Foley sounds are diegetic everyday sounds which are in TV, film and radio. According to FilmSound.Org “Foleying is an excellent means of supplying the subtle sounds that the production mikes often miss” (1997). Examples are mainly anything such as footsteps, traffic or background noise if you’re in a public place.


L’homme à La Tête De Caoutchouc – Kulfi


Screen Shot 2016-01-26 at 12.21.40Screen Shot 2016-01-26 at 12.22.05Screen Shot 2016-01-26 at 12.22.34I think that one of the easy sounds to create will be the footsteps as you can just get someone with hard shoes to walk on a hard surface. Also, I think pouring water into a sink/bottle will also be easy because they’re things that you can easily create. Scraping a chair on a hard floor, rather than carpet, will also be quite an easy sound to create, as will be putting chairs/tables on the floor by slamming them quite hard. Slamming feet on a floor, opening a squeaky door, knocking on the door, clapping and maybe even pumping the air into the man’s head (a foot pump and blowing up a balloon) will also be easy as they use things that you have easy access to.

I think that it’ll be hard to recreate the blowing up of the head because you don’t tend to know the sound of that, and also an explosion is quite a hard thing to recreate. The crashing at the end would be quite hard to recreate as well as you have the problem of hurting someone if you made things fall onto the floor. I reckon everything else will be quite an easy thing to recreate as they’re normal sounds, like footsteps and putting a table down on the floor. I’ve picked quite an easy film to use because I’m that creative to think of imaginative sounds.


I am trying to recreate the foley sounds for the film L’homme á Tête De Caoutchouc by George Méliès. To do this, I need to know the different types of sounds that you need to make a production. “In the film world, there are five main types of sound effects: Hard effects, foley sound effects, background effects, electronic effects/production elements, sound design effects” (Page 4, Bibliography, Viers R, 2008, The Sound Effects Bible, Michael Wiese Productions). I will need quite a few of hard effects which you can just recreate easily, with just one prop and movement. According to Viers “With hard effects there is an absolute sound that is associated with the pictures; therefore performance was not necessarily an issue, whereas with Foley, performance is the key to creating convincing effects.” (Page 5, Bibliography, Viers R, 2008, The Sound Effects Bible, Michael Wiese Productions). You also need effects to make the room not feel empty but to feel real, according to Viers “Background effects, also known as ambiences or atmos, these sounds fill in the empty void on screen and give a sense of location and the surrounding environment.” (Page 5, Bibliography, Viers R, 2008, The Sound Effects Bible, Michael Wiese Productions).

I then research techniques on how to make certain sounds, according to Sonnenschein “A few other techniques of sound generation that can be used: fire = cellphone crumples at different intensities then dropping the pitch, rain = salt sprinkles onto paper, hail = rice sprinkled onto paper, walking in mud = hands on soggy newspaper, creek = straw blowing gently into a glass of water” (Page 58, Bibliography, Sonnenschein D, 1996, Sound Design, Michael Wiese Productions). And Also, in the video I am doing there is a scene where the head blows up, so I found a good way of recreating that sound. (Arundel, N), (N/A), Epic Sounds: The Guide To Sound Effects [Online] @ 22/01/2016, “Blow to the head. Now I’ve heard, (and I’m not saying it’s true but…) if you get a water melon, stick cream crackers to it (Jacob’s or Sainsbury’s own) and then whack it with a hammer/axe it sounds very much like you would expect a similar type blow to the head. You can then bury the water melon under the patio and no-one need ever know.” With challenging sounds you’ll need to do a lot of experiments, According to Sonnenschein “Experimentation is the key here, so don’t be closed to the potential of some unexpected sound you may create.” (Page 58, Bibliography, Sonnenschein D, 1996, Sound Design, Michael Wiese Productions).

I then looked into mixing techniques, and what will sound good. (Jones, C) (2016), Nine ways to create a world class sound mix for your film [Online] @ 22/01/2016, “When a character is ten feet away, then need to sound like they are ten feet away, not just twelve inches from a microphone but mixed lower down in soundtrack. The professionals may pull out frequencies, or add room reverb to place the sound the same distance away as the camera position.” I wanted to put music over the top of the film, a slight subtle piano in the background. However, Chris Jones suggested not to. (Jones, C) (2016), Nine ways to create a world class sound mix for your film [Online] @ 22/01/2016, “I would recommend holding it back when you really want to add impact. If you don’t, your music score starts to feel like wallpaper and suddenly, your audience has tuned it out.”

I also did a small bit of primary research where I tested out some of the sounds. The first one we did was ‘pouring water into a sink’, where we literally just poured water into a cup. I reckon this sounded pretty similar. We did the same with ‘pouring water into a bottle’ which is quite a similar sound, as they both use water. We also did what the sound was for ‘putting a bottle onto a hard surface’. However, with the tables being put on the floor/scraping along the floor we used a hard, toy knife and scraped/hit that against the wooden table, which sound pretty good as it was something hard hitting on another hard object.

This is my primary research where recorded some of the sounds to test which would sound good and which wouldn’t: 


Risk assessment

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