Before this project, I didn’t really know what “foley” meant. I thought it was something only used in big films, with special studios and expensive equipment. But then I tried it in my kitchen, and now I’m kind of obsessed.
I needed a sound for a creepy door. I didn’t have one, so I tried dragging a metal spoon slowly across a wooden drawer. It actually sounded better than what I expected. Then I used a plastic bag to make a weird rustling noise, like someone moving in the dark. I even made a heavy “body drag” sound using my winter coat on the floor.
After that, I couldn’t stop. I opened every cupboard looking for strange textures. Pots, paper, rice, water, keys — everything became a possible sound.
What surprised me is that foley is not just about copying real-life sounds. It’s more about finding something that feels right emotionally. The spoon wasn’t a door, but it felt like one in our story.
I started to enjoy the small process of testing, failing, recording again. I realized that creating sound effects is kind of like acting — you need to imagine the moment and perform it through objects.
Now I look at the world around me differently. Every little noise has potential. Foley taught me that sound design is not about having the perfect sample — it’s about being curious and playful with what you already have.
Leave a Reply