The second session in the sound theatre consisted primarily of recording the foley effects for the whole film, followed by finding and inserting the correct atmospheres. Before recording the foley, I made a thorough list of every possibly foley sound we would need to record, along with the time that the event happened, which was very helpful in remembering what we had left to do

When recording the foley, I did most of the movements whilst Andy stayed in the studio and monitored. Doing the whole film in this way was very efficient, as I knew exactly what pieces of foley were needed and had become used to how each foley action would sound recorded. Likewise, Andy became much quicker on Pro-Tools and the whole process was completed with relative ease. We covered every movement that we believed would have an effect on the final film, regardless of how minute they may have been.

After recording the foley, we moved on to the atmosphere tracks. During location recording, we recorded room tones for each location and so these were inserted in to the project at the right times. We then systematically went through each scene and inserted fitting atmospheres, some from sound libraries and some that we had recorded ourselves. Some scenes required more careful selection of atmospheres, however the process was rather simple as we didn’t have any particularly extravagant environments to deal with. Some atmospheres were layered as necessary as some sounded a little thin on their own.