Upon reflection of my focus to create a plausible sonic story. I took myself on a foley workshop with foley artist Karolina Jedrzejczyk. Karo has worked on an extensive amount of projects ranging from feature films and TV series to artistic exhibitions. I joined Karo and her recorder Veronica in a week of foley-making on a new series of Disney Plus based on the 20th anniversary of the 7/7 bombings in 2005. This project felt perfect relating to my newfound approach to designing for Where The Sea Does not Follow and the investigation I followed regarding the post-production for Society of Snow.
Similar to Oriol Tarragó’s artistic attitude Karo chose to go down the realism approach towards her foley work. When recording feet on the tube scenes she had contacted TFL to use their carriages – guaranteeing sonic credibility.
Alongside watching their recording process I was able to help edit their foley for this series which taught me the techniques for post-production work – ready for when I eventually create sound design for Where The Sea Does Not Follow. I felt this workshop really opened my eyes to different ways of ensuring sonic truth. Whereas before I had relied on sound design and sound FX – here I was taught the importance of foley and its ample effect upon the end mix. I gained experience within the industry and solidified skills later to be used within my up-and-coming project.
