I’m working actualy on Clothes Grab Sounds. It’s the first time that I edit this type to sound to put in my Sound Library. Normaly I recorded it specialy for the animation but I never keep it.
I dealing with a problem. Is it too clean or enough clean…? I’m working on the same room that with my computer for the editing, so they have some noise arround me.
Question to my reader :
- Do you edit your sounds with your headphones?
- I’ve put links just behind with 2 différent microphones. U87 on Avalon Preamp and a Schoeps CM5+MK40 on a Nagra LB. Witch sound do you prefer?
- The sound is to cut or not?
Thanks in advance for your feedback.
Benoit Tigeot – Zip 48khz 24b – Cloth Grab
I my own view, the sound of the Schoeps is more real and less powerfull than the sound on the U87.
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Tags: Cloth, Nagra LB, Schoeps, Sound, Sound Library, Studio
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I’ve only shot and cut cloth grabs once, and I found it way harder than I expected. I think your samples sound good, but they’re all pretty close-up and aggressive; not knowing what the action is makes it hard to critique. Sounds pretty good if this is for a fight scene. I think that the expressiveness of a cloth grab is possibly best done as Foley instead of hard effects, at least if I were to do it again myself.
Thanks for your feedback Nathan. I’ve recorded this sounds for hugs actions in animation. I had a little bit of noise in the studio that’s why I’ve put the mics closer.
Nice Blog Benoit. Glad to see a french guy on the scene! For the above, I agree on Nathan’s comment. Most of new recordists think first about which mic to use rather than figuring out how to avoid a background noise or find a better angle… You have some bumps in your low ends I would EQ during the mix, except that, everything sounds good! Usually, I never record Foley with a cardio Large diaphram though.
Thanks Jean-Edouard for your feedback. Witch mic do you use for your foley?
We only use Neumann KMR81 (or Schoeps CMIT 5u) to match our PFX and I think cardios picked up to much ambience in our room anyway… I also think that Foley is meant to be an experimentation journey around textures rather spending time choosing and placing the mics. I saw people experimenting with ribbon mics or cardios during Foley sessions for video games though, if you do animation, I don’t see why you couldn’t use them, it’s all about what you want to achieve. Although, trying out 100 different cloth types with one mic is probably better than trying one cloth with 100 different mics. Hope I’ll get quoted on designing sounds for that line one day
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Really enjoyed this post.Really thank you! Fantastic.
You have to think about the context of how the sound will be used to really critique it. I’ve recorded cloth for FX use plenty of times – leather jacket grabs & movement, blanket swishes, duvet moves, canvas whoomps etc, but those are all very different to foley recording cloth for an entire film to cover general movement (esp for ADR) which tends to be more subtle AND performed to picture following onscreen movement.
As with your cloth recording above, my cloth recording tends to be performed more aggressively than most foley cloth recording as I want it as an element of specific actions whereas foley may be doing it for someone walking or gently moving their arms….
All of the above recordings seem totally useable in the right context!
ps I always archive all foley from each project i do – can be VERY handy when eg preparing a temp mix where there may be no foley budget… a quick search in SoundMiner of prev foley can be a life saver!
Thanks Tim for your feedback!