Ms. Ament has written an engaging and useful guide to both teaching and performing the art of Foley. The book thoroughly covers all aspects of the craft: its history and evolution, the minutiae of recording footsteps and props, prepping and mixing. It is an excellent guide for both teachers and people who want to learn this largely unknown part of the post-production process.
This book is entertaining, informative and an absolute must-read for everyone who wants to make a career in sound, as well as being a very handy lesson for anyone involved in production on whatever leveland a particularly valuable aid for media course tutors.
Thanks to this publication, sound is appraised as a subjective art form. So whether youre a novice (i.e. what even is Foley?) or a whizz (pfft, why do I need to read about Jack?), there truly is much to learn from this book. Seek The Foley Grail.
The Foley Grail
This book teaches you how to master classic and cutting-edge Foley techniques in order to create rich and convincing sound for any medium, be it film, television, radio, podcasts, animation, or games.
Award-winning Foley artist Vanessa Theme Ament demonstrates how Foley is designed, crafted, and edited for any project, down to the nuts and bolts of spotting, cueing, and performing sounds. Various renowned sound artists provide a treasure trove of indispensable shortcuts, hot tips, and other valuable tricks of the trade.
This updated third edition features the following:
- New chapters dedicated to Foley in games, television, broadcasting, and animation, as well as what is new in sound for media education
- A multitude of sound recipes that include proven Foley methods you can immediately use on your own projects
- A diverse range of case studies from well-known films, shows, games, and animation
- Interviews with current sound artists from around the world
By exploring the entire audio postproduction process, this book provides you with an excellent understanding of where Foley fits in the business of filmmaking and is a perfect guide for both newcomers and experienced sound designers wanting to learn more about this art.
Accompanying the book are online resources featuring video demonstrations of Foley artists at work, video tutorials of specific Foley techniques, lectures from the author, and more.
Vanessa Theme Ament is the former Edwin F. and Virginia B. Ball Endowed Chair in Telecommunications at Ball State University, Indiana. She hails from the film industry in Los Angeles, where she was a Foley artist, sound editor, and voice actor for film and television. She has worked on many notable films, including Predator, Die Hard, Noises Off, A Goofy Movie, Dolores Claiborne, Malice, RoboCop2, and Platoon, which won the Academy Award for Best Sound in 1986. She received her PhD from Georgia State University in Moving Images Studies.
Third edition published 2022
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2022 Vanessa Theme Ament
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First edition published by Routledge 2009
Second edition published by Routledge 2014
Library of Congress Cataloging-in-Publication on Data
Title: The foley grail : the art of performing sound for film, games, and animation on /
Vanessa Theme Ament.
Description: Third edition. | New York, NY : Routledge, 2022. | Includes bibliographical
references and index. | Identifiers: LCCN 2021014154 (print) | LCCN 2021014155
(ebook) | ISBN 9780367442293 (hardback) | ISBN 9780367442248 (paperback) |
ISBN 9781003008439 (ebook)
Subjects: LCSH: Motion picturesSound effects. | Animated filmsSound effects. | Video
gamesSound effects. | Animation (Cinematography) | Digital video.
Classification: LCC TK7881.4 .A48 2022 (print) | LCC TK7881.4 (ebook) | DDC 777/.7dc23
LC record available at https://lccn.loc.gov/2021014154
LC ebook record available at https://lccn.loc.gov/2021014155
ISBN: 978-0-367-44229-3 (hbk)
ISBN: 978-0-367-44224-8 (pbk)
ISBN: 978-1-003-00843-9 (ebk)
DOI: 10.4324/9781003008439
Typeset in Kuenstler480BT
by Apex CoVantage, LLC
Access the Support Materials: www.routledge.com/9780367442248
In this third edition of The Foley Grail, I am humbled by the many professionals who have contributed their insights and experiences to this endeavor. As someone who now teaches and writes about film sound, I could not be useful in the classroom, nor be able to access the wisdom of so many wonderful film industry professionals, were they not generous with their time and graciously supportive of my mission to document film sound in general and Foley more specifically. There are some common misconceptions about those who work in film: that they are pretentious, entitled, or removed from the world most others inhabit. I have not found that to be true for most of my colleagues. They are hard-working people who realize how fortunate they are to work in an industry that makes art and to be able to raise families in a privileged environment. However, they also are like so many working professionals: they get up early, drive to work, make deadlines, coordinate with others, get critiqued by their supervisors, worry about their next paycheck, help their children with their homework, and are happy to watch a ball game in the evening or on the weekend.
I wish to thank, yet again, David Stone, who teaches sound design at Savannah College of Art and Design, who for 20 years was my husband and who is a great dad to our son, Nathaniel. His illustrations for The Foley Grail have added humor and a light-hearted playfulness that I treasure. Dave began as an animator and moved into film sound, where he was a valuable addition to both television and feature films. He won the Academy Award for Best Sound Effects for his supervision of Bram Stokers Dracula (1992), along with Tom McCarthy, Jr.
I want to express my appreciation for guidance from Dr. Rick Altman, film scholar extraordinaire and a motivating force in my desire to pursue the goal of a PhD after decades in the film industry. I want to also thank Dr. Ted Friedman, who is an inspirational thinker and tremendous teacher at Georgia State University in Atlanta. So, too, must I thank Dr. Jack Boozer, who taught screenwriting at Georgia State and, along with being my dissertation advisor, introduced me to the magic of adaptation in film. Additionally, I wish to thank Dr. Alisa Perren, who opened up the world of media industries and production studies, which allowed me to better understand where I fit in the scholarly world of film studies.