In article ,
David Looser wrote:
"Dave Plowman (News)" wrote

It depends on the size of the operation. And changing technology.
Certainly in TV Foley was done at the main dub - but then TV tends to
have more live sound. If the dialogue is all post synced as once was
the case in films, all the effects have to be created. Which makes for
a massive amount of Foley.


OK, I entirely admit that my knowledge is based on feature film
practice, I still find it hard to imagine Foley being recorded actually
during a dub though. Wouldn't this mean all the paraphernalia of a
Foley stage having to be present in a dubbing theatre?

Decent TV dubbing suites usually have a small studio attached to them. Can
be used for voice recordings as well as Foley. Of course for a feature
film the whole thing is scaled up. The dubbing process may be split into
several different sections with specialists doing the track laying making
the dub more of a mixdown. But in TV it's more usual to do it all in one
process. Many dubs these days are one man operations since digital editors
arrived.

I was told by someone in the sound department at Pinewood that all
incidental sound effects are routinely re-recorded in Foley for the
foreign language versions. This would apply regardless of whether the
English-language dialogue was post-synced or not.

Can't see why they'd need different language versions of Foley. Perhaps
down to custom and practice. ;-)

I have done Foley for a TV series which was being dubbed into a different
language. It was a quiet summer and our HOD decided to find work to do.
;-) Two of us spent a couple of weeks doing it all - no pukka Foley
artists involved. Because of cost. Was great fun.

Older feature films with background music had it easy - all you need for
those are spot FX. Without that it becomes much more difficult to produce
a convincing result. Most TV progs dubbed to a different language simply
don't bother - due to the time/costs involved.

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Dave Plowman London SW
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