The following examples demonstrate my foley skills, some of them are pure foley tracks without dialogue, sfx and ambiances, and others show the context, too.

I had to deliver fine, realistic “feature film like” foley for this project. I also recorded sfx and ambiences to it and made a premix of them:

An animation, where a cartoonish flavour was needed with exaggerated sound effects (An I also composed the music of it :)

A international project, where I had to deliver hyperreal foley to cover all the fine nuances of the picture:

This is a short extract from a film I did this summer. There are only minor foley editing on this part, no atmospheres, no panning, no serious audio post. So this foley needs to be adjusted and tweaked in order to match the location audio... However you can listen to it as a "raw" foley..

It was an amazing job to record and mix the foley of this beautiful movie:

I contributed as a foley artist. Director: Peter Politzer.

I used heavy boots, heavy leather cloths and combined them with additional sfx in this film:

It was a favorite project at that time. I made sound design which fit the modular analogue music of the compser. About the film: Segregation is omnipresent. Light has been divided up among the population, some have less, some gain more; a new era of exclusion arises.

It was quite a long time till I have found the right material to mimic a nasty bug’s move… (gel ball, straw, and lot of post eq)

Ugly job to mimic the suffering of disgusting bug. I used gel ball, saliva, vegtables and liquids to enhance the effect.

I had to deliver M and E international tracks, so all the scenes where dialogue were had to be replaced with foley and sfx.

This movie is currently under post production. You can listen to our Foley work. No mixing, no editing. Minor reverb, subtle sound design and ambiance were added too. All the sounds were created and recorded in my studio. Body and cloth movements were recorded with Neumann km 184 and Sennheiser 416.

Animation sound design is always a good task, especially when it is about creating unreal, fictive sounds, which only refer to the existing ones.

Here is a brand new animation movie. I made all the sound design, and foley art. It was really complex but fun! I recorded several metal sounds and wind noises, I also experimented with reversed and slowed down springs and layered them as a source for transitions.

A good job to create foley for little creatures, particularly for paper ones…

Here you can see a little extract from the Buddy commercial. I used a lot of natural sound sources like paper, pills, cubes, wires, pillows and experimented with contact microphones and in general with special mic placement techniques. Here is the whole film: https://www.youtube.com/watch?v=rsF7VPo1gio

The production sound was totally unusable, so I had to create all the sounds from scratch.

The soundtrack of this movie was built entirely from scratch: only 5 % of location audio was used during audio post production. I recorded extra cars, highways, car pass by, ambiences. I recreated rattling noises, recorded all human voices: baby cry, singing etc. we used ADR 100 %.