Introduction

The role of the Foley Artist is largely unknown to consumers of film, yet it is immensely important in the production of any film project. Sound plays an important role in film, shaping mood, reinforcing narrative, and grounding the audience in the physical world of the story. However, much of what audiences hear has been created not on set, but in a specialised recording studio after filming has been completed and with the use of all manner of conventional and unconventional items using considerable creativity. 

This research project will explore the necessary skills needed for the role, the importance of the Foley Artist in realising and enhancing the vision of the director, the threats facing the profession in a changing industry, how one would find opportunities as a Foley Artist within the wider film industry as well as what my own style of production may be, how I intend to develop as a Foley artist and finally; how I would create opportunities within the industry and market myself.

Origins of Foley

Foley recording originated, not in film, but in live radio broadcasts of the 1920s and 30s. Whilst sound recording methods such as phonographs where available at this time, playing sound effects back using such technology was unrealistic given how low the quality of the audio was as well as its unreliability in live broadcasting (masterclass, 2021). This created the need for Foley artists who could create sound effects live and on cue. Jack Foley (1891-1967) was the most prominent of this new profession and he went on to produce Foley for the film industry when film began to incorporate sound during this time (Masterclass, 2021). Jack Foley is credited as the one to have  “almost single-handedly developed the craft”  (Encyclopaedia Britannica, n.d.).

The process of a Foley artist

The job of the Foley Artist is to convey the physical reality of scenes in film by providing the everyday sounds we expect to hear, as well as those that exist only in the director’s vision (344 Audio, n.d.). 

The process of producing Foley begins during the ‘Spotting Session’, in which the director, supervising sound editor, music editor, and Foley editor comb through each scene to determine how many instances of Foley are necessary, which can often “number in the thousands” (Berklee, n.d.). Following this, the Foley Artist gathers the relevant props and materials and records the sound effects at the ‘Foley Stage’; a space that is stocked with countless textures, surfaces, and objects with which to recreate sounds (MasterClass, 2021).

Sound effects are recorded to the footage of the scene, performing the sound effects in time to the rhythm and timing of the scene. This produces sound effects that are properly tailored to the timing and character of the scene (unlike those drawn from a sound library) meaning they are ultimately more organic and arguably superior.

There are three main categories of sound effect to account for: Feet, Movement, and Specifics (MasterClass, 2021).

Feet (or footsteps) are among the most common tasks for Foley artists. The original footsteps of the actors/actresses are difficult to capture at the quality needed while filming the scene; hence the need for Foley. When imitating footsteps, the Foley artist will select from a wide variety of shoes, differing in weight, size, and material; choosing the pair that suits the specific characteristics of the footsteps (e.g. stature of the wearer). The Foley stage itself allows the artist to also mimic the terrain (e.g. snow, gravel etc.) of the scene by using small surface areas which provide different substrates of different textures; known as ‘Foley Pits (Bloom, 2009; Maher, 2016).

Movement is the category of sounds produced by the interaction of objects, surfaces and people; for instance, “two people brushing past each other” (Woltmaan, 2022).

Specifics are other instances of sound that are absent from the original footage: creaking doors, running water, and also the most impactful sound effects, such as breaking bones, which are often mimicked by breaking celery, and gun shots, which may be mimicked via staple guns (MasterClass, 2021.; Stearn, 2025)- sounds which make scenes such as violent fight scenes convincing. Specifics sometimes require a more unorthodox and inventive approach, making it the most creative aspect of the role.

Skills Needed

In order to become a Foley Artist, there are a number of skills that are indispensable. 

One example is sound recording and editing. Before digital recording, Foley Artists recorded sound effects in, ideally, one take as the film played in its entirety during post-production. This was likely due to the cost of recording tape and budget/time constraints. This demanded a great deal of preparation and performance precision, as mistakes were not easily isolated and re-recorded. Today, digital recording and sound editing software allow Foley recordings to be undertaken in greater detail as digital recording allows for practically limitless takes, whilst editing software means that takes can be shaped further (MasterClass, 2021).

Knowledge of different microphones is also an important aspect of this. For example, knowing which type of microphone is best suited to the environment being recorded for: if a scene is shot indoors, a hyper-cardioid condenser microphone is ideal (Hibbard, 2015), as it is highly sensitive and capable of capturing subtle, detailed sounds (such as ‘movement’ sounds, e.g. folding clothes) with low noise (Simmons, 2021). On the other hand, recording Foley for an outdoor scene may call instead for a ‘dynamic’ or ‘shotgun’ microphone, matching the kind of microphone that would likely have been used on location during the shoot (Hibbard, 2015).

Knowledge of microphone placement is equally important. According to Foley artist Leslie Bloome, “proximity and mic placement is key to the job” (Bloom, 2009). For close-up shots (such as an actor/actress writing on a page) the Foley Artist must provide sound effects that match the intimacy of the scene, often simply by performing the effect in closer proximity to the microphone. Conversely, where a scene is more spacious in its environment, the microphone may be positioned further from the source to replicate the distance present in the original footage. (Hibbard, 2015).

Given that Foley is performed, skills such as timing are also important to develop. In regards to timing, the Foley artist must internalise the rhythm and pace (e.g. when recording footsteps) of each scene and reproduce it consistently and accurately across multiple takes (CareersInFilm, 2025).

Creativity and problem-solving are also important skills. When recording, for example, ‘Specifics’- a Foley artist may need to design sound effects for a fictional creature and there are often very unique sounds that the director may have in mind. Therefore, Foley artists must be able to experiment with many materials, custom made props and techniques to realise the director’s vision (Vaughan, n.d.).

Becoming a Foley Artist

The availability of employment for Foley artists within the film industry is limited. Only a relatively small number of Foley Artists work at any given time, and it is difficult to maintain a career that is solely Foley work. The reason for the limited size of the industry is mainly lack of demand which, in turn, is due mainly to budgeting constraints (Berklee, n.d.; Chen, 2002).

Finding your way into the industry of Foley is seldom direct. There is little in the way of formal apprenticeship programmes specifically designed for aspiring Foley Artists. The reality is that you will likely need to begin by working in other roles within the film industry adjacent to Foley; ideally post-production sound roles such as ‘dialog editor’ or ‘dubbing mixer’. From there, you may gradually find your way into Foley work. Because of this, an education in this area would be a valuable asset- this may be degree level or pre-university formal education; for instance, an A Level in Music Technology or a degree study in Sound Engineering (ScreenSkills, n.d.). 

In terms of learning the craft,  Foley Artist Jay Peck, whose credits include Roma (2018), advises learning under an established Foley artist in order to acquire necessary skills and experience: “I think the best way is to find a facility that has a Foley studio and apprentice under someone that has thorough experience working in the field and the need for assistance” (Peck, 2025).

Gaining experience early on is important and is generally accumulated by working (often for free) in student and small indie projects. When doing these small projects, it is important to ensure that you are mentioned in the credits and, ideally, have permission to use sections from the project for your showreel. This early material will form the basis of a portfolio (CareersInFilm, 2025).

As with other roles in the film industry; networking is an important aspect of both creating and sustaining a career. Attending film festivals and industry events, and building connections through independent projects are all important methods of finding work (CareerExplorer, 2024).

Many Foley artists work as freelancers. Given the intermittent nature of Foley work, many artists supplement their income by working in aforementioned adjacent areas of post-production (Berklee, n.d.). Working across multiple areas of sound production is often a financial necessity, but it holds the advantage of gaining further experience in sound post production, which is valuable knowledge for a Foley artist.

Enhancing the Director’s Vision

As previously discussed, Foley is a necessity in creating realism in a scene by supplying the sounds we expect to hear and would certainly notice if absent. However, Foley work often extends to the defining elements of a film that allow the director’s vision to be realised

A clear example of this can bee seen in the film ‘A Quiet Place’ (2018), directed by John Krasinski. In this film, sound (and its absence) is at the forefront of its narrative, and is a crucial plot device. As Krasinski himself noted, “sound was going to be a character, if not the main character above all else” (James, 2019). This presented a challenge for the Foley team, as the scarcity of sound meant that any Foley carried twice as much dramatic weight and was exposed to far greater scrutiny. As co-supervising sound editor Brandon Jones described it: “All those little details are exposed. They’re going to hear every single footstep and it’s got to be just right” (Aldredge, 2018).

As well as the added pressure on the foley team, Krasinski’s vision for the film’s monsters (blind creatures which hunt via sound) were to be contended with and required the creation of suitable ‘specifics’. In response, the team based their approach on the echolocation of real-world animals (e.g. bats), which they represented with a ‘clicking sound’. The source material for this clicking was created by applying a stun gun to a bunch of grapes, which was then ]further processed in post-production (Aldredge, 2018). This is just one example of the importance of the Foley artist in realising the director’s vision.

Production Style

Foley artists are often subject to the demands of the director when it comes to production style. According to Foley artist Marko Costanzo, in a 2016 interview; “Some like it big and over the top. Some like it subtle and more realistic.” (Toffolo, 2016). This makes establishing a production style challenging.

In terms of my own emerging production style, I gravitate towards that of Jack Foley himself. Foley is careful to not overlook the minute details of the more run-of-the-mill Foley jobs, ‘Feet’ for instance. Jack Foley seemingly viewed this category of Foley work as important in supporting and capturing the personality and attitude of the actor/actress in the scene and even commented on the individual nature of legendary actors’ footsteps; James Cagney’s footsteps as “clipped” and Marlon Brando’s as “soft” (Vaughan, n.d.). This is a sentiment that is echoed to an extent by other more contemporary Foley artists: Marko Costanzo; “You need to be able to portray, through the body language of the actor, what emotion they are presenting” (Toffolo, 2016). This is as much a philosophy as it is a production style, however, it demonstrates a focus on detail and the dramatic impact of that detail.

Marketing

Seeing as working as a Foley artist often entails freelance work, a strong online presence is essential for finding opportunities. The previously discussed networking methods (attending events etc.) are important, however they need to be supported by a visible and professional presence online. 

The most important element of building an online presence is maintaining a portfolio website. This should include a showreel of around two to three minutes, audio clips of Foley work, a short biography covering experience and background, and a clear contact page. You may also write a short written description of the brief behind each piece and make your contributions to each project clear (ScreenSkills, n.d.). The showreel should demonstrate your ability in the three categories of sound (Feet, Movement and Specifics) as the ability to perform all three is non-negotiable for a Foley artist (CareerExplorer, n.d.).

Social media is a valuable tool in terms of building your network within the industry, as well as increasing your exposure to post-production studios etc. by demonstrating Foley and its process to those who perhaps have not heard of the role; which in turn may increase your chances of attracting the attention of those within the film industry (CareersInFilm, n.d.).

Threats to the Role

Today, artificial intelligence poses a threat to many jobs; and Foley is no exception. Companies are already developing software designed to generate Foley sound automatically, though according to Professor Rodger Pardee of Loyola Marymount University, “the results so far lack the subtle, specific variations” that human performance provides. Pardee suggests that independent studios may adopt these tools in the future, but does not expect major studios to follow (Whitten, 2025). Despite this, the future of Foley seems somewhat dubious.

The volume of available work is also shrinking for other reasons. Studios are “making fewer movies right now.”, according to Foley artist Gary Hecker. The decline is owed to executives who have become more budget-conscious, cutting output beyond “typical blockbuster franchises” (Whitten, 2025). ‘Streaming’ content in particular does not carry the same sound budgets as feature films, with productions often turning to smaller Foley houses or foregoing significant Foley altogether (Whitten, 2025).

Vision for Future Projects and Career Development

As previously discussed, becoming a Foley artist often requires working in adjacent roles within the film industry. As a Music student I am equipped with some practical experience of microphone technique and studio recording and, fortunately, I already possess an A-level in Music Technology. Therefore, the groundwork for a number of the core technical skills required in Foley work is already in place and I am in a stronger position to find opportunities within sound post-production. Studying this cross-pathway course (Structure and Functions of the Film Industry) also provides an avenue into the kind of networking that this research has identified as important in finding early opportunities. Working alongside students who are actively engaged in, or intending to pursue, roles within the film industry means that the potential for involvement in small-scale and DIY projects exists now. These early collaborations, and the practical experience I can potentially accumulate, will allow me to begin to construct a portfolio, which will aid me in acquiring future opportunities.

Conclusion

Despite the anonymity of the role of the Foley artist, it remains essential in the making of any film of substance. As this research has shown, Foley does not simply fill in missing sound — it shapes how an audience experiences a scene and, in many cases, is the means through which a director’s vision is fully realised. The role demands technical skill, creativity, and an understanding of how sound supports storytelling. Getting into the profession is difficult; requiring an investment of time in other roles within the film industry and as with so many other roles, networking and connections are critical.

Work is scarce and becoming more so because of executives prioritising budgeting and profits and developing A.I.; however, Foley is still irreplaceable in terms of quality and has been since Jack Foley. No algorithm has yet matched the ability of a human performer to respond to what is happening on screen with the timing, weight, and intention that the moment requires. That said, I intend to use the aforementioned research to begin working toward contributing to this undervalued role in the film industry, building on the technical foundation I already possess and the connections available through this course.

Bibliography

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