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in Hollywood everything is magic and
make-believe gloves with paper clips our
dog paws even what you hear we're
storytellers with sound over here we
have a feather duster used for bird bird
wings we bring sound into the story and
we can create any mood with that sound
when you watch a film much of what
you're hearing was created from
footsteps on a snowy path to a vicious
thunderstorm weather is a really
interesting thing to recreate on there
make it exciting it depends on the
elements that we're using and how it's
filmed and what they want to hear here
at the Warner Brothers lot Foley artists
practice their craft and if they do
their jobs right you won't even notice
people take sound for granted but you
would miss it if it wasn't there
Folie is the art of sound it's creating
sounds in sync with what's happening on
the screen
the art of Foley goes back to the old
radio days where you would see the sound
guys with their clumping with their
coconuts this is what we use for horse
hooves their plungers and we stuff them
with cloth and a little tape and here we
go
Jack Foley came in and he thought if I
do those sounds in sync with the picture
I've just taken a whole step out
Jack Foley's legacy and sound began in
the 1920s as talkies swept Hollywood
ever since the reproduction of sound
effects added to film in post-production
is called the art of Foley a Foley stage
consists of different surfaces this is
walking on leaves or in a forest
for snow what we normally use is regular
place and and then to add to that
sometimes you hear that familiar crunch
which we use corn starch your ear hears
snow but in actuality it's in
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it's almost like a prop house we have
collected different things because
everything here should make a sound
here's a classic squeaky hinge pinecones
can be used for cracking ice you have
the three people that are on the stage
the mixer and the two Foley artists
which it's important that you have a
team that's cohesive you know
something's cracking popping I don't
know what it is
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sometimes it takes a little trial and
error to see what works best we have a
streamer that goes across the screen and
when the streamer gets to the end that
tells us when that sound should start
it's an interesting dance there's really
nothing that we can't do here
imagination wise right now we're in the
control room and it's where I mix and I
listen to them performing to the picture
I try not to look at them because I
really don't want to see what they're
using I want to see how it sounds
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all sound is two elements hitting one
another with rain if it's hitting a
puddle or if it's hitting someone's face
that's all gonna sound different so
those are very specific little things
that we have to watch and look at okay
Mary Jo here we go
wind is interesting because it's usually
what the wind is blowing through Alice
is going to use the Batman cape to
create the sails and I'm going to create
the boat actually going through the
water okay let's go if we're doing a
boat going through wait
we would use the big tub that we have to
get that slapping sound or churning up
the water a lot in the tub with our
hands it's a lot of sound like like a
lot of things artistic is very
subjective so I have to make that
judgment call there's a great moment
when you get the perfect sound and they
don't always know it but I do how was
that Mary Jo it sounded great when there
are multiple weather elements involved
we might do all the specific things
first and then go back and do maybe a
general sound we have a shot here of a
hiker coming down the waterfall so I'm
doing the sound of the carabiner and his
rope and his equipment
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how's that cool
so I'm gonna play it back all together
and see what we've got
we really layer everything so the mixers
can mix how they want to hear it and we
do things also that are a little
over-the-top because we have to fight
with music sometimes dialogue but
hopefully when you hear it at home it'll
sound just like it should be natural
you