Digital Foley is a term that has emerged within a series of collaborations with Dr Rob Dean at the University of Lincoln. In the history of film and radio, 'Foley' will typically refer to the Foley artist, the live performer who physically creates and synchronises sound to suggest and support actions. Though this live art form is still practiced, the term has become broader and now also refers to the post-production dubbing process where recorded sounds are carefully edited into film and radio soundtracks. In theatre, such pre-recorded sounds will be created and triggered by the production's sound technician/designer.
Foley artists still practice live sound performance but typically using traditional means so the question that Rob and I have been interested in is how the Foley artist might become digitally 'enhanced' and what additional value is there to be unlocked in doing so? This is partly a question of 'liveness' and to what extent the audience becomes more readily immersed within soundscapes that are performed; reflecting the uncertainties of tangible interaction in place of more certain yet less expressive triggered release. Within a context of my other research interests this is another area of exploration for assistive technologies.
The clips available below are demonstrations of sound manipulations as used in Rob Dean's stage adaptation of Sam Raimi's Evil Dead ("Dead By Dawn" - Cardiff Atrium in 2009) alongside some imaginings of sound elements to be used within a once planned stage adaptation of Thea von Harbou's Metropolis ... yet to be completed.