davidrandallthom@hotmail.com> wrote in message
news:c8br5g$lbl@odbk17.prod.google.com...
George, you're an ambitious man.
It does take a bit of ambition to shoot a 35mm feature with a crew of one
in
most cases. But that's the only way to get the job done sometimes.
Tip #1 is that the term "foley" doesn't refer to a kind or category of
sounds. Foley is a certain procedure for recording sounds.
Yes, I will be doing a combination of foley and ambient recording. Some of
the foley I will do at location, watching a video LCD monitor off of a
camcorder while performing, because some sounds are very location
specific.
It is at least mildly insulting that you would expect anyone to be able
to tell you enough about the craft of sound recording in an email to be
of any help. It takes many years of study and/or practice to get any
good at it. And I don't think that there are any books that describe
the foley process in much detail. Others may know better than I do.
I never asked anyone to describe it in an email or in a posting. I'm a
cinematographer as well as a director and I know all too well what it's
like
to learn a craft. Of course you learn by doing, but there are books and
other resources on cinematography that you can read to get a start.
When you say "I have a Soundblaster Live card. I will be mixing for
theatrical release." it's a little like someone saying "I have a 22
caliber semi automatic rifle. I will be attacking the Russian army
tomorrow morning."
I won't be doing that because I'm Russian myself! :)
I know that the SBL card is not the ultimate toast but I don't have the
sauce to spring for a 20 bit system. Besides, I'm mixing for a 35mm stereo
optical track, not Dolby digital, so I don't know how helpful a very
expensive sound card would be.
Thanks again to all who contribute helpful advice,
- G.
George Selinsky wrote:
Hi everyone,
I need some help again. I'm going to be doing foley sounds for my
feature
film (shot entirely MOS). Firstly, is there any resource online or
book that
I can read about the art of good foley work? Secondly, I will be
taking a
mic and a portable recorder with me to recreate foley noises and get
ambient
sound. The usual problem applies, in that I don't have a lot of money
to
spend on equipment. I probably at most can squeeze about $500 right
now. I'm
thinking a DAT machine and a good general purpose dynamic mic would
probably
do it. I already have decent headphones (AKG's, which are physically
falling
apart but I'm fixing them). I have a Soundblaster Live card. I will
be
mixing for theatrical release.
Thanks for any advice in advance, as always.
- G.
