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Question about doing Foley.

H

harmonica44

I have been reading about it but there is one thing I need to know, that I couldn't find. Let's say I recorded an actor talking, while he is moving something. Instead of recording that sound of moving the object separate I already have it in the dialogue recording. I could use it, or I could put the mic closer to the object and get a possible better recording of it therefore.

However, is it possible to overlap the new sound over the original sound, without cutting out the dialogue on that track, in the process, or what do I do? Thanks.
 
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Sorry man, i had to do it..:) no hard feelings



try do both, listen to what you'll get and what sounds better
 
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You use what's there, and enhance it if you need to. If you need to eliminate the sound of the prop you can substitute the word or phrase with the dialog from the unused takes or ADR. It's also possible to mitigate the sound of the prop with EQ and/or volume automation if it is too loud; if properly executed it's unnoticeable since most of those sounds are usually short transients. One thing you have to consider is if the prop is handled often, and you have no choice but to use the sound that is in the dialog track, that the Foleyed sounds need to match the sound of the production props.

It's not always possible, but you try to shoot or edit so that you have control over things like that. Did you ever notice that, quite often, a character will say a line and then ratchet the weapon, or put down the coffee mug and deliver the line afterwards.

At the big-budget level many props like mugs, plates and other handled objects will have felt on the bottom to reduce the amount of noise they make when put down on a surface. When doing close ups and close two-shots you do everything possible on the set to eliminate or reduce the sound of handled props. Shoes, boots and the like often have very soft rubber soles or cloth on the bottom to reduce foot noise. This is a part of the preproduction process that is discussed with the wardrobe and props department.

The general idea is to Foley everything and then make the decision when you mix.
 
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Alcove Audio said:
You use what's there, and enhance it if you need to. If you need to eliminate the sound of the prop you can substitute the word or phrase with the dialog from the unused takes or ADR. It's also possible to mitigate the sound of the prop with EQ and/or volume automation if it is too loud; if properly executed it's unnoticeable since most of those sounds are usually short transients. One thing you have to consider is if the prop is handled often, and you have no choice but to use the sound that is in the dialog track, that the Foleyed sounds need to match the sound of the production props.

It's not always possible, but you try to shoot or edit so that you have control over things like that. Did you ever notice that, quite often, a character will say a line and then ratchet the weapon, or put down the coffee mug and deliver the line afterwards.

At the big-budget level many props like mugs, plates and other handled objects will have felt on the bottom to reduce the amount of noise they make when put down on a surface. When doing close ups and close two-shots you do everything possible on the set to eliminate or reduce the sound of handled props. Shoes, boots and the like often have very soft rubber soles or cloth on the bottom to reduce foot noise. This is a part of the preproduction process that is discussed with the wardrobe and props department.

The general idea is to Foley everything and then make the decision when you mix.
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Excellent response! It's great to have your knowledge shared.
 
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