individual will interpret the sounds differently. Perception is the main theme to our groups radio piece, and upon reflection of the challenges of creating foley, our group has made the decision to create our foley + sound effects once we have written the script. The reasoning to this is so we have something to work off of, without it, our foley sounds would be lost and not relevant enough to the script and our piece in general.
When creating foley for radio, the importance of the sound comes more from how you want your piece to be portrayed and interpreted. As you’re not creating sounds for visuals, you have much more freedom into how you make the foley sound. Playing with this different way of creating foley will be interesting to work with as it is a new perspective on it, one that is quite different from using foley for film.
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