Foley
Props and performance locked to picture, delivered as clean, sync-accurate Foley tracks.
Tool profile
- Kind
- guide
- Vendor
- —
- Form
- 流程
- Platforms
- 通用
- Price
- 不适用
- Jobs
- 流程
- Verified
- 2026-10-31
Related
Foley is a performance, not a search
Footsteps, cloth, a door, a cup set down: these sounds persuade through performance, through weight, pace, hesitation and restraint. A library can supply ambience and distant sound, but not the sense of someone tiptoeing across a wet floor. Watch the locked picture, list the actions and what each one has to say, then choose the props. The audience does not hear Foley; they only decide whether the person feels real.
From prop to track
Prepare props from the action list: different soles, fabrics, keys, locks, cups and plates. Lay the matching floor in the studio and perform footsteps in place rather than walking with the picture. Keep the microphone distance fixed, record dry and preserve the natural gaps between actions. Cut each take by action, not by scene, and mark the sync points. Use a gentle high-pass against rumble, light noise reduction in RX or a similar tool, and leave reverb for the mix. Keep footsteps, cloth and props on separate tracks so they can be balanced later.
Sync checklist
- Heel contact on the same frame as the picture, within one frame at most
- Cloth arrives one or two frames after the move, never before
- A prop makes contact before it slides
- Every step differs; no take is copied
- Effort sounds appear only where the action needs them
- A door close has both latch and door frame
- Room tone stays between actions, with no vacuum
- Foley does not fight dialogue in the midrange
Keeping the recording clean
Either a small-diaphragm condenser or a dynamic microphone works; stay close and avoid hard reflective surfaces. Cover the floor with thick rug and tame the walls with absorbers so a handclap does not ring. Monitor on closed headphones and do not mistake the room for the source. Record 48 kHz, 24 bit and keep the original takes with sync marks. The noise floor must sit below the dialogue track, or the studio hiss arrives with every layer. Remove steady noise only; over-clean cloth and paper turn into thin sheets.
When not to add Foley
Recording before picture lock wastes every take when the cut changes. Library effects instead of performance make the feet float. One take for every step sounds mechanical. Foley covers dialogue. Too much reverb does not match the space. The studio floor is louder than the dialogue. Sound and action drift two or three frames and the viewer cannot say why it feels wrong. Foley is mixed into the music stem, so the mixer cannot separate it. Over-reduction turns cloth into paper.
Listen in the library
All tracks from midicn-lib — inline badge is the license tier (C1 commercial / C2 non-commercial / C3 study only).
Along the same line
Sources
- SMPTE ST 12-1 — 时间码（Time and Control Code）的帧率与同步口径。
- Vanessa Theme Ament, The Foley Grail：The Art of Performing Sound for Film, Games, and Animation（Focal Press）— 拟音棚、道具与表演方法。
- iZotope RX 官方文档 — De-noise、De-click 与频谱修复的使用边界。