Audio Post Production for Film 101 - Foley in Pro Tools

[@acryxia]

The fact that this stuff is free is mind boggling, and the fact that you actually sound like you're enjoying making these makes it even better. Thanks!

[@1genericone]

This is a really good resource. I've been working in post for 20 odd years and foley for 15+ and usually cringe when anyone mentions foley (as few know what they're talking about tbh!) but this is a really good overview, will recommend this to any keen starters as will save me the hassle, cheers! Also found the graph more or less bang on, great description.

[@jackweiss7441]

How do you keep putting out such high quality informative content!

[@ThomasBoykin]

I had a bunch of time a few weeks ago so I nutted up and recorded a bunch of these. More inbound the next couple weeks

[@audiofreq4278]

This is GREAT!!!! Thank you. Working on my first (micro/independent film) and this is the info I need.

[@ThomasBoykin]

Glad to help

[@jordanleleivre2254]

mate, all these videos are fantastic. I am currently studying a degree in Sound for Film and your videos are easily on par with the quality of teaching we receive on our course. Cheers!

[@benjamingale8346]

Really excellent tutorial video, I’ve subscribed! Kudos

[@MsMerllin]

Masterpiece! Im so glad, that i found your content here!

[@omkarkulkarni8481]

Thanks Thomas for sharing. excited for next episode

[@marianacastillo82]

Thank you for sharing these videos! They have been extremely helpful!!

[@Theo_wu]

Thank u! Your video inspired me a lot in video editing!

[@steinwaveaudio]

Fantastic video series thank you !

[@petersrin]

I love this method for cueing. Much better than what I've been doing. This makes sense to me :)

[@ThomasBoykin]

What’s your current technique? I’m always looking for new ways to do stuff!

[@petersrin]

@@ThomasBoykin Still using clip groups, but using more generic track names (PROPS, STEPS, CLOTH) and then a guide track that I move a fully grouped 3 pop (with one extra frame and a sync marker at the 3rd second so I can set the playhead, and then windows-shift click it into position [though I just remembered I could just do that with the end of a clip exactly 3 seconds instead lol]) Worse yet, I would record on seperate tracks instead of just recording over the group clips. To be fair, I rarely get paid for a reasonable foley pass but maybe with your method I'll get through more faster

[@Kamarkarze]

Amazing stuff! Thanks again! You've just taught me that the way I have been doing it is wrong 😂 I'm only a beginner so it's good

[@lucasmunoz7038]

same here

[@Dustbrigade]

This is gold! Thank you for sharing

[@mcproducciones4310]

Always great videos man!...

[@ThomasBoykin]

Thanks, I do it for you

[@liamosborne6859]

10:40 it's "Rubik's" otherwise, great video, loving this series

[@ThomasBoykin]

My bad, I used to be smart but kept getting concussions. Any day now my brain will be complete mush and I can finally sit down on my couch and enjoy shows like Big Bang Theory and the evening news.

[@empanada2989]

Mate, great stuff! Thanks for sharing🤙

[@bent513]

What percentage of the total budget do you usually allocate for foley? Overall budgeting could be a really helpful topic to touch on eventually too. Loving these videos!

[@ThomasBoykin]

I would budget around 15-20% of the total post audio budget on Foley.

[@foxytv4896]

Great work, thanks a lot for all the insight. What's the name of the film? Is it 7-5 ?? Did it ever come out?

[@Lente_Viktor]

Hey Thomas! Great video again! I have a question regarding international sound. Have you ever had to do ADR only because production dialog contained effects? I mean If the production sound contains the effects needed, but you also foley those for foreign version, it means there’ll be 2 different versions. Yours, with the original production effects, and theirs, with the “chinese” adr plus the foley, you prepared (and muted) for them. I believe this is a better option in respect of the actors effort on set. But i also heard that the 2 mixes have to be an exact match (so ADR +foley). Or it depends on the production? Whats your experience?

[@ThomasBoykin]

No, the foreign dub is mixed to match the original version. So we listen to the original mix and match that. This is also why doing a separate MnE mix is a good idea since sometimes the original production sound does not need Foley. Once you mute it, then you can make the MnE its own mix.

[@Lente_Viktor]

@@ThomasBoykin so if i understand correctly, in this case we make 2 versions of MnE. One for the original mix and one for the international.

[@nickLavigne]

Hi Thomas. If you're a one person post sound team, will you still cue your foley? Do you cue other sfx as well? Thanks so much. These videos are excellent.

[@ThomasBoykin]

I only do one or two films per year where I do almost everything… everything except Foley. I ship that off to a team to take care of from cueing to shooting to editing. I don’t often cue sfx since I am pressed for time usually.

[@nickLavigne]

@@ThomasBoykin Thanks, Thomas

[@user-iz5in1iz8u]

By the way, although your tutorials is great, i want to see another tutorials. Did you know some internet cources or youtube guys like you about re-recording mixing and editing?

[@FLAMENCO961]

Could you "foley" sound effects like the car sounds, street noise and whatnot instead of picking them up from a library too? How would you idealy deal with it?

[@ThomasBoykin]

Yeah you just take mics out and record enough material to cover what you need for a scene.

[@user-iz5in1iz8u]

Hi! Great video! I watched your tutorials and before this video i thought that there is two types of SFX: Hard FX, Backgrounds and Sound Design. But in this video, where you drawn an abstract graph at 4:00. Why did you drawn SFX and BG separatly if BG IS a type of SFX? And what i don't really understand is if M&E includes foley, then why it called Music and Effects if as you said foley is a another group? EDIT: in the next video i realized that SFX indludes P, Foley, BG and.... SFX. What? I don't understand :( How does SFX may incudes SFX?.. Did you saw an UVI Walker 2 (UVI Falcon library)? What's your opinion about this? I tryied it and it sounds PREFECT and waaaaay better than Adward Suite. Well, of course, this is not better than a real foley actor, but for a very low budget film it's perfect. You might don't understand me right because my English is bad.. And i might don't understand you right bacause my English is bad :)

[@ThomasBoykin]

I will check our Uvi based on your recommendation.

[@user-iz5in1iz8u]

​@@ThomasBoykin Thank you. What about my question about SFX?

[@cami.la_]

Thank you thomas.

[@eddyramindra7846]

Thank you very much

[@ERICDIZZYASMR]

I can’t see where to buy foley on post red

[@1k1ta]

10:17 cute russian word on the wall )))))))))))))))

[@videosound20]

the same on 13.20)

[@rcruggles]

Hi there, Thank you for these incredibly useful tutorials. I'm a beginner and this window into your workflow is extremely useful. Will definitely be revisiting as I carry on. Question: I understand how important real life Foley recordings are, but say the turnaround is really tight (for instance commercial work) - are there any online libraries or boutique plugins you'd suggest to help out source professional quality Foley? Kontakt is great, but as you mention it's a bit limited... I've grabbed things from Splice in the past, but I don't love the application. Thanks for any your time! Hi5 from Brooklyn

[@ThomasBoykin]

Edward Foley plug-in is good. But nothing beats a mic and a good room

[@eddyramindra7846]

Thank you very much