AN INTRODUCTION TO FOLEY

The film industry is known to be a complex and multifaceted field. There are numerous creative roles, available within wide range of sectors, that creatives with a variety of skills and assortment of talents can pursue. Film music composers often receive the spotlight for a film’s overall soundscape and score, yet so much more goes into a film’s overall sonic environment other than just the musical composition. The sonic dimensions of a film are complex and often an under-appreciated aspect of cinematic production. The ambience, dialogue and sound effects are just some of the lesser praised auditory elements, responsible for shaping the narrative and emotional impact on an audience. Foley artists are responsible for creating diegetic sound effects that match the on-screen action, which takes place during the post-production phase of a film. They play an intricate yet, debatably, overlooked role in crafting the sound. Even though effects editors today have access to a myriad of sound effects, combined with equally developed software, they still often struggle to find certain sounds which specifically cater to match onscreen action perfectly. This is why foley plays a crucial and irreplaceable part in creating the sonic cohesion of a film.

To create specific effects or soundscapes foley artists use “an arsenal of props” (Berklee, 2000) to record ‘everyday’ sounds needed in films. They most commonly record things like footsteps, clothing rustling, doors opening and weapon sounds. They think in “creative and innovative ways when approaching sonic reproduction” (ibid, 2000), often resorting to “strange methods to create believable sounds”. Common techniques include producing the sound of rain through the sizzling of frying bacon (Tan, 2019). This essay argues that, despite often being positioned beneath composers and sound designers within industrial hierarchies, Foley artists play a crucial creative role in shaping the narrative role in modern cinema sound design by, enhancing audience immersion, supporting directorial vision, and adapting to ever-evolving technological and industrial conditions of the global film industry.

FUNCTION OF FOLEY & CREATIVE PRACTICE

Despite the significant creative freedom given to Foley artists in shaping sounds that align with the narrative, there are certain core sound effects that are consistently required across most projects foley artists will take on. Typically, the sounds effect includes things like footsteps; “…footsteps of the main character are recorded very early in the process. This isn’t as easy as walking by a microphone. Foley artists wear certain shoes and walk on specific surfaces to attain the right sounds for a film.” (Michael Maher, 2016). The surfaces are called ‘foley pits’ which are made of many different flooring types so artists can easily and accessibly walk across surfaces such as carpet, grass, pavement alongside many others.

Media A: Foley Pit example.

Foley artists typically operate by manufacturing purely diegetic sounds, which refers to any audio embedded within the narrative of the film, audio that can be heard and perceived by the characters on screen, in contrast to non-diegetic sound, which only the audience can hear. Foley is consistently developing creativity ingenuity over time to produce convincing realism, particularly in films where violence and physical impact are major plot points. For instance, during the film Fight Club (1999) the foley artists, John Roesch and Hilda Hodges, used unusual techniques like “shattering chicken carcasses with baseball bats, cracking walnuts inside them, smacking around slabs of meat with pigs’ feet, and then processing them” (Gibson, 2021) to create a unique, organic, and detailed soundscape while refining the violence in the movie. Due to the film’s constant emphasis on violent, physical impact, Roesch and Hodges had to carefully craft a convincing yet inconspicuous sonic realism that would accentuate the visuals’ intensity without drawing attention to the sound itself, “you’re not meant to notice sound, because good sound design is meant to be paired so perfectly with the visuals that the audience shouldn’t notice.”(Fusco, 2017). David Finchers directorial vision required a deliberate shift toward greater sonic complexity as he wanted a cohesive, yet textually varied approach to the sounds. The intricacy and detail taken over the sound separates Fight Club from earlier violence movies such as Rocky (1976) where the repetitive punches result in a less nuanced and flat sonic texture (ibid, 2017).

SECTION 3: COLLABORATION & DIRECTORIAL VISION

Foley is not only a technical process but also fundamentally collaborative, paired with significant creative autonomy. A key function of being a foley artist is working closely with the director to successfully enhance their intended vision for the film. When directors shoot a film, their initial concern is imagery and whether a film is convincing an audience visually, their priority is not shaping the sonic cohesion of a film during shooting. Directors tend to focus on the action and an actor’s voice, knowing the rest can be cleaned up in post-production. During a film’s production whilst shooting, the depiction of sound is not at all accurate or suitable for cinema release. For example, sword fights are often made from plastic props, not only for budgeting reasons but also safety, and the heavy marble floors then often scrape across are usually made from materials such as plywood. Without foley artists, the sense of realism and cohesion of a film would feel not only lacklustre but also inaccurate. The poorly captured sound during filming would weaken the credibility of the on-screen action and make the focus on visual efforts during production worthless. It is the post-production work that brings a film to life, enhancing the director’s vision and creating a consistent sonic environment throughout. Artists typically sit down with directors and have a spotting session, this provides them with a clear understanding of the work that needs to be done ahead of time, it also provides them with the ability to keep track of the recording process much clearer they will often spend “10-14 hours spotting a film… depending on the number of characters, frequency of texture changes, and how rapidly a scenes change” (Pridachin, 2021).

APPROACH:

Practitioners must also contemplate and immerse themselves with the film’s tone, pace and genre to successfully align with a director’s creative vision. This requires Foley artists to adapt their sound for a specific genre. For instance, footsteps in a horror film would be heightened, texturally, to create tension, whereas in a drama, they would focus more on subtlety to maintain naturalism and realism. Horror is a genre that takes “advantage of every sensory impulse to evoke fear” (Murthi, 2022) and is often a more complex genre for foley artist. Practitioners often must go above and beyond the creative methods to create an audible landscape that is both unsettling yet realistic. Foley artist Jack Peck, who worked on ‘Midsommer’ (2019), describes the difficulty he faced with designing the sound of someone’s head being pounded, “there was nothing else you could use besides a big side of beef”. Thankfully, in this case, there was a pig head available on set. He used a “wooden stump to hit it, and it was pretty grisly.” Whilst going to extreme creative methods to, successfully, convey a sense of realism, Peck described the clean up afterwards as less rewarding. This example also highlights the resourcefulness in Foley art, as the pig head was reused in another project, ‘The Dead Don’t Die’ (2019), noting that Foley can also be a recyclable trade! Beyond the more gruesome and exaggerated sounds, it is also crucial in horror to strategically utilize silence, and timing is essential in evoking anxiety. Moments of silence before a sudden sound is a technique frequently employed in horror sound design to provide a ‘jump scare’, heightening audience fear and dread. Ultimately, horror is as much about psychology as it is technology when it comes to creating a successful sonic atmosphere. Foley artists understand that “fear thrives in the unknown”, so exploiting “distortion, pitch shifts and reverb” to make “familiar sounds feel alien” is a key element to successful Foley work in the horror genre (Marks, 2025).

Media B: Jay Peck, Foley practitioner for Midsommer (2019), using a severed pigs head as a Foley prop.

SECTION 4: IDENTIFIABLE PRODUCTION STYLE

Entry into Foley and the post-production industry often initially reflects a more informal and less fulfilling nature of work, where practitioners, and anyone looking to have a durable career within the film industry, often begin as runners on set. Not only does this function as your training ground for how a set functions, but it also provides you with an evaluative space where you can decide whether this industry is really for you. Alongside developing a practical knowledge of production workflow surrounded by professionals around you. After reading an interview with Foley practitioner, David Cherry, he noted “most people start out as runners… it’s kind of an audition to see how you would fit in and your overall work ethic” re-establishing the importance of developing industry knowledge and building a demonstrable portfolio for clients to reflect on your competence and reliability. However, possessing audio qualifications would set you apart from other prospective applicants and would enable a natural progression into junior sound engineering roles. This suggests that whilst the industry continues to promote and support freelance, remote work, it is still vital to gain workplace integration to set you apart from other candidates (Wyatt, 2020). Another research into an interview with Phil Barnett, the managing director of Universal Sound, he explains the need for Foley is “only growing”, and there’s been an influx of need in different genres of television “we’ve noticed an increase in the amount of television requiring Foley. It used to just be drama productions and natural history that tended to use Foley, but recently we’ve been providing Foley across the whole range of television including documentaries, sitcoms and soaps.” (Donnelly, 2015). Whereas the use of Foley in games is designed very differently from how it is in film and television work. In film, Foley is tailored to a much more linear, singular performance, whilst for gaming purposes it must be much more interactive and multi-layered as it must dynamically react to players. Game audio can also come across as more alive, as it is more common to record multiple variations of the same sound and then randomise the output. Andrew Lackey, a Foley expert in gaming, explains how the right sound often takes longer than for films as they have to be monitored at a much lower volume than in film’s, “Foley for games is typically monitored at levels around 10 dB lower than the standard 85 dB SPL used in film, requiring more pronounced sound design to maintain clarity” (Isaza, 2009). 

SECTION 5: CREATING EMPLOYMENT OPPORTUNITIES

Foley practise is an ever-changing industry shaped by frequent technological and industrial developments; this requires practitioners to adapt and evolve with new standards, techniques and forms of technology. Prior to the rise of Foley, during the silent film era, sound in cinema was external to the film itself, and its only aim was to provide entertainment. The release of The Jazz Singer (1927) was a pivotal moment in cinema history, and it was the first film to introduce sound and add synchronised sound effects, launching what was to become a rapid shift in the film industry, introducing foley to soon become a standardised component of cinematic sound production. During the Golden Age of Hollywood (1930s-60s), Foley artists operated within dedicated studio spaces within the sound departments of large production companies. Practitioners were typically employed under full-time contractual agreements within the industry’s hierarchy. They would perform and record within custom-built spaces which were specifically designed for synchronisation and sound production. This system facilitated the establishment of strong relationships and made networking accessibly incredibly easy. However, it also placed artists lower in a film’s hierarchy and restricted their artistic autonomy because of restrictive studio control. However, there has since been a natural progression to more contemporary practise of Foley, which reflects a significant shift away from this original studio-based model, with many artists now working remotely in home-based or project-specific, privately owned spaces; this reflects the industry’s clear shift to toward catering freelance work and decentralising studio-based production, expanding access to the industry, lowering the more traditional entry barriers whist increasing competition within a more globally distributed workforce.

PROMOTIONAL PACKAGE & ONLINE MARKETING

Developing a career in Foley does require strategic self-promotion and with increased competition on social media presences, it is debatably harder to distinguish yourself from other practitioners. Audience engagement often begins with a disciplined self-exposure, often through creating showreels, which serves as an entry point and your introduction to the world as a Foley artist. It can be key to show before/after examples within your showreels, to demonstrate has your services as Foley practitioner can elevate a project. Creating a website alongside posting on platforms such as, Instagram, YouTube, TikTok and LinkedIn are varied ways to get your content across to a multitude of creatives.

Reading an interview with practioner, David Cherry, he explains that for BBC series ‘Earth’s Tropical Islands’ (2020) the entire project was recorded on mute and that every footstep, and animal sound you heard was created by the foley team, including the irony that when capturing footsteps on snow they “normally use sand… and cornstarch for that added ‘crunch’, your ear hears snow but in actuality it’s sand” (Wyatt, 2020).

SECTION 6: FUTURE PROJECTS & CAREER DEVELOPMENT

Beyond its creative functions, foley artists require the ability to be realistic and proactive in response to the continuous technological and industrial change. The rise of high-quality sound libraries paired with their widespread accessibility have become increasingly paramount and has significantly reshaped sound production standards and industry expectations. Advanced editing software such as Pro Tools and immersive surround sound technology such as Dolby Atmos have unknowingly transformed audience expectations and the speed of production standards. A Foley artist not only needs to master the traditional ‘performance’ techniques but also develop proficient skills with ‘post-production’ editing. There is a growing fear amongst the Arts that with the rampant growth of Artificial Intelligence, many careers will be lost. However, “Foley artists remain a stalwart and deeply human part of the moviemaking process.” (Whitten, 2025). The individual performance element of the craft makes it difficult for studios to adapt AI to the same standard. Sustainable careers within Foley art depend on diversification, continuous professional development, and the strategic expansion into broader sound design practices, ensuring both economic resilience and creative longevity in an industry characterised by technological expansion.

Media E: An example of a Foley Artists ProTools project.

CONCLUSION

Foley artists have consistently demonstrated over time, despite their role often being overshadowed by a film’s composer, that their creative integrity and importance in shaping a films sonic atmosphere is vital. They have proven to be crucial collaborators amongst sound designers, adding a multitude of layers to a film’s sonic cohesion. Foley practitioners enhance narrative realism and shape the listeners experiences with such subtlety; their trade often goes unnoticed by an audience. The effectiveness of foley on a project is demonstrated by their imperceptibility, as a well-integrated soundscape blends seamlessly within the film. Although a modern career in Foley does require continuous maintenance and resilience to keep up with ever-evolving technology, its integral significance to the film industry, I think, will always remain secure. Whilst advancements in AI and technology persevere, they can’t replicate the sensitivity that comes with human-made sonic storytelling. Directors and creators within the arts also appreciate and understand the value in keeping the industry of Foley alive, and that crafting specific, nuanced soundscapes extends beyond a pre-recorded, downloadable library is much more personable to a listener. The ability to be original not only enhances a films credibility and authenticity but immerses the auditory experience.

BIBLIOGRAPHY:

Berklee (2000). Foley Artist | Berklee College of Music. [online] Berklee.edu. Available at: https://www.berklee.edu/careers/roles/foley-artist.

Donnelly, C. (2015). Welcome To Zscaler Directory Authentication. [online] Designingsound.org. Available at: https://designingsound.org/2015/07/31/the-business-of-foley/

Fusco, J. (2017). Watch: ‘Fight Club’ Demonstrates the Visceral Power of Sound Design. [online] No Film School. Available at: https://nofilmschool.com/2017/02/sound-design-foley-fight-club

Gibson, A. (2021). Some of the strangest Foley sounds in cinema. [online] www.acmi.net.au. Available at: https://www.acmi.net.au/stories-and-ideas/the-strangest-foley-sounds-in-cinema/

Isaza, M. (2009). Andrew Lackey Special: Foley Sessions for Games. [online] Designingsound.org. Available at: https://designingsound.org/2009/12/11/andrew-lackey-special-foley-sessions-for-games/

Marks, T. (2025). How Foley Artists Create Terrifying Soundscapes for Horror. [online] 7BU. Available at: https://www.7bu.com.au/trending/entertainment/how-foley-artists-create-terrifying-soundscapes-for-horror/

Michael Maher (2016). Foley: The Art of Making Sound Effects. [online] The Beat: A Blog by PremiumBeat. Available at: https://www.premiumbeat.com/blog/art-of-making-sound-effects/

Murthi, J.C., Vikram (2022). The Hardest Horror Movie Sound I Ever Foley-ed. [online] Vulture. Available at: https://www.vulture.com/article/the-hardest-sound-i-ever-foley-ed.html

Pridachin, Y. (2021). How To Cue a Foley Session. [online] foleyfirst.com. Available at: https://foleyfirst.com/blog/how-to-cue-a-foley-session/?fbclid=IwAR1ykeQdf4bvbW0b4QfwRgPcYNxrvY9VWyNRJLkyNgrRFazkCSvFp6qTS8A

Tan, M. (2019). Foley Artists, The Unsung Heroes Creating Realistic Sound For Film And Television. [online] Sound of Life. Available at: https://www.soundoflife.com/blogs/people/foley-artists-the-unsung-heroes-creating-realistic-sound-for-film-and-television

Whitten, S. (2025). This old-school filmmaking technique is still kicking even as AI takes on a bigger role in movies. [online] CNBC. Available at: https://www.cnbc.com/2025/03/29/foley-artists-movies-hollywood.html

Wyatt, A. (2020). David Cherry Interview – Life as a Dubbing Mixer and Foley Artist. [online] insider.dbsinstitute.ac.uk. Available at: https://insider.dbsinstitute.ac.uk/david-cherry-interview-life-as-a-dubbing-mixer-and-foley-artist