Blog

FMP Index

Ideas – https://jasoncarrollmusicblog.wordpress.com/2016/03/08/fmp-ideas/

Proposal – https://wordpress.com/post/jasoncarrollmusicblog.wordpress.com/223

Reflection: Week 1

https://jasoncarrollmusicblog.wordpress.com/2016/04/18/fmp-reflection-week-1/

Reflection: Week 2

https://jasoncarrollmusicblog.wordpress.com/2016/04/25/fmp-reflection-week-2/

Reflection: Week 3

https://jasoncarrollmusicblog.wordpress.com/2016/05/23/fmp-reflection-week-3-2/

Reflection: Week 4

https://wordpress.com/post/jasoncarrollmusicblog.wordpress.com/290

Reflection: week 5

https://jasoncarrollmusicblog.wordpress.com/2016/05/31/fmp-reflection-week-5/

Research – https://jasoncarrollmusicblog.wordpress.com/2016/04/18/fmp-research/

 

Research week 1

To capture a good recording, it is essential that your sound has sonic depth, width, and height. These spatial attributes are the difference between hi-fi and lo-fi recordings.

A typical room in an average sized home is going to be acoustically inferior to a larger room designed with acoustics in mind. Creating your own foley soundstage can aid you in squeezing that dimensional sound out of an average to smaller sized room.

Research week 4

http://www.wbsound.com/burbank/facilities/foley-stages/

The idea of using a foley sound stage to show of what I can do would be very impressive. However there are a lot of things to take into consideration.

Warner Bros. Sound (2017) “The Foley stages offer custom sound effects and design to enhance and define your soundtrack.  Our Foley Artist and Mixer bring their award winning expertise to your project.”

 

Bibliography.

Warner Bros. Sound. (2017). Foley Stages. Available: http://www.wbsound.com/burbank/facilities/foley-stages/. Last accessed 5th June 2017.

FMP Y2 Project Plan

Section 4: Project Action Plan and Timetable
Week Date Week

Beginning

Activity / What you are intending to do –

including independent study

Resources / What you will need to do it –

including access to workshops

 

8th

Monday

 

Cut the sound out of the clips for my project and talk to fellow classmates about copyright and editing.

–       1 Hour

 

Research different ways and techniques of recording Foley to achieve the sounds I wish to create.

–       1 hour

 

Begin creating and recording Foley for the first clip after watching it through multiple times.

–       2 hours

 

Save sounds I have created within logic ready for editing and implementing. Experiment a little with time remaining.

–       1-2 hours

 

Total hours: 6

 

Tuesday

 

Research different ways of manipulating Foley within logic, in order to get a better understanding of editing.

–       2 hours

 

Begin Inserting my Foley I recorded yesterday into the clip using Logic and Alchemy.

–       5 hours

 

Wednesday

 

Continue with Foley editing within my clip.

–       All day

 

 

 

 

 

 

 

 

 

Computer Access – Access to Logic.

 

 

 

 

Computer Access – Internet Sources

 

 

 

 

Microphones and Studio Time

15th Monday

 

Begin creating and recording Foley for the second clip after watching it through multiple times.

–       2 hours

 

Repeat last weeks process. with added reflection and research.

 

Computer Access – Access to Logic.

 

 

 

 

Computer Access – Internet Sources

 

 

 

 

Microphones and Studio Time

 22nd  

Monday/Tuesday/ Wednesday.

Continue to follow the process used throughout the first two weeks in order to complete editing for the 3rd clip.

Computer Access – Access to Logic.

 

 

 

 

Computer Access – Internet Sources

 

 

 

 

Microphones and Studio Time(If possible)

 29th Consider how a live sound stage can be implemented into my project and discuss with others if/how it would work. – 1 Hour

Research different role artists that have used alive sound stage in the past and gain influence from the research found. – 2 Hours

Decide weather it will be suitable to create a live sound stage dependant on the time and situation. – 1 Hour

 

 

 

UAL Awarding Body Level 3 Diploma Project Proposal Doc.

 

 

Project Proposal

UAL Awarding Body – Level 3 Diploma

 

Project Proposal

 

Name Jason Carroll
Pathway Music Sound Production
Project Title
Section 1: Context (Approx 300 words)
My knowledge, skills and understanding of the course have improved significantly upon beginning the course. Coming into the course I had never heard of the word “Foley” however I was intrigued when watching Foley artists such as Adrian Medhurst create sound for some of my favourite films of all time (The Hobbit), which influenced my chosen route of my first Year FMP.

My referencing has improved massively throughout the year and is a lot tighter and cleaner as shown in last years project. In terms of editing and recording Foley itself, I will still have to experiment. Nevertheless I intend to expand my knowledge further on the art of Foley and hope to take what I know/will know into future work and employment. I now aspire to become a Foley artist

My research is what was hindering my performance within my first year FMP and I still need to expand my research If I want to heighten my final grade. I need to experiment with research sources further than the internet (Books, Articles, etc.).

The reason I have decided to carry on with Foley coming into the second year is due to the success of my first year FMP. However this year I have decided to take what I have learnt to a new level. I aim to create the Foley and sounds for 6 film clips chosen by myself. In order to show the cultural and different ways of creating sound for certain films. Furthermore I aim to do Foley live for a chosen clip and create my own sound stage for this. This is a whole different experience than that of my first year FMP, focusing more on cultural and film based recording, different ways/techniques of recording Foley, thus allowing me to further expand on what I have already learnt.

Section 2: Research ( Approx 50 Words)
Primary research will include skills I have learnt during previous projects (Creating sounds using Foley), leading into my secondary research (discovering different ways people use Foley) using the internet as my main source. Furthermore I will be talking with specialists in the Foley industry and getting their views what can be improved and how.
Section 3: Problem Solving ( Approx 100 words )
Many problems are likely to arise. Time management, not reproducing sounds I already have for certain clips (making the Foley sound alike for every clip) and many more. I intend to focus on these aspects the most and intend to create a clear plan and timetable in order to prevent this form happening. I will create different folders for each individual clip and keep it clean and tidy. These were the main problems during and throughout my last project and it will be in my best interest to prevent this from happening again. Thus making my current project run a lot smoother.

 

Section 4: Planning and Production (Approx 50 words )
This section provides you with an opportunity to outline your planning and organisation over a period of weeks and the activities you will need to carry out in order to successful complete your project within the agreed time-frame. Your planning should be presented within the template provided.
It is important that you consider how you will balance ambition, time and realism in the realisation of the project.
This should include what you are going to do, how you will
do it and by when. The more time and thought you give to planning your project the more successful it is likely to be. Remember to include time taken to undertake practical actions such as: sourcing materials, questionnaires, accessing workshops, tutorial and peer group feedback opportunities and where you will incorporate independent study, the resources that you will need and an indication
of the form in which you will complete and present your
final realisation within the allocated timescale.
Section 5: Practical Skills ( Approx 100 words)
Many skills will be required during my project. Manipulating Foley, recording Foley and editing Foley respectively. During last years FMP I have used these skills. Studio time is something I need to experience a little more. During the “Girl in the pool” project I used the studio to create Foley. However I wish to expand on this and gain a wider understanding of the studio as a whole. I hope to take my skills in Foley creation to the next level in this project and use a wider range of techniques and methods when creating and recording Foley. (experiment with different recording techniques etc.)

 

Section 6: Evaluation and Reflection
I will be reflecting using word press and also recording my voice and actions throughout my practical work. Having 1 on 1s and using critical friends to get their views and opinions, thus allowing me to adapt and enhance my work, ultimately allowing me to achieve the best outcome.
Section 7: Presentation
The final section provides an opportunity for you to describe how you intend to organise
and present the work generated throughout the development of your project. You should consider the most appropriate formats for communicating the development of your ideas to an identified audience, both visually and conceptually and how you will present your conclusions and outcomes. I intend to approach my work very practically. Performing live Foley and also showing my work in some fore coming shows. I aim to reproduce one of my clips (Foley) live in front of a reasonably sized audience and gather feedback.
Bibliography
 

Elsea, P. (1996). Studio Acoustics. Available:

http://artsites.ucsc.edu/ems/music/tech_background/te-14/teces_14.html. Last accessed 5th Mar 2017.

FilmSound. (1997). FOLEY. Available: http://filmsound.org/terminology/foley.htm. Last accessed 5th Mar 2017.

Hibbard, M. (2005). Recording Foley and Sound Effects: The Fundamentals. Available: https://www.premiumbeat.com/blog/recording-foley-and-sound-effects-the-fundamentals/. Last accessed 5th Mar 2017.

Rodrigues, P. (1995). The Art of Foley – What Is It?. Available: http://www.marblehead.net/foley/whatisitman.html. Last accessed 5th Mar 2017.

Rodrigues, P. (2013). Feet. Available: http://www.marblehead.net/foley/feet.html. Last accessed 5th Mar 2017.

The Art Career Project. (2014). Foley Art. Available: http://www.theartcareerproject.com/foley-art-career/569/. Last accessed 5th Mar 2017.

Virostek, P. (2015). Field Recording Gear Buyer’s Guide. Available: http://www.creativefieldrecording.com/2015/11/18/field-recording-gear-buyers-guide/#portable. Last accessed 5th Mar 2017.

 

 

 

 

 

Additional Requirements not included in the 800 word Proposal

Proposal cover sheet and project title
Bibliography
Project timetable

Digital presentation.

 

Reflection Week 2

Today I Finished editing the clip and began working on foley for the first clip. The foley creation itself was a long process and took a little extra time than i had thought. Next step will be to insert the foley into the film, preparing for next weeks foley creation for the next clip.

Process week 1

Monday 15th May

Today I finished cutting down the clips ready for foley creation tomorrow. I aim to complete the foley for one of the chosen clips by wednesday 17th. Using premier to cut down the clips has made the process a lot smoother and saved me a lot of time. After i cut down the clips in premier exported the clips into logic ready to edit.

Problems

Wednesday 10th May 2017

Due to personal issues I will be starting my project on Wednesday 10th May 2017. My aim is to continue following what I have planned. I will have less time to complete my project than I had hoped for. This will show that I can use my time efficiently and complete the project even though there are a few issues.

FMP: Skills Audit

Name: Personal Rating Evidence :
Skill None

A bit but not confident

Basic Competent Proficient  
Primary Research

 

 

      Yes   Throughout my previous projects I have used a wide range of primary research to back up my evidence.
Secondary Research

 

      Yes   Throughout my previous projects I have used a wide range of secondary research to back up my evidence.
Creating Foley

 

 

      Yes   The “Girl in the pool” project used the Foley that I had created to influence others work.
Recording Foley

 

 

    Yes     Throughout my Year 1 FMP I recorded all of the Foley I created using various different recording platforms. (Phone, Zoom, etc. However I aim to expand my knowledge on different ways of recording further.
Editing Foley

 

 

      Yes

 

  All previous projects saw me use some form of created sound/Foley and I had edited each one.
Time Management

 

    Yes

 

    Last years FMP saw me finish my project within the deadline set. Although it was not as fluent as I had hoped.
Creativity when using Foley

 

      Yes

 

  Last years FMP saw me use a wide range of different sounds/objects when creating Foley.
Using logic

 

 

      Yes   My first year FMP was edited using logic as the main software.
Sound Manipulation in logic       Yes   Using alchemy to manipulate the created sounds during my last project.
Studio Recording

 

 

    Yes     The “Girl in the pool project” included me using the studio in order to record the Foley. However I hope to understand the way the mixing desk works more confidently.

FMP Essay

The Infinite Art of Foley.

The reason I have decided to write about the art of Foley is due to the sheer amount of detail involved within the art form. There are many things people are yet to explore when it comes to Foley. Likewise the Foley industry is a never-ending gateway to success and discovery.

It is my intention to investigate what skills, resources and equipment is required upon creation and recording of Foley, what to consider (money, techniques, etc.) upon foley creation, The different microphones and recording techniques used when recording Foley and to ultimately find out how Foley effects my career pathway and what I feel the future holds for Foley itself.

First of all we must understand the origins of Foley itself. So, where did it all begin? Most people don’t realise that Foley was actually named after a person. A man named Jack Donovan Foley first introduced Foley. Jack Foley began his career in the motion picture business, during the silent picture era. Later moving on to sound for film. “Since the 1930’s Foley artists have been a huge part of film and television soundtracks, capturing the movements of actors recreating reality.” (Rodrigues, P. 1995) Jack Foley first used this method in 1929’s Showboat

Foley has developed massively due to the drastic advance in technology. From using foley to capture few sounds for film during the 1930’s has drastically changed up to the present day. Now almost every film you watch will contain some form of Foley. weather it be subtle or throughout it is hard to find a film that doesn’t use Foley. The change in the way we record and create Foley over the years is due to new software, new opportunities, new audiences and expectations.

One of my favourite Foley artists goes by the name of Adrian Medhurst. Adrian Medhurst created sound for some of my favourite film(s) of all time (E.g The Hobbit) and is exceptionally good at what he does. The reason he is so exceptional at what he does is due to the way he does things. Medhurst experiments with new techniques when recording and creating Foley which is a usual thing within the industry. However the efficiency of his work is exceptional and better (in my opinion) than most, if not all foley artists out there.

“Foleying is an excellent means of supplying the subtle sounds that production mikes often miss.” (FilmSound, 1997) Foley creation is a vast industry and can range from simple sound recording to movie sound recording. People create Foley in order to capture the sound more clearly and what is being recreated sound as realistic as possible. When recording sound as it happens, it can sometimes become distorted, or can even be a little loud/quiet. This is why we use Foley to get the right balance.

There are many different things to consider when creating/recording Foley and what makes people so good at it. For example, when trying to record Foley for feet you will have to consider that, “In order to mimic the noise for a character’s footsteps, Foley artists will usually take into account what type of material the character is walking on, how fast the character is walking, and any gait abnormalities of the character.” (The Art Career Project, 2014) and furthermore “You will need many kinds of well worn shoes – a trip to the Salvation Army store will yield many treasures (cowboy boots, pumps, hard and soft souled shoes) at a reasonable price. You may need to ‘gaff tape’ any squeaky or loose ornamental bits so they don’t clutter the sound of the steps.” (Rodrigues 2013). Most importantly, when recording Foley for a characters footsteps you will need to be looking at the right thing. As stated “To get “in sync” with the actor, you must try to watch their shoulders (not their feet!) – if you watch their feet then you will never be in sync because this technique is too reactionary. The shoulders however, will give you the sense of movement about to happen and when you sway and move as the actor does, the feet just tend to naturally sync up!” (Rodrigues, P. 1995) There are many tips and tricks that can improve the way one records and creates Foley. Ultimatley it is down to the person to record the way they want and decide to create the sound how they expect it to be.

This leads on to different ways of recording Foley and what microphones suit best to each individual area of recording. When venturing into the world of location based recording It is best to use microphones and recording apparatus that suits both your budget and needs. for example you can buy a cheap portable recording device for as little as £5. “mobile recording models include Tascam’s iM2 (£5), Zoom’s iQ5 (£35)” (Virostek, P. 2015) However if you are looking for something more expensive you are looking of a price range anywhere between £200-£5,000. I personally will be using the Zoom, as it is easy to operate and easily portable. Furthermore from past experience it is cable of capturing sounds and a exceptional quality for how much you are paying. You can buy most of these microphones on online shopping websites or from the manufacturer. The Zoom is a multi purpose recording device that can be used to record a lot of basic Foley. I will be using the Zoom for both locational and studio recording. Value for money, in my opinion the Zoom is the best choice. I believe its HOW you perform and record foley more so than what equipment you use.

On the subject of different ways and techniques of recording Foley, lets talk about the different ways of microphone placement and how it effects the sound you create. There are many tricks you can use in terms of microphone placement. “Proximity and placement of the microphone in relation to the source of sound greatly affects how the foley is recorded. Close-up shots may require closer microphone placement, or put distance between the mic and sound source if you desire more room sound.” (Hibbard, M. 2005) experimenting with microphone placement should always be high on the list of priorities when recording and creating foley. To get the sound you want you must experiment with different microphone placement.

Another huge priority should be the environment you are recording in. Elsea, P (1996) States that silence is the best form of noise when recording. However it is very expensive to soundproof a room. Elsea goes on to talk about detailed yet expensive soundproofing materials you will need in order to get that almost silent feel. Although it is impossible to achieve complete silence, you can use methods to make a room as quiet as possible for a price. In my opinion it is vital to make the room as quiet and as soundproof as possible in order to get the most clear sound possible. Experimenting with different methods of soundproofing may lead you into success or could leave you with a huge lack of time. Due to the price and excessiveness of the soundproofing. It would be in my best interest to experiment with similar, yet cheaper ways of soundproofing.

So, what do I personally think the future holds for the Foley industry? Well personally I believe that the Foley industry will slowly die off. Not necessarily completely. But with all of the new technology and equipment coming into the music and film industry, it will be very difficult for future Foley artists to make a living. Nevertheless the pure raw sound of a Foley artists recording is never going to be matched. Technology and editing soft-wear is too literal and doesn’t sound as raw.

It was never apparent that i would have a passion for foley. No more than a year ago i was unaware of what the word “Foley” meant. Now i understand how beautiful and vital Foley is when recording and creating film. I see Foley as the “Real” part of film recording. I hope to take what i have learnt over the year with me to my future career opportunities. I hope understand and realise that there are never-ending possibilities when it come to the creation of Foley and to ultimately make a career somewhat using Foley.

“Last year, I needed 10 people working full-time for a month doing 2005 contracts and setting up audits for our corporate customers. This year, I have one person updating the files in a day.”

Jack Foley 

 

 

 

 

 

 

 

 

 

 

 

Bibliography.

Rodrigues, P. (1995). The Art of Foley – What Is It?. Available: http://www.marblehead.net/foley/whatisitman.html. Last accessed 5th Mar 2017.

FilmSound. (1997). FOLEY. Available: http://filmsound.org/terminology/foley.htm. Last accessed 5th Mar 2017.

Virostek, P. (2015). Field Recording Gear Buyer’s Guide. Available: http://www.creativefieldrecording.com/2015/11/18/field-recording-gear-buyers-guide/#portable. Last accessed 5th Mar 2017.

The Art Career Project. (2014). Foley Art. Available: http://www.theartcareerproject.com/foley-art-career/569/. Last accessed 5th Mar 2017.

Rodrigues, P. (2013). Feet. Available: http://www.marblehead.net/foley/feet.html. Last accessed 5th Mar 2017.

Hibbard, M. (2005). Recording Foley and Sound Effects: The Fundamentals. Available: https://www.premiumbeat.com/blog/recording-foley-and-sound-effects-the-fundamentals/. Last accessed 5th Mar 2017.

Elsea, P. (1996). Studio Acoustics. Available: http://artsites.ucsc.edu/ems/music/tech_background/te-14/teces_14.html. Last accessed 5th Mar 2017.