Building a FOLEY studio

skunky_funk · January 1, 2006

Hey guys, I was just thinking, are foley studios constructed differently from music recording studios? Of course the addition of film projectors or Video equipment in the live and control rooms are imperative, but as far as the acoustic enhancements and equipment are concerned, how different are foley studios from music studios?

I'm asking because I was considering if I upgrade my equipment and find a new place for my future production suite (cringes), I can accommodate foley and dubbing projects as well. And digital has made film sound much easier... How much more moolah do I need to make it a music + foley studio?

And by the way, should foley projects cost more than music projects? There is more budget in film, you know...

The Chinese · January 1, 2006

there are constructed VERY differently-

A) Foley studios have "Pits" built into the floor to accomodate footsteps. you will need 4-5 of these, one for water (yes you should have a drain), sand, Grass etc. You will then create "lids" of the pits w/ Hard Wood, linoleum, tile etc.

B) A Foley Stage is often much more "Dead" than a music tracking room. If you use it for both, take that into consideration as think about adjustable sound control.

C) You need STORAGE and LOTS of it for all the Junk you're gonna Buy at Garage sales.

D) you will have to buy different mics- Think Sennheiser 416, Shoepps, etc. Shotgun type especially if you start to also shoot ADR- you have to match what's being used in the field!

E) You're most likely going to need a DA-88 w/ a sync card installed. LOTS of Dubb stages still ask for this.

F) You're going to need the abiliity to deal w/ picture- If you want any serious work, you're going to have to get at least a 3/4" deck and a way to digitize this-don't rely on the Production company. You may need a synchonizer, although that's becoming les of an issue. If you do ADR, you most likely will due to the "last minute" type of Gigs those tend to be.

G) You need a house Black generator.

H) You are going to have to learn about Pull up and Pul Down. better have these cold, or you will ahve pissed off Re-recording mixers (me).

Ok, that's a start...

-Todd A.

greendoor · January 1, 2006

There is more budget in film - but it's not given to the sound guys.

Peter Jackson's foley studio here in New Zealand uses a bunch of Rode mics (and probably much better stuff too, but I know they bought some Rode mics).

I would think that the acousic noise floor would be more important than in most music studio's. Almost anechoic would be ideal. You need so many acoustic "spaces" that you can't really use a wet studio for much.

Quality of reverb unit is far more critical - and you need realism, not lush fake musical stuff.

Power quality will be important too. Video is more sensitive to crap power, but you need ultra low noise floor for the sound anyway.

I think creativity is more important than tools or budget - but I don't think you can get around having a large quiet studio space for foley. More so than music.

The Chinese · January 2, 2006

Originally posted by greendoor

There is more budget in film - but it's not given to the sound guys.

Peter Jackson's foley studio here in New Zealand uses a bunch of Rode mics (and probably much better stuff too, but I know they bought some Rode mics).

I would think that the acousic noise floor would be more important than in most music studio's. Almost anechoic would be ideal. You need so many acoustic "spaces" that you can't really use a wet studio for much.

Quality of reverb unit is far more critical - and you need realism, not lush fake musical stuff.

Power quality will be important too. Video is more sensitive to crap power, but you need ultra low noise floor for the sound anyway.

I think creativity is more important than tools or budget - but I don't think you can get around having a large quiet studio space for foley. More so than music.

Hmm...Yup, more good Points. The reverb happens during the Dubbing (mixing) step, so that not super critical, unless you are going to Mix yourself.

-Todd A.

skunky_funk · January 2, 2006

Originally posted by The Chinese

there are constructed VERY differently-

A) Foley studios have "Pits" built into the floor to accomodate footsteps. you will need 4-5 of these, one for water (yes you should have a drain), sand, Grass etc. You will then create "lids" of the pits w/ Hard Wood, linoleum, tile etc.

B) A Foley Stage is often much more "Dead" than a music tracking room. If you use it for both, take that into consideration as think about adjustable sound control.

C) You need STORAGE and LOTS of it for all the Junk you're gonna Buy at Garage sales.

D) you will have to buy different mics- Think Sennheiser 416, Shoepps, etc. Shotgun type especially if you start to also shoot ADR- you have to match what's being used in the field!

E) You're most likely going to need a DA-88 w/ a sync card installed. LOTS of Dubb stages still ask for this.

F) You're going to need the abiliity to deal w/ picture- If you want any serious work, you're going to have to get at least a 3/4" deck and a way to digitize this-don't rely on the Production company. You may need a synchonizer, although that's becoming les of an issue. If you do ADR, you most likely will due to the "last minute" type of Gigs those tend to be.

G) You need a house Black generator.

H) You are going to have to learn about Pull up and Pul Down. better have these cold, or you will ahve pissed off Re-recording mixers (me).

Ok, that's a start...

-Todd A.

Hmmm... Maybe I have to rethink my priorities...

The Chinese · January 2, 2006

Sorry man, don't mean to scare you off, but that's the reality if you want to go for it.

Also, Where re you located? If you're not in L.A. Area, then your going to have a tough time finding work....

-Todd A.

MorePaul · January 3, 2006

skunky

Are you only interest in film foley? (there is also foley for audio only production...the US market is probably going to be smaller than the Brit markeet for instance - both in terms of raw amount produced and in M.O. )

for more info on that I'd contat someone ike Yuri Rasofsky or maybe Jim French

As others have mentioned though -- the physical side of a foley studio can be pretty high overhead

skunky_funk · January 3, 2006

I am not even in the US. So if there is a niche market for foley in the US alone (hollywood I guess), how I wonder how I am gonna get steady income here in Manila, and there is no hollywood budget here. I just thought putting up a world-class foley studio would improve the sounds in our films. And maybe international projects can be rendered here as well.

So are you saying that films still do the standard syncing they used to do way back? SMPTE, and a master black burst generator is still needed? Surprisingly DA-88s are still the industry standard for film. Haven't they switched to PRotools? There are a lot of nice applications for Foley and ADR for Protools. Hasn't Hollywood jumped into that?

MorePaul · January 3, 2006

You might want to consider if you are interested primarily in sound design in general or actual foley

"world class" facilities...that's going to be majorly resource intensive.

for film specific sound design and the post associated with that, I'd contact someone ike Dane Davis for a perspective

The Chinese · January 3, 2006

Originally posted by skunky_funk

I am not even in the US. So if there is a niche market for foley in the US alone (hollywood I guess), how I wonder how I am gonna get steady income here in Manila, and there is no hollywood budget here. I just thought putting up a world-class foley studio would improve the sounds in our films. And maybe international projects can be rendered here as well.

So are you saying that films still do the standard syncing they used to do way back? SMPTE, and a master black burst generator is still needed? Surprisingly DA-88s are still the industry standard for film. Haven't they switched to PRotools? There are a lot of nice applications for Foley and ADR for Protools. Hasn't Hollywood jumped into that?

Ok, Your location does change things a bit-

A) You don't need H'Wood budget in order to make money.

B) your ideas about making Philipino cinema better are great!!! If there's no competition, then by all means, especially since i know there is outsourcing to Australia, Thailand, & NZ.

C) Film work tends to bet much more conservative than Video or TV Work. They still often speak in feet and frames.

D) a Master black generator is mandatory, however Phillipines is a PAL territory, right? Less need for the Pullup/down thing. Most films are 25 count -24 fr speed picture these days, so everything just works....

E) Holllywood has almost 100% jumped into DAW's. It's when you deliver that DA-88's are asked for (Although this is waning as well, but the alternative is to hand over a drive...not good if you're sending overseas, good luck ever getting it back...)

F) You're basic idea for being ablle to do post is solid, but i would do more than just Foley- being able to offer a opackage and having a facillity than can deliver will get you work, providing you know what you're doing and do it well.

-Todd A.

skunky_funk · January 3, 2006