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Pros: - Good quality recording for price
- Comes with app that lets you record in X/Y unidirectional stereo
- Mic gain wheel
- Convenient

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Zoom iQ6 iOS Lightning X/Y Microphone Earplug, 6 cm, Black

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Zoom iQ6 iOS Lightning X/Y Microphone Earplug, 6 cm, Black : Amazon.co.uk: Musical Instruments & DJ

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Tips for Recording Foley on a Budget  | Audio Tips

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To make it as easy as possible for you to get the gear you want, we offer a range of instant finance options. If you spend £250 or more online, you can choose to pay over 48, 36, 24 or 12 months. The majority of decisions are given instantly, so you could get your new gear sooner than you thought!

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Applying for finance couldn't be easier - if your order totals £250 or more, simply proceed through the checkout as normal, then select Pay by Klarna Finance on the payment page, then click the orange PLACE ORDER USING FINANCE button. This will start your application with Klarna Retail Finance, our finance partner, and completing this form should take approximately 10 minutes.

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BOYA BY-SM80 Stereo Microphone at Gear4music

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BOYA BY-SM80 Stereo Microphone - Rich and immersive stereo sound for your DSLR. The BOYA BY-SM80 Stereo Microphone delivers stunning audio fidelity thanks to the dual condenser capsules providing exceptional realism and sonic depth.The BY-SM80 is perfect for videography, providing broadcast quality sound for DSLR and video cameras.

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Reddit Discussion - Is Foley necessary anymore?

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Reddit Discussion - Is Foley necessary anymore?

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Interesting discussion about the necessity of foley in the current day where online media and recorded content is so plentiful

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given that we have trillions of already recorded sound clips from car crashes to waves crashing on beaches, does that make the role of a foley recording dead

re. not saying mixing is dead but the act of going out and recording foley sounds itself given the industry has already recorded every concievable element

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controversial question, but is foley recording necessary anymore

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given that we have trillions of already recorded sound clips from car crashes to waves crashing on beaches, does that make the role of a foley recording dead re.

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Home recording setup (treated booth to eliminate room noise)

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Home recording setup (treated booth to eliminate room noise)

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Noise Floor Comparison : Sennheiser MKH 8040 ORTF - LOM Usi - Zoom H4n - Sony PCM A10

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Very well reviewed, budget field recorder

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Tascam DR-40X Portable 4-Track Audio Recorder

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Versatile four-track audio recorder for cinema, music, podcasting and any other application. Easy-to-use compact design with a high-performance feature set and versatile audio I/O, all to produce professional content. Wide Covering Range DR-40X allows high-quality recording with its stereo built-...

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Troy - Hector vs Achilles Fight Scene - HQ - Widescreen

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The scene in Troy where Achilles fights Hectors over his cousin's recent death.

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Afternoon Class - Animation Short Film (2014)

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Дѓѕ 'и' Ѕаріэитіа

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"INTRODUCTION" a psychedelic animation by Rinat Gazizov (1992)

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- Evaluates whether foley is better than real sounds
- Understands how foley is used to often exaggerate visuals in media
- Explores creating a database of sounds, sound design, and general foley in adverts/movies soundtracks

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The aim of this paper is to evaluate whether foley sounds,
real recordings and low quality synthetic sounds can be
distinguished when used to sonify a video and if foley sounds
can be rated as more expressive than real sounds.

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file:///Users/charlien/Downloads/10.4324_9780203766880_previewpdf.pdf
Easily digestible - overview of different aspects of sound to picture & foley recording

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‪The Foley grail: The art of performing sound for film, games, and animation‬

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[Seminar Paper] Sound Design for Film & TV

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[Seminar Paper] Sound Design for Film & TV

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[Text] Performing the Post-Natural Through Modulated Foley Techniques

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[Text] Performing the Post-Natural Through Modulated Foley Techniques

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1 In Dipesh Chakrabarty's 2018 essay "Anthropocene Time," he amplifies a terminological tone in the conceptual formation of the Anthropocene. The vibrations of definitional language are perhaps most palpable in the pressures that have accumulated around the official designation of the nomenclature itself, yet there are tangible tremors both in the past philologies for that expression (Chakrabarty hears the term echoing from the nineteenth century) just as there are rumblings in contemporary counter-coinings (which he illustrates with respect to the neologism "Capitalocene" that many associate with Donna Haraway but for which Chakrabarty finds a least two alternative genealogies). Kathryn Yusoff's A Billion Black Anthropocenes or None (2018) traces the etymology of geography to "earth-writing," with the discipline's writing creating "material stories [as] origin stories - stories that reproduce not just arrangements of matter but subjects through divisions of matter" (2018:19). As material reproductions, the writings of geography - host discipline of the Anthropocene - connect to historical enslavements and subjugations where "Indigenes and Africans become rendered as a writ or ledger of flesh scribed in colonial grammars" (2018: 33). With the "nomination of the Anthropocene" comes a heightened recognition of the political relations between geography and geology, with Yusoff asserting that "the biopolitics of life has a more expansive mineralogical geography that needs attention." In these charged and complex circumstances, the "intermingling of social and natural causality in anthropogenic climate change [produces] the 'renaturalising' of humanity geologic [...] this new understanding of being as geological (italics in original)" (2013: 780).

2 Amitav Ghosh (2016: 11) describes the Anthropocene as a time of Great Derangement, an epoch which celebrates its claims to self-awareness yet remains, in its artistic practices, largely inattentive to the myriad agencies and artefacts that are simultaneously destroying the world. However, Yusoff, in the later sections of her book, points to the possibilities of what might amount to a counter geography, a "re-writing" of the Anthropocene, an "expansion of its grammars" (2018: 18). In this process, inspired by the imperatives of the poetics of Audre Lorde and Édouard Glissant among others, Yusoff unearths an "insurgent geology" (2018: 95) appropriate to a decolonizing Anthropocene in two specific films of Steve McQueen and in the writing of Dionne Brand and of Sylvia Wynter. In part, this insurgency and its re-writings, might interrupt the historical elision between geography and geology that was enacted in the terrors and violence that Glissant evokes so powerfully in the opening passages of Poetics of Relation . For Yusoff, the "superimposition of colonialism was a shearing of subjects from geography and the reinstantiation of those subjects into a category of geology that recoded them as property, whereby extraordinary possibilities in relation to the earth were wiped out" (2018: 41).

3 Yusoff's sifting for other, more disruptive, grammars can also be heard as an inspiration to short-circuit some of the tropes that coalesce in the visual constitution of the Anthropocene, where disactivated spectators watch time-lapsed glaciers shrinking, see footage of a lonely polar bear circling on grass revealed by the thaw, repeatedly replay those shots of the icebergs calving. Yusoff is attuned to the visual modality through which the Anthropocene is delivered, with the glaciers, bergs and polar perhaps constituting convincing candidates for what she calls the "cathartic images of catastrophe" (2017: np). The opening sentence of her 2017 essay "Epochal Aesthetics: Affectual Infrastructures of the Anthropocene'' addresses how the "Anthropocene renders visible new architectures of time and matter" and the passages which follow reverberate with a language of "looking," "vision," "images" and "imaginary." In a particularly resonant phrase, Yusoff summons a "geo-logics of social and material expulsions whose visible effects have been hidden in plain sight all along" (2017: np). Yusoff is not here reinforcing the sensory dichotomy that sound studies scholar Jonathan Sterne calls "the audiovisual litany" which "idealizes hearing (and, by extension, speech) as manifesting a kind of pure interiority. It alternately denigrates and elevates vision: as a fallen sense, vision takes us out of the world. But it also bathes us in the clear light of reason" (2003: 15). For one thing, in "Epochal Aesthetics," Yusoff (following Berlant) talks of a subterranean excavation from which we might " how those forces both maintain and disrupt edifices of intention on the surface ( our emphasis )" (2017: np). For another, in an argument located in those later sections of A Billion Black Anthropocenes or None addressed in the preceding paragraph, Yusoff synthesises Tina Campt's (2018: 98) counterintuitive methodology of listening to images. Campt amplifies the quiet soundings that exist beyond the conventional frame. Her analysis demands a sonic sensibility that unsettles visual codes and mixes sensory feedback in searching beyond the apprehensible. Such an approach - blurring rather than supplanting - encourages other forms of engagement. Whether these other engagements are ultimately capable of disrupting the symbolic repertoire which contributes to what Chakrabarty talked of in an earlier essay as "the responses of [...] denial, disconnect and indifference" (2009: 35) is another matter. Nonetheless, the animation of other sensory registers than the visual, without capitulating to the rigorous border patrolling involved in the "audiovisual litany" but involving a more errant blurring instead, feels part of a necessary recalibration of responses simultaneously to the erased past, the deranged historical present and to radical futurities to come.

4 AM Kanngieser's contribution to GeoHumanities in 2015 had already set these matters into articulate motion when they followed Ursula K. LeGuin's "[call] for a geolinguistics that expands what is considered as language into matter, into the material; an expansion that can be undertaken specifically through the medium of sound [...] I take sound, only in part the utterance, as a geophilosophical provocation to, and a method for, political contestation" Kanngieser (2015: 1). Thus, approaching the Anthropocene through a sonic filter might very well invoke listening as a mode of attention or tuning. The consequence being found in the conceptual and methodological strain towards phenomena that escapes human reach. Confronting such difficulty demands an acceptance of not knowing, of being all at sea in a multisensory multispecies ocean, one that threatens to subsume so-called knowledge all together.

5 As a potential exception to the dominant mode of deranged indifference that Ghosh diagnoses in the "art and literature of our time," is the very genre with which LeGuin is associated: science fiction. This may be where "traces and portents" of extreme environmental stress and its imbrication with human histories and oppressions can be found, and certainly science fiction was an inspiration as we were developing the project. Of course, the mainstream of science fiction may well flow along with Ghosh's indifference, but there are eddies and counter-currents at the edges where science fiction appears turbulent with new significance as a speculative space to explore ecological destruction. This is not exclusively an attribute of the literary science fiction that could be exemplified in the sub-genre of climate fiction ("cli-fi") but finds itself oozing into filmic and artistic channels, or such combinations of the two as might be found in The Otolith Group.

6 We turned to these inspirations in in order to respond and fabricate narratives towards a Sonic Anthropocene. As part of that process, our collaboration was alert to other conjunctions between grammars and experiences, embrained and embodied. Both of us have long entwined writing within our respective creative practices, vacillating between modes of the fictional and the documentary and we have separately done so in the critical auspices of writing practices associated with anthropology, particularly as it is complexified through Michael Taussig's account of the fieldwork diary. For Taussig, that diary is "built upon a sense of failure-a foreboding sense that the writing is always inadequate to the experience it records. Nevertheless, on rereading by its author, the diary has the potential to bring forth a shadow text that can simulate the experience that gave birth to the diary entry, not only for what is said, but more likely for what is omitted yet exists in gestures between the words" (2011: 100). Anthropology and ethnographic fieldwork teach us that site is a palimpsest of relations. The field is "thickened" beyond neat truth claims through an interpretative chain of perspectives, senses, scales, actors and transcriptions. Deploying a microphone as our prime interlocutory tool, we move between exteriors and interiors, humans and nonhumans, studio, edit suite, speaker and auditioning ear. A field recording can never be a simple sonic truth due to the chain of events and apparatus, pre and post, required across its scales of audition. The "real" will always unspool in the task of capturing sound and representing place.

7 Foley art recreates extra-verbal sounds often pertaining to close up movements, animals or objects as well as atmospheres. Bear claws are paper clips attached to gloved fingers. Thunder is a piece of tin foil. Rain is the sound of frying bacon. Such examples are recreated through performance as the Foley artist synchronizes sound to moving image. The work is often performed in a bespoke setting. The field is a soundproofed room optimized for sonic control and fidelity. Foley stages are mutable environments. Floor textures and surfaces can be easily swapped. Everyday objects such as chairs or door handles are detached from context and elevated into performative agents.

8 In it is the auditory that we detect between objects, words and visual tropes. And not just an undifferentiated auditory - not sound for its own sake, not a self-sufficient sonorousness - but one that is as keen to relate and disrupt the gestures of Foley practices that conventionally seek to render the Natural. We embarked on a process of investigating and subsequently enacting the operations associated with Foley, the means through which artificial sound effects are created in a studio to enhance the events and atmospheres being conveyed. Foley finds a secure home within televisual and cinematic contexts, but radio and its lesser known museological roots suggest it does not always need to follow visual cues.

3 For more information on this specific context see Craig Eley, "When it Rains, it Pours," (...)

9 The exhibition "Men from Montaña," held at the American Museum of Natural History in 1951 is useful to note here. An example of Foley before film, the exhibit was a typical anthropological inquiry of its time that focused a curatorial Western gaze upon eight Peruvian tribes and their material and cultural practices. The use of media however, was not so conventional as sound was notably employed within the museum setting for the first time. Contrary to marketing that implied site-specific field recordings from the mountains of Peru, sounds were in fact sourced from sites such as the Brooklyn Zoo and produced through Foley techniques recorded in a Manhattan bathtub. Released on LP under the giveaway title The Sounds of a Tropical Rain Forest in America (1952), the project is a work of sonic fiction free from the demands of a visual lead. In this example, we see the promise and threat of Foley as a productive intervention of sensorial hierarchies, whilst at the same time harbouring a latent potential for appropriative abuse. Foley therefore, has material and epistemic force that operates within and outside the codes of its media historical relations. It is a force that can practically arrive before the image rather than during post production; and it is a force that troubles the meaning-making end of the knowledge chain. Not only does it enact the post-natural, it dilutes what we think we know, sense, and see of the Anthropocene along with its various claims of origin and terminology: the practice-based dance of balancing site-sensitive and situated knowledge is always at stake.

Foley studio work. Credit: Carlyle & Wright, 2018.

10 Contemporary modulations of Foley by artists such as Julie Rose Bower, Lawrence Abu Hamdan and Maria Chavez provide a lens that emphasises the socio-political entanglements of sonic materiality. Although some of what "hand-crafted" Foley once provided has since been superceded by the availability of digital sound effects libraries, nonetheless, the practice still persists and remains the subject of popular online tutorials and books such as Foley Grail: The Art of Performing Sound for Film, Games and Animation (2014). If Foley has tended to be associated with drama, the revelatory behind-the-scenes account of sound produced by Earth Touch News Network demonstrates that its use is more widespread. It was the particular role of Foley within nature documentary that we allowed ourselves to be inspired by in .

11 What if we begin with the fabrication of sound events as a deliberate ethico-aesthetic strategy? How can we deploy sonic doppelgängers that invite critical listening? Can the material and conceptual fabrication of the field speak towards urgent matters of biodiversity loss, extinction and possible futures? What does it mean to produce sound recordings from anthropogenic materials and can a "green" Foley practice emerge in which the objects employed and sounded are sustainably sourced?

12 speculates with the sonic post-natural and operates the duplicitous potential of Foley art; it sabotages orthodoxies of classical music's program note as a space for science fiction and subverts the instructional score as a deliberately under-resolved, conflictual proposition. Consequently, iterates further disruption onto field recording praxis. With a synonym for field recording being "phonography" - etymologically the writing of sound - there is a mirroring, albeit at a much-telescoped scale, of the bifurcating processes of inscription that Yusoff identified with geography. For Yusoff, geography's colossal coloniality is what has persisted from slave ledgers to the debates around the Anthropocene, yet there are other grammars that can contribute to a "re-writing" that might produce her insurgent geology. For Kanngeiser, there is a parallel oscillation. Although the "Anthropocene is predicated on exploitation, colonialism, slavery, and genocide [and] by listening to places and spaces, it is possible to discern uneven, often-obscured, and gradual processes, such as extinction and dispossession," (2015: 2) by the same token, "by using sound to explore political relations [...] it becomes possible to see how those political relations can help to build new and creative terrains for human and more-than-human negotiations" (2015: 5).

13 Our own work therefore attempts to unsettle claims of the Universal and Natural that undergird histories of field recording, a discipline that privileges Western-Euro perspectives, propagated by the myth of inconsequential sound capture: it is anything but. The task for us then, and Foley more broadly, is in rendering its potential to delink power and truth, whilst holding onto social political implications: to attend to errant boundary blurrings and generate "epistemic disobedience" (Mignolo, 2009: 160).

Decoys, Vinyl LP. Credit: multi.modal, 2018.

16 During our rehearsals in the field site of a studio, we experimented with and adapted the repertoire of historical Foley techniques. Our intention was to shadow the conventions of Foley in offering acoustic punctuations of events (such as the bear claw scrape or the rumble of thunder) against a backdrop of environmental atmosphere (the rain rendered by bacon sizzling) but it was our aim to shift from a natural to a post-natural register, one that considers the sustainability of sounding plastic as part of Foley's material heritage. Using our re-calibrated Foley techniques, we created a catalogue of post-natural events and atmospheres, according to a narrative logic that is only partially disclosed in the program note printed on an insert that comes with our multi.modal release and which culminates in the following two sentences from the liner notes: "The air churned in transmissions of static: weather turned metallic; teeth registered frequencies of the felt and uncertain. Here, high on the mountain we sat, attempting to decode its auditory particulates".

17 On the reverse of the LP insert is a visual score consisting of five components: five circles containing what might be identified as images captured through a microscope; sequences of letters and numbers, pairs of which appear to be affiliated with each of the circles; a line passing through the circles that could resembles a terrain profile; a horizontal stripe containing sliced sections of photographs depicting recognisable rock and foliage; a final intersected axis which, like the sliced photographs, seems to align with the labelled circles.

18 The score was interpreted for Side B by Molitor and Rennie and Alison Blunt without any knowledge of the sound we had made. It functions as yet another inscription, a phonography without sound. The final two inscriptions presented below, re-write the material and performative modes that underscore the project. They perform another process of decoy and revelation and invite new translations of a Sonic Anthropocene. 9

Decoys, score, inner sleeve of Vinyl LP. Credit: multi.modal, 2018

19 With slim and sculpted sheets, sturdier cylinders (with welded handles) and fine filaments that are both stretched and wrapped, only the lustre is a clue to lead you back beneath the earth to origins in ores: to hematite, to cuprite, to milarite, and (especially) to bauxite. It is this same class of materials' magnetic and electrical qualities that enable the operations of the diverse devices that you will need to extract, securely store and then return vibrations to the air.

20 To agitate molecular motion into sound, you will rely on other characteristics than the ability to repel and attract flux lines and the capacity to conduct electricity. You will exploit manufactured variations in firmness and flexibility in your collection of lustrous matter in order to orchestrate texture: to hear the reverberation of the hollow, the duller reports of the solid, to catch out loud the abrasions from this object and to listen to the smooth sibilants from that.

21 Those devices that you will use to record and to playback? They also mould this next class of substances to their purposes. Again, the same polymers that sheath cables, that scaffold circuitry, that shield screens and that encase diaphragms, cones, coils and drives have also been shaped into everyday items that you can transform into sound. The palette of bright yellows, greens and pinks do not match lustre as a means to trace a genealogy back to geology, nor do the items' contours or consistencies readily suggest any origin in subterranean seams of crude oil, the cellulose of vegetal matter or the resins from plant exudations.

22 These objects, too, can be hollow and solid and sounded as such, but you can also set them to work to create crinkles, scratches and flutters, or to animate as audible the actions of stretching, squashing and rebounding.

23 This final group of makeshift sound-makers appears less cultivated than the other two; admittedly processed and packaged, but not as extensively so and very much more unlikely to have been involved in the manufacture of recording and reproduction devices (except, perhaps, as a cabinet for one of those cones).

24 Not to be approached as substitute instruments, this category becomes for you a medium to manipulate, something that is not to be struck or held like the matter from ores or from oils, but which itself holds: coating the whorls of your fingerprints, scratching your nails, sliding a splinter beneath the surface of your skin. When you add water, that medium becomes liquified and allows your hands to synthesise ripples and splashes, dribbles and drips. When you let an effervescent tablet sink and release its carbon dioxide, that medium becomes sporadically gaseous, hissing and fizzing, popping for your ears.

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Dissonant Doppelganger: Performing the Post-Natural Through Modulat...

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This mixed media contribution investigates the multiple modes of inscription possible within a practice-based investigation of the Sonic Anthropocene. Drawing upon critical contexts from Geology, Geography and Anthropology, and the relations between writing, bodies and earthly matters, the authors suggest a re-writing occurs in mediated acts such as field recording (phonography).

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I will be focusing most on post production, audio to picture and SFX visual sound replacement. Fewer specialist techniques will be showcased and used in recording & foley practices, though, they will still be present and supplement my use of my samples/one shots in my final compositions.

Because of this, am I still expected to provide 15+ minutes of my medium?

I will be showcasing a lot of varied stylizations and visual genres across several clips, which will each require a large amount of samples.

However, the current 4 I've selected are ~12 minutes.

Also, would I be able to implement online sound libraries as a supplement and addition to my personal recorded/processed/synthesized SFX?

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Borrowed Condenser Microphone (sE2200a) 

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Borrowed Condenser Microphone (sE2200a) 

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https://www.youtube.com/watch?v=BBgghnQF6E4

Mickey-Mousing–overillustrating the action through the musical score, drawn from the conventions of composing for cartoons. An example of mickey-mousing is accompanying a character walking on tiptoe with music played by plucked strings.

Since we watched The Sandman the other day in class to see how music and sound editing play a key role in animation (particularly in terms of setting the scene or story), I thought it would be cool to show Steamboat Willie, which was the very first animated short to feature sound, paving the way for future animated works.

Most of you have probably either seen or heard of Steamboat Willie, because this was one of the very first Mickey Mouse cartoons and is considered one of the best pieces of animation. Debuting in 1928, the film was an enormous hit, not only because of its achievements in animation (for the time, the quality was considered “fluid”), but its in contributions to sound editing. Walt Disney was a firm believer that sound was important in telling a story, and even though buying the sound equipment and working with composers was incredibly expensive for an animation studio at the time, it was a worthwhile and groundbreaking investment.

While the animation itself is humorous, all of the actions are heightened and dramatized by the sounds that accompany them. Sure, in the real world bodies can’t stretch like Mr. Fantastic and then return to normal, so there wouldn’t be a sound that really corresponds with that. But in animation, the sound of a stretching rubber band can do a a great job of making this impossible action seem believable and understandable to an audience. Disney Studios combined an actual score with musical instruments, minor voice acting (provided by Walt Disney himself), and a variety of random household objects in order to make a convincing and entertaining story through sound. Each action would be entertaining on its own, but without the sounds they would be far less convincing. Some of the sounds are a little over the top, but they help to solidify this fake world.

Disney Animation Studios continued perfecting this technique for a few years, experimenting in a couple of shorts and eventually making Snow White and the Seven Dwarves (1937), which was the first fully-animated feature film, that also contained sound. Since then, Disney has been well-known for their ability to combine music and imagery to tell a powerful story. When they eventually branched into musicals (which includes all of our favorite 90s movies like The Little Mermaid, Beauty and the Beast, Lion King, Aladdin), they knew that not only could they make the songs catchy and relatable, but they could be used to tell the story of the film more effectively. They’ve come a long way since Steamboat Willie (the sound effects are a little more realistic and less “cartoonish”), but looking back, we can still appreciate this short film for introducing a new way to look at sound in film.

Just another Sites at Lafayette College site

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First Example of “Mickey-Mousing” | Introduction to Film and Media Studies

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https://scholar.google.com/scholar?hl=en&as_sdt=0%2C5&q=technological+advancement+in+creative+fields&btnG=#d=gs_cit&t=1655666479635&u=%2Fscholar%3Fq%3Dinfo%3AmmhstnBfr54J%3Ascholar.google.com%2F%26output%3Dcite%26scirp%3D0%26hl%3Den

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Beyond Productivity: Information Technology, Innovation, and Creativity

By National Research Council, Division on Engineering and Physical Sciences, Computer Science and Telecommunications Board, Committee on Information Technology and Creativity

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Computer science has drawn from and contributed to many disciplines and practices since it emerged as a field in the middle of the 20th century. Those interactions, in turn, have contributed to the evolution of information technology â€” new forms of computing and communications, and new application…