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?
Wednesday, November 7, 2012
Blog 5b: Science Fair Proposal
1) Foley art.
2)
3) If a person watches more films per month than the national average, then they are more likely to recognize manufactured sound effects as real.
4) Beginning with a survey, I would find 22 people who watch less than ten hours of film and scripted television per month, and the same number each of people who watch between ten and 20 hours, and people who watch more than 20 hours. From there, I will play six sound samples, each made up of two samples, one real, and one fabricated. The sounds will be: A gunshot, a slap to the face, a crackling fire, a dragonfly, a crashing wave, and a horse trotting. I will record which of the sound effects each participant feels is the real, and which they think is manufactured. Compiling this data, I will look at who was more likely to think sounds were real, and, hopefully, prove my hypothesis. I can use this to determine what methods of sound creation work best, and begin compiling a sound library that people will find most realistic.
5) Behavioral/Social Science
2)
3) If a person watches more films per month than the national average, then they are more likely to recognize manufactured sound effects as real.
4) Beginning with a survey, I would find 22 people who watch less than ten hours of film and scripted television per month, and the same number each of people who watch between ten and 20 hours, and people who watch more than 20 hours. From there, I will play six sound samples, each made up of two samples, one real, and one fabricated. The sounds will be: A gunshot, a slap to the face, a crackling fire, a dragonfly, a crashing wave, and a horse trotting. I will record which of the sound effects each participant feels is the real, and which they think is manufactured. Compiling this data, I will look at who was more likely to think sounds were real, and, hopefully, prove my hypothesis. I can use this to determine what methods of sound creation work best, and begin compiling a sound library that people will find most realistic.
5) Behavioral/Social Science
Saturday, November 3, 2012
Blog Nine, Working EQ and Possible Answers
1) In my presentation, my working EQ was: What is the best way to become a great Foley artist?
2) How can Foley art continue it's relevance in an increasingly technological world?
3) In order to maintain relevance, a Foley artist must be able to innovate, and create increasingly more realistic sounds.
A Foley artist must be able to more consistently create sounds that fit to the film than can be found in online databases.
2) How can Foley art continue it's relevance in an increasingly technological world?
3) In order to maintain relevance, a Foley artist must be able to innovate, and create increasingly more realistic sounds.
A Foley artist must be able to more consistently create sounds that fit to the film than can be found in online databases.
Monday, October 22, 2012
Rough Draft of Presentation 1
10 Minute Presentation
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Prepared By:
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Evan Muth
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House:
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East House
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Working EQ:
What is the best way a Foley artist stay relevant in a world ruled by digital technology?
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Objectives (Specify skills/information that will be learned.):
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Guide
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Time
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Introduction
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I will speak on what the idea is behind Foley, and give an example of one of the stranger techniques used in a film.
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1 min
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Important Source
1: Filmsound.org
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Verification
(Steps to check for student understanding)
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Beginning of Presentation: How do the students think that certain sound effects were made.
End: Check that they were paying attention by listing a few effects and asking how they might have been made.
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1 min
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Body
(Give and/or demonstrate necessary information)
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Break down what you plan on talking about into manageable sections.
Literal: I will discuss some of the things I have learned about Foley, including how they work, what it is that they do (Moves, feet, and specifics) and why they matter to movies.
Interpretive: Talk about Filmsound.org, the website where I have gotten much of my research, and how useful all the research from the site has been. There is a hearty supply of interviews on the website, including many with the sound team from Star Wars.
Applied: All of this is furthering my EQ because it helps me to understand how the industry survives. Interviews are very important, because I need to get opinions from experts on how their job matters, etc.
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Literal: 2 min
Interp: 2 min
Applied: 3 min
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Visuals
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Activity
(Describe the independent activity to reinforce this lesson)
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No Activity for this Presentation
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x min
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Materials (for activity)
No Activity
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Conclusion
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I plan to ask if there are any questions, take a bow, thank them for their time, and walk calmly off the stage.
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1 min
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Saturday, October 13, 2012
Independent Component 1 Plan Approval
1) For my independent component, I plan to work toward assembling a Foley sound library. This involves creating hundreds of sounds, and creating detailed descriptions of how I made the sounds and what I could potentially use them to represent in a feature film. I would also be helping to create sounds for more specific needs, including Lucas's haunted maze for the haloween dance, and any films being made for the video ROP.
2) My plan can meet the thirty hours requirement simply by continuing to discover new sounds. A simple example of this is spending a few hours walking around and recording ambient noise for a city scene, or recording a trip to school.
3) My independent component will allow me to gain more insight to Foley art, bringing more depth to what they actually do. I will find out what some of the challenges behind my project work is, including how you make more in depth sounds.
2) My plan can meet the thirty hours requirement simply by continuing to discover new sounds. A simple example of this is spending a few hours walking around and recording ambient noise for a city scene, or recording a trip to school.
3) My independent component will allow me to gain more insight to Foley art, bringing more depth to what they actually do. I will find out what some of the challenges behind my project work is, including how you make more in depth sounds.
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