An action-heavy film like this requires a lot of low-end hits, and impacts to fully engage the audience. To accomplish this we used a mixture of Contact and Lav Mics strategically placed close to where we were performing.
Director: Davi Pena
This was a film that I initially pitched to my friend as a commercial for the new clothing line he was about to launch. The idea of the film was to create a line of products that represent the sound that you make when you crash, otherwise known as onomatopoeias.
To capture the sound of a skate board we brought the board used from the shoot as well as my personal longboard (for variation) and did our best to match cuts with board in hand. For this shoot all of the audio was redone in post. No audio from production was kept, meaning Foley had to have a heavy presence in order to fill the entire film.
ODYSSEY: A STAR WARS STORY
A crowd Funded Fan Film, that was shot in the Savannah area and at Tybee Island. I was on a team with two other Foley Artists. Since we were trying to replicate the feel of the Star Wars Universe we stayed true to the Sky Walker Studios approach to Foley. To record the sound we used a U87, instead of the industry standard 416 Shotgun microphone.
This Film also went on to win 2 Student Emmy Awards. One being for Sound Design.
Director: Mark Alex Voght
Sound Supervisor: Ryan Sullivan
RACING THE SUNSET
Racing The Sunset is a two time award winning animation. I had the honor of being the sound Supervisor for the project. The Director Nikolas Smith had talked to me in advance about giving the animation a comic book style feel. To do this I created my own “Woosh” library.
I also made sure every action scene veered more on the side of realism to help audiences feel the urgency of the situation. ROLES: Sound Supervisor, Foley Artist, VO Recordist, SFX Editor. Director: Nikolas Smith
NO COUNTRY FOR OLD MEN
Being a huge fan of the Coen brothers, I set out to redesign one of my favorite scenes from No Country of Old Men.
I find the tension and suspense that is created from the slight subtle movements in the scene gives you chills. I wanted to test my skills with a scene like this by focusing solely on subtle details that can only be captured by an Foley performance.
GAME OF THRONES
This project was part of a larger Redesign project in which me and 3 other students took on different roles to completely replace the audio for this scene in Game of Thrones.
My roles included Sound Editing, Mixing and Foley. While I did most of my recording in the studio, this was the first time I experimented with utilizing a Kontakt instrument in place of performing my own Foley.
The Edward Foley Instrument was used to create repetitve footsteps, and I used samples that I obtained to create my own instrument in Kontakt to create the sounds of sword clanks and bow pulls.