Physical Address
304 North Cardinal St.
Dorchester Center, MA 02124
Foley artist Gary Hecker, Santa Monica, 3, 2012 in Todd-AO Studios in Todd-AO Studios in the late votes (in this case, horses).
Don Kelsen | Los Angeles Times | Getty pictures
In a small studio compressed in Sony Photos Lot, Gary Hecker is a sound art.
His canvases, some of the biggest blockbars of Hollywood – Zack Snyder’s “Justice League” and Quentin Tarantino’s “Once On Hollywood” Disney And Marvel’s spider man and the “master and commander” won the award of the Academy.
Hecker, a foley artist, Maestro, was instructed to develop daily sound effects that occur on a stage: the dwarf doors, clothes, leather steering and even the spider-in “THWIP”.
“Foley is a magical trick we believe in convincing the audience to believe in the film they watched the audience,” Rodger Pardee, Loyola Professor at Marymount University. “Fooley is not for explosions or jet engines. For a forest or rock climb or a superhero cap’s trail of someone with details. Foley gives you details.
Hollywood remains as part of a person’s stalwart and deep man in the process of the MovieMaking process of artificial intelligence – or struggling with expansion of artificial intelligence.
The performance of the craftsmanship makes it difficult for studios to use the AI in accordance with the skills of artists. But Foley Artists, there are a few people working there There is currently no collegiate program for Foley. Those who want to access the field should be disciples with already established industrial veterans.
The art of making noise
A mixed collection of kitchen items used on the Foley scene in Sony Resotion Studios.
Sarah Whitten | CNBC
In the late 1920s, Jack Foley was established by the industrial silent films, “Territories”, the sound technique in Hollywood occurred. Early recording equipment could not seize the noise of dialogue and environment, so the sounds should have been added after the film was taken.
Foley discovered that sound effects have created a more original sound view to synchronize with a live and finished product and helped the following follows.
Artists still use the same techniques working in about 100 years ago today.
“We do the movie from the top to bottom,” said Hecker. “Something that moves on the screen, we present a voice for it.”
More than 50 pairs of shoes aligned on shelves Hecker Studio. Some are firm and produce thick thuds, while others create a sharp, high heels. Even in the 1800s, the Hecker’s “Django Django” has a spursm developed by a blacksmith.
“The real art of foly is to master the sound,” said Hecker. “I am a 200-pound boy
There is a kitchen area full of sound laboratory, cups, bottles, containers, cloches and spray bottles of different sizes. Walks, shovels and mops Galoru stand by a pile of rock and the warship ship, which is well worn in the corner, is the howitzer crust.
Even swords, weapons, shields, armor and chains, unique, a specialized metal tower to create rich metal sounds.
Floor Foley Pit Collection – There are wood, concrete, stone, gravel areas, assortments of doors, locks and chains, closets can only find the right zipper voice and of course there are coconut shells.
Hecker’s collection of props is more than 45 years. “Star Wars: Star Wars: Star Wars: The Empire Retreated” and “Escape,” “” “Bill & Tedin Excellent Adventure” and “At Home” and “300.” And “300” and “300.” And “300.” and “300.” There are more than 400 film titles
Hodgepodge floor in Culver City, Sony Resimles in California, Gary Hecker’s Foley Studio.
Sarah Whitten
Hecker’s voice partner Jeff Gross is a mixer that has been caught in a microphone in a microphone.
The partnership started in the middle of the hecker and a rough pandemic while working on sound effects for the video game began to “call the” call of duty: modern war III “. Since then, in both “rebel month” films, the “venom: the last dance” and “the king of the lion: the king of Aslan”, worked among other projects. Last year, the couple won the most awarding of the most evaluated world in the world of the most evaluated world, “Mufasa: Aslan king” has won the best rewards and “rebel month – two parts – Skarger”.
‘Something to get the sound’
Solve a movie at a time and rough at a rough moment and usually spend 18-20 days to a project depending on the sound budget of the film. Larger budget movies take more time, small or independent properties are often less.
Hecker and rudeness tag team, when Sony works a lot, work with all the major studios of Hollywood. Each of these companies provides six to eight pasta with the film about 15 minutes. Hecker and rude, then go to Reel by Roel, add all tracks, saz sounds and surrounding sounds.
Footprints come first. Hecker stomps are accompanied by coffee pitches to add a tempo and fast sliding with the performance of each actor, often to add a grit to the shoe to create the illusion of walking. Then begins to fold in the rice sound.
To create a metal scrap of a sewage cover against a paved street, for example, the hecker is against a concrete plate of the howitzer. Gross causes resonance to the seized sound by means of a computer to give a more realistic quality.
The hecker also developed the threshold of sound artists can provide the limits of studio film projects and recreates the sound of the explosions.
Jeff Gross’s Mixing Studio in Culver City, Sony Resimance Lot in California.
Gary Hecker
The grass-rude sitting in the sound cape while the hecker microphone is running, cannot see that the partner used to imitate those on the screen.
“You just need to go to your head, ‘Yes, it sounds like this,” he said. “And then I will stand up and look down on the stage and I ‘do you use a shopping cart and a toothbrush?'”
And hecker’s skills are not only in physical performance. He has been a voice for Hollywood’s Gorillas, aliens, dragons, monsters, horses and even lions.
Shrek’s dragon “Independence Day” of foreigners “Independence Day” “Mufasa”, “Joe Young”, “Mufasa”, “Mufasa”.
Foley artist Gary Hecker performs vocalizations for Disney’s “Mufasa: Aslan King”.
Gary Hecker
“It was really very nice to make all the breaths and purees and efforts,” the hecker said the hecker “Mufasa: Aslan King” worked on. “The actors do the sounds of the character and explain the story, but these lions have nothing in all films.
A human touch
Hollywood is in a road crossing. New AI technology studios offers studios.
2023 Binary Writers and actors strike Partially extended due to the negotiations associated with studios on the rights, payment and use AI on Movies and Television.
These conversations have been dominated by the “cruelty” who won a winner Win the best actor His performance was changed using AI sound generating technology and as the president was in fear Donald TrumpThe White House could retreat the protection of copyright in one of the AI companies.
“Cruelty” in Adrian Brody
Source: A24
When it comes to Foley, it is not very worried about AI programs that take hecker and rough jobs.
“The performances of actors can do it between the performances, actions and details,” he said. “And a artist will be able to increase the things I do not think of, with a heavy hand, a light touch, heavy hand, feeling, with a heavy hand, feeling.”
Loyola Marymount’s Pardee noted that companies are now trying to try to create a foley sound on software programs, but the results are very thin, special change. “
Independent studios and products can prefer these programs in the future, but the pardon does not expect to follow the costume of the largest studios.
Hecker and the problem of gross is due to the problem that movie releases from Hollywood shrinks.
“We are usually trying to work between 10-11, but the industry is definitely changing,” he said. “They are currently preparing fewer movies.”
Part of the decline came from production restrictions and labor strikes in the pandemic and the combination of prominent Hollywood studios. Executors, the number of features beyond the Typical Blockbuster franchise tariff has lost weight.
And the stream is not going to get the lapper. Hecker noted that the streaming content does not have the same voice budget as artistic films, and therefore creators often become smaller foley homes.
Meanwhile, the hecker who remembers Wrecker “is known to put the human body on the line for Foley.
“I’d do anything to get a sound,” he said. “A guy’s knocked into a door, you need to put the same intensity you have seen on a car, physically. If you do not, it will not just sound correctly.”
