Difference between revisions of "Foley"
ValterAlves (Talk | contribs) m |
ValterAlves (Talk | contribs) m |
||
| Line 36: | Line 36: | ||
| ex4=<mt p="Foley" g="Chaos Theory" altg="Tom Clancy's Splinter Cell: Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt> | | ex4=<mt p="Foley" g="Chaos Theory" altg="Tom Clancy's Splinter Cell: Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt> | ||
| ex5=<mt p="Foley" g="HalfLife2" altg="Half-Life 2" w="{{R8by5W}}" h="{{R8by5H}}"></mt> | | ex5=<mt p="Foley" g="HalfLife2" altg="Half-Life 2" w="{{R8by5W}}" h="{{R8by5H}}"></mt> | ||
| − | | ex6=<mt p="Foley" g="Angry Birds" w="{{ | + | | ex6=<mt p="Foley" g="Angry Birds" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt> |
| ex7=<mt p="Foley" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt> | | ex7=<mt p="Foley" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt> | ||
| ex8=<mt p="Foley" g="Ico" w="{{RPS2W}}" h="{{RIcoH}}"></mt> | | ex8=<mt p="Foley" g="Ico" w="{{RPS2W}}" h="{{RIcoH}}"></mt> | ||
}} | }} | ||
Revision as of 20:37, 20 September 2011
|
| |
| The card's front face | The card's back face |
Synopsis
| Sounds of ongoing actions. |
Relationships
Many contexts, including:
Sound Layers and Semantics File:M385px-SoundLayersAndSemantics-front-v20.png, Engagement 
, character Soundprint 
, Footsteps 
, Grunts 
, Sound Decoys 
, ....
Peers:
Ambiance 
, Sound Effects 
, Music 
, Dialogue 
.
Close to:
sound Effects .
Calls for:
Requisite Variety File:M385px-RequisiteVariety-front-v20.png, Acoustic Ecology 
.
May call for:
Subtitles and Captions 
.
Description
Foley constitutes one of the Sound Layers and Semantics of an Acoustic Ecology, along with Ambiance, Sound Effects, Music, and Dialogue [Peck (pending)]. We are adopting one definition that allows to differentiate Foley from Sound Effects, which constitute a common discussion. Foley consists of the set sounds that characterize an entity or event (e.g., a door closing, Footsteps, gun fire, etc.), whilst Sound Effects are sounds that are "invented" so that they may be associated to entities or aspects whose own sonic expression does not exist or is not perceptible (e.g. the sound of a laser sword). Still, it is worth mentioning that many authors/designers use both terms interchangeably.
Examples
    |
 |
 |
 |
 |
 |
 |
 |
Additional Comments
The production of the sounds of Foley is frequently achieved by recording the interaction with objects that are unrelated to the envisaged sources. Sometimes this is justified by the difficulty in recording the actual source, other times it is a matter of achieving better results in perception, considering several aspects including the transformations inherent to the recording equipment itself. One emblematic case is the making of horse footfalls by banging to halves of a coconut.
External Resources
There are many great resources on Foley porduction, namely regarding tricks and techniques that may be used to produce specific foley sounds, including:
- ...
- ...
