Introduction
My mother has repeatedly told the story of a professor she once had, and described him as an eccentric character. Among some of his more unusual ideas was one that seemed relatively wise to her. He told the class that he had no hobbies and that was simply because he found his profession so fulfilling and enjoyable that he felt no need to stray beyond his immediate field.
I imagine that many of us envy the protagonist of my mother’s story as most of us want to have a profession that feels like a calling. My research for this assignment has led me to believe that being a Foley artist might be this calling for many aspiring music students.
What is a Foley artist?
It is the job of a Foley artist to create or recreate and even amplify sounds post-production in films, TV, or games that were initially recorded (or not recorded). These sounds, however, do not include voice or music.
During the process of filming, sound-wise, three typical scenarios can occur that are the responsibility of a Foley artist:
1. The true sound of an event, both in terms of clarity and/or intensity is not captured in a way the director wants.
2. The actual sound that the action created can be captured, but this real sound, when played in the film, does not seem to be believable to the audience. The sound is not what the audience expects to hear.
3. There can be an action in a film that doesn’t actually make a sound, for example, the flaps of a bird’s wings. If we were observing the bird, we probably couldn’t hear such a sound, but the director might determine that this action should be represented sonically. In other words, there will be times where the Foley artist gives sound to a soundless event.
An example of recreating a sound that could be captured, but not in the way that was wanted, is demonstrated via the short video of a professional Foley artist at work (Video 1). In it, you will see the Foley artist recreating the sound of someone walking up or down stairs, which interestingly is not reproduced by simply re-recording someone walking up or down stairs. Instead this video demonstrates how up-and-down-stair footsteps are created and differentiated, sometimes by only one foot, of a Foley artist – and not on a staircase.
In other words, the job of a Foley artist is to create sounds that the audience would never imagine isn’t original to the event, but instead, believes that it is real.
Who is suited for this job?
A Foley artist is a multi-skilled position. Therefore, a multi-faceted person is best suited to this type of work.
Physical Requirements: This is often a physically demanding job. Thus, taking pleasure in regularly exerting oneself on the job is a fundamental requirement. Further physical requirements include a high level of coordination because timing is so critical. In addition, a highly sophisticated ear in terms of sound detail is necessary.
Verbal Requirements: A strong command of the English language both orally and in writing is a requirement that is mentioned in a number of websites.
Technical Requirements: Of course, a strong DAW skill set is required, and for big studios, Pro Tools skills are most in demand. In addition, proficiency (if not higher) in sound, recording, editing, mixing, and design is highly advantageous.
Soft Requirements: Certain types of personalities are best suited to Foley artistry. One of these is a high level of observational and human sensitivity skills that are described as being critical for success in this field. For example, when recreating the sounds of someone ascending or descending a staircase, it is not simply a matter of just reproducing the sounds of feet on steps; a Foley artist needs to be able to differentiate between sounds produced from going up stairs versus going down stairs. Likewise, the artist needs to be able to differentiate the sounds of different types of shoes on different types of surfaces, that different sized people make at different speeds – and within each of these categories, the artist needs to be able to reflect the walking style of the actual individual person, Tom Cruise versus Christin Bale, for example. This is a job for highly creative and patient types, the type of person who can imagine that a slinky and a piece of paper, for example, could create the Star Wars blaster sound effect – and has the patience to test the idea extensively, both on a sound and on a timing basis, until perfection is reached. Finally, it goes without saying that if you are not a good problem solver, this is not a job for you.
Although Foley artists can be generalists, they can specialise in certain types of sound making. Just as examples, there is a specialisation in footstep creation and one in environmental sounds (wind, rain, etc.).
On a day-to-day basis, as mentioned above, a great deal of physical activity is to be expected. The dBs Institute of Music’s website describes job turnaround time as being short, which translates into an intensive work schedule. As can be imagined, in addition to “simply” just creating sounds, a Foley artist works with others involved in the project, especially from a sound perspective. Depending on the project, this can include sound designers and directors. It is important to note that although the day-to-day work can be exciting and invigorating, unless one is hired by a studio, a Foley artist works gigs, and once the gig is over, another one has to be found, something that is not at all exciting and invigorating.
BTEC Path
There are a number of BTEC choices recommended for those who might not want to go to university but instead would like to immediately start working in the industry either as an apprentice or even, if lucky enough, as an employee. There are quite a wide range of appropriate BTECs that lead to this path including Music, Film, Sound Production, and Music Technology as examples.
Degree Path
Undergraduate degrees in Foley artistry do not seem to be offered although post-graduate courses do. Instead, undergraduate degrees in Music, Music Production, Music Technology, and Sound Engineering are all examples of typical backgrounds of Foley artists. However, a range of universities do include Foley studios in their music departments, providing students with an opportunity to gain a level of experience and expertise, both of which are highly advantageous to get a foot in the door of this very competitive field.
Non-Academic Path
Although a music / sound engineering degree is of benefit, especially to advance within this profession, it is not a requirement. In fact, even a degree is not a requirement. Instead, shorter courses can provide training, experience, and access to the industry. Examples in the UK include the following (some of which include Foley courses as part of another course). I have included some links to make exploration of these courses easier. They are listed in alphabetical order:
London College of Foreign Trade (LCFT)
National Film and Television School (NFTS)
Experience
Internships are an ideal way in which to build both skill and experience, but of course, are very competitive. Overall, any experience at all that an aspiring Foley artist can gain is critical for a chance to break into the field. A number of websites recommend trying to work with film students, small independent film makers, and even with theatres, starting out working for free until you have several projects behind you.
Apprenticeships also provide strong opportunities to gain experience while potentially providing contacts for future employment. According to the website “My First Job in Film”, Pinewood Studios has a strong apprenticeship program.
Portfolio
A portfolio is considered essential, and today many aspiring Foley artists maintain active social media accounts in order to demonstrate their skills and maximize the visibility of their work and experience. YouTube, TickTock, Instagram, and LinkedIn are key popular sites for this as well as for forming contacts.
It is vital to be fully aware of laws governing copyright restrictions when creating a portfolio. For example, if you want to publish a sample of work that you created while working for someone else, it is important to know that the work belongs to them and not to you. Therefore, without a specific release from the copyright holder, you cannot publish the work. This rule, of course, applies to any photos, videos, or music you use in your posting. If you do not receive rights – in writing – you cannot legally use the material. If you do receive written rights, the permission must be listed.
CV
Regardless of your educational background and what path you take, it is vital to have an up-to-date CV. You can send your CV out to companies and ask if they are hiring. If there is a positive response, it is critical to be able to respond quickly.
Having a Mentor
The Berklee College of Music (Boston, USA) recommends trying to find a Foley artist who would be willing to be a mentor. The website mandy.com makes the same recommendation and suggests contacting potential mentors directly. That can be intimidating for a lot of people, but as the saying goes, “You never get what you don’t ask for”. Similar to having a mentor, it is important to network and attend events where potential contacts can be found.
Types of Jobs
There are two main categories of work as a Foley artist. One is working for a major studio and the other is working freelance. Overall, jobs are highly competitive, and freelance work tends to be more the norm than the exception. The challenges of this type of industry mean that in addition to the hard work excelling in any field requires, a Foley artist must have the determination and stamina to continue to hunt for job after job and be comfortable with continual self-promotion, self-marketing, and networking.
As mentioned, Video 1 shows what a Foley artist does. It also demonstrates the high level of skill required to be a Foley artist. In order to further illustrate how difficult their work is, I tried a little bit of Foley artistry myself (Videos 2, 3, & 4). Video 2 is a video of popcorn popping with its orginal sound. Video 3 is the sound of a naan bread packet being crackled. Video 4 is the original video edited with the sound from Video 3.
Career Progression
Like many jobs within the arts, entering this field can be challenging, and even with an appropriate academic background, there are no guarantees. A number of websites suggest starting in almost any entry-level post-production sound position in order to get a foot in the door, from which promotions should occur. Examples include positions in post-production or as a production assistant or even as a runner.
Once someone has been able to land a job, if it is within a studio, career progression works as it does with most jobs (although different studios use different job titles). Starting positions progress to ones with titles such as Foley artist and further on to Foley supervisor and lead or senior Foley supervisor and then to supervising sound editor.
According to the employment website “Glassdoor”, the average Foley artist salary in the UK is £29,000. “Indeed”, a similar jobs website, lists the average salary as slightly higher: almost £34,000 a year. As with many professions, salaries in London tend to be higher with an average of £42,000 a year.
Industry Outlook
Although Foley artistry is a very competitive field, the outlook is positive with an 8% annual growth projected through 2030 (LCFT, 2024). Although the digitisation of sound has had an effect on Foley artistry, human creativity and production in this field are still considered and projected to remain essential well into the future.
In conclusion, I imagine that after surmounting the challenges of becoming a Foley artist, an extremely rewarding career would be waiting. Repeated failure might be part of the road to success, but as my fellow countryman, Paulo Coelho wrote in his bestselling book, “The Alchemist”, “There is only one thing that makes a dream impossible to achieve: the fear of failure”. I believe that the reward of such an interesting and challenging career certainly makes the undertaking worth it.
Video 1: (Go to 1:14 – 2:00) Video 2: Video of popcorn popping with its orginal sound(Youtube Shorts cannot be embededd)Reference List
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