The Foley artist, in my opinion, has numerous identities. I experienced a different identity during this Foley production: the actor. The Foley artist is the performer in the background, as opposed to an actor who may perform in front of an audience. When I attempted to mimic the sound of walking in the first half of the tape, I attentively followed the performer’s gait and attempted to assume the role of Foley, but it didn’t turn out well because I overlooked the floor’s material. After observing the main character moving across tiles, carpet, broken glass, and wooden planks, I decided to use the studio’s four anodyne flooring. The transitions were interesting and it took me ten attempts to achieve a satisfactory result.

Second, I became aware that, in addition to doing voices, I also needed to read screenplays and have strong creative and analytical faculties in order to be a successful Foley artist. My mind had to predict the sounds that would correspond before Foley, so creativity was crucial. Normally, in order to improve my sense of perception, I would keep a sound diary where I would capture sounds from my daily life. The urge to think deeply is another factor. I frequently explore because I feel that one material may be utilised as numerous sound mediums and can be used in a number of settings, which is interesting because there are many scenes that I can’t duplicate.

Thirdly, I value cooperation because a Foley artist needs a market. I’m experimenting, therefore I need suggestions from the viewers. Because my spouse was continually assisting me with the details, I, for instance, captured the sound of the metal hitting and falling six times during the scene where the protagonist falls off the bed.

The Foley process was a lot of fun and I was constantly getting a feel for the sound. It was all very interesting and Foley is an essential and very important element of film and television.