LITERAL
(a) I, Evan Muth, affirm that I completed my independent component which represents 30 hours of work.
(b)
(c) Independent component work log
(d) I created a small sound library, that filled to the brim my iPod's memory.
INTERPRETIVE
My work is important to my senior project, as it showed me the best ways to work, how to maintain the greatest efficiency, and how not to work. For every minute of sound I have recorded, other than ambient noise, I spent at least ten minutes setting up and/or gathering equipment and supplies. My computer refuses to allow me to publish my sound library off of my cloud storage, but I can and will bring in the sounds that I have recorded on my iPod.
APPLIED
My understanding of Foley art was furthered by this project in getting my mindset into that of a professional. Rather than walking through life and just breezing by, I now look out for sounds I can use in some way. I am, as I used in answer to my EQ, "always working." I constantly notice new sounds and how they can be used, and I am able to recognize how sounds in professional films are made. An example occurred in my mentorship, when I noticed that the sounds of a chair dragged along the carpet in just the right way sounded quite like vehicle treads on a gravel road. Beyond noticing how I can make new sounds, I have noticed the intricacies in creating my own sounds. I can tell exactly what sounds I need to add in order to make something more realistic. While recording the sound of a dog walking by putting paper clips on my fingers and clacking them on wood floor, I realized I was missing the jingling of a collar, which I created using my key ring!
Thursday, January 31, 2013
Thursday, January 17, 2013
Sunday, January 13, 2013
Blog 12
1) What is the best way for a Foley artist to remain relevant?
2) With technology becoming a more and more important part of the movie industry, how can a Foley artist keep up?
3) What programs do you use in your daily work as a Foley artist?
4) Do you think that it is better to incorporate more of the arriving programs, or to work with physical objects and why?
5) When a movie comes out, what is the most efficient way to work on the sound?
6) What projects have you worked on that you felt were challenges due to the strange sounds needed or different constraints?
7) If a director asks you to do your work in a way other than what you have experience with, what is the best way to adapt?
8) At what point does it become necessary to overhaul your methods?
9) If a Foley artist needs to change how they operate due to a differing in the needs of an audience, what might cause this?
10) What other steps could I take towards finding answers to my first question?
2) With technology becoming a more and more important part of the movie industry, how can a Foley artist keep up?
3) What programs do you use in your daily work as a Foley artist?
4) Do you think that it is better to incorporate more of the arriving programs, or to work with physical objects and why?
5) When a movie comes out, what is the most efficient way to work on the sound?
6) What projects have you worked on that you felt were challenges due to the strange sounds needed or different constraints?
7) If a director asks you to do your work in a way other than what you have experience with, what is the best way to adapt?
8) At what point does it become necessary to overhaul your methods?
9) If a Foley artist needs to change how they operate due to a differing in the needs of an audience, what might cause this?
10) What other steps could I take towards finding answers to my first question?
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