Foley Gary Hacker will return voices (in this case, the silver horses) on the vocal stage in Todd Studios or in Santa Monica, California, July 3, 2012.
Don Kelsen Los Angeles Times Gety pictures
In a small studio tucked inside Sony Many pictures, Gary Hacker makes art with sound.
His paintings are some of the largest films in Hollywood – from the “Jack League” from Zach Snyder and Queentene Tarantino “once in Hollywood” to Disney Marvel’s Spider-Man Flicks and award-winning academic award “Master and Commander”.
Hacker is a Foley artist, maestro in charge of formulating the daily sound effects that occur in a scene: noisy doors, noisy gowns, a slap from the reins of leather and even the “shots” from the spider belt.
“Foley is a major element in this magic trick that we are doing to persuade the audience to believe in the film they watch,” said Rodger Bardi, a professor at the University of Liola Marimaont. “Fuli is not for bangs or jet engines. It is in the footsteps of a person running through a forest or climbing rocks, or with a warm head of the super hero, this type of things.
Since Hollywood is wrestling with the outbreak of artificial intelligence capabilities – and how, or whether they should be used – Foley artists remain a strong and deep part of the Moviem process.
Nature performance of the craft makes it difficult for studios to use artificial intelligence to match the skill of artists. However, there are a few people working full time as Foley artists, and there There is currently no collective program for Faley. Those who want to storm this field must obtain vocational training with ancient warriors in the industry.
The art of making noise
A group of kitchen elements used on the Foley stage in Sony Pictures Studios.
Sarah Whiten CNBC
It was created by Jack Foley in the late twenties of the twentieth century, the sound technique that became the same name appeared in Hollywood when the industry moved from silent films to “Talkies”. Early registration equipment was unable to capture the surrounding dialogue and noise, so the sounds had to be added after filming the movie.
Foley discovered that the performance of sound effects live and synchronized with the final product created a more authentic and helped audio tape in keeping the fans immersed in the movie.
Today, artists are still using many of the same techniques that have been employed nearly 100 years ago.
“We do the movie from top to bottom,” Hacker said. “Anything moves on that screen, we offer a voice for it.”
More than 50 pairs of shoes are aligned on the shelves in Hacker Studio. Some of them are strong and produce thick diving, while others create acute high heels. There is even a group of Tottenham made by blacksmith in the nineteenth century that Hacker used in “Django Unchained”.
“The true art of Fuli is the mastery of sound,” he said. “I am a young girl of 200 pounds, so if I am doing Arnold Schwarzenegger, I must dig deep, but if I am a little army girl from an army notes,” a 90 -pound girl in those small wooden shoes, I must match this performance. “
Its sound laboratory contains a temporary kitchen area filled with cups, bottles, vessels, gluchees, and spray bottles of different sizes and materials. Funds from the streets, script and mop standing next to a pile of rocks, and in the corner there is a Parker Pearszer shell.
He even got a group of swords, rifles, shields, shields and chains, as well as a metal tower specifically for creating unique rich metal sounds.
The floor contains a group of fully pits – areas of wood, concrete, stone and gravel – the doors are characterized by a variety of handles, locks and chains, and the cabinets are filled with a set of jackets so that HECKER can find the sound of the right cloud only, and of course there are some coconut shells.
Hacker group of supports over 45 years. He started starting his training on “Star Wars: The Empire Strikes Back” and has more than 400 cinematic titles under his belt, including “The Running Man”, “Three Amigos”, “Bill & TED’s Adventure Exventure,” Home Home “and” 300. “
Hodgepodge Floter at the Gary HECKER’s Foley Studio on The Sony Pictures Lot in Culver City, California.
Sarah Whiten
The HECKER partner in Sound is Jeff Gross, a mixer that converts the accidents of dances and sections of the microphone into a resonant symphony.
HECKER and Gross’s partnership in the middle of the Covid epidemic started while working on the sound effects in the video game “Call of Duty: Modern Warfare III”. Since then, they have worked on “Rebel Moon”, “Venom: The Last Dance”, and “MUFASA: The Lion King” among other projects. Last year, the couple was nominated for a golden ball, one of the most precious prizes in the world of sound editing, for “MUFASA: The Lion King” and won their work on “Rebelo Moon – Part Two: The Scargiver.
“Anything to get a sound”
HECKER and Gross treats one movie at one time and usually spend 18 to 20 days for each project, depending on the film’s audio budget. Large budget films get more time, while smaller or independent features often get much less.
While the Tag of HECKER and Gross team work outside Sony, they work with all the main Hollywood studios. These companies provide from six to eight rollers containing about 15 minutes of the movie. HECKER and GROSS and then go with a ball with a ball, with the addition of all steps, stent sounds and surrounding sounds.
The sins come first. Hacker swings, and the deputies and evading the performance of each actor, and often accompanied by a wide range of coffee lands to add gravel to the sound of shoes, which creates the illusion of walking outside. Then the layers begin in the sounds of the pillar.
To create a metal scraping of a sewage cover against a paved street, for example, HECKER sets the inkarrizer crust against a concrete board. Then the total adds to the sound taken via the computer to give it more realistic quality.
HECKER has developed techniques to re -create the sound of explosions, prompting the limits of what audio artists can provide studio film projects.
Jeff Gross Studio mixed in Sony Pictures Lot in Colver City, California.
Gary Hacker
Gross, who sits in an audio stall while Hecker works in the microphone, often cannot see what his partner uses to imitate what is on the screen.
“You have to go into your head and go,” Yes, this looks like this. “Then I will stand and look at the theater and I love,” Do you use a shopping cart and a toothbrush? “
Hacker’s skills are not only in physical performance. For decades, he presented his voice to Gorilla Hollywood, foreigners, dragon, monsters, horses, and even black.
It has been waged, sarcastically and ridiculed to bring the dragon from “partner”, foreigners from “Independence Day”, “Zombie” in “Dawn of the Dead,” The Giant Gorilla in “Mighty Joe Young, and recently, the Lions of” MUFASA: The Lion King “.
Artist Foley Gary Hacker performs audio in favor of Disney “MUFASA: The Lion King”.
Gary Hacker
“It was really wonderful to make all breathing, pours and efforts made,” Hakker said on “MUFASA: The Lion King”. “The actors make the sounds of the character and the story of the story, but these lions move all over the entire movie, and there is nothing there. Therefore, everything should have been made and a dedicated performance. So I will do that, and then Jeff will help me make it look like a giant lion.”
Human touch
Hollywood at a crossroads. The new AI technology provides studios an opportunity to reduce enlarged production budgets, but the law of copyright and the desire to preserve human art in films has led to tensions.
2023 double Book strikes and actors It was partially extended due to reserved negotiations with studios on rights, payment and use Artificial intelligence in filmmaking and television.
These talks were re -fooled in the wake of “The Brutalist”. The best actor victory For Adrian Brody, even when his performance was changed using the technology Donald TrumpThe White House can retract copyright at the request of artificial intelligence companies.
Adrian Brody at “The Brutalist”
Source: A24
When it comes to Foley Sound, HECKER and Gross are not very concerned about artificial intelligence programs that rob their jobs.
“The performance of the actors, between movement and details, cannot do it,” Hakker said. “One of the artists expresses themselves through the behavior and performance of these things, as you know, with a slight touch, a heavy hand, a passion for it, those types of things that I do not think is artificial intelligence that will be able to reproduce them.”
Loyola Marymount’s Parde noticed that companies are already working on software software to try to create Sound Foley, but “the results lack these precise and very specific differences.”
Independent studios and production may choose these programs in the future, but Bardi does not expect the main studios to follow.
HECKER and Gross See are heading in the reduced number of films that come out of Hollywood.
“We usually try to work on 10 to 11, but the industry is definitely changing,” Hacker said. “They are making fewer films now.”
Part of the retreat came from the restrictions of production during the epidemic and action strikes, but also from the integration of prominent Hollywood studios. Executive officials have become more aware of the budget, as the number of features outside the model fare fare decreased.
And broadcast will not pick up the recession. Hacker pointed out that the broadcast content does not have the same sound budget as feature films, so creators often turn into the younger Foley homes.
Meanwhile, Hacker, who won the title of “Wrecker”, is known for placing his human body on the line of my fully.
“I will do anything for a sound,” he said. “If someone criticizes a door, against a car, you should physically put the same intensity that you see on the screen. If you don’t, it will not seem right.”
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