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Whilst there is never a 100% fast rule about ANYTHING in art or craft, the SFX are generally laid on before the music, because they represent a far more primal and integral part of the film to be scored. Most directors treat the music as an add-on.
Whilst it's true that today, large film productions are built up with 'soundscapes' where sound and music are part of the same matrix, generally the composer needs to know the context, content, and dramatic pace of the dialogue, and the contrasting SFX textures and amplitudes as stated above, before he starts. Ideally, auteurs would like to craft all elements at once, but that's so complicated. It all comes down to the editing.
With digital, it's not done until it's done, and tweaks can happen at any point. But composers need something to work with, and usually enter last. When Jerry hits Tom with the frying pan, a director expects the composer to handle that afterwards. It's a lot more sensible to write music around a particular frying pan than to deliberate heavily on which 'Pang!!!' from a library raft of stock 'Pang!!!' noises will fit prerecorded music!
Remember too that audience previews for pacing are often done (notoriously) with temp-track scores before anything is composed at all. They need SFX.
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Well, I don't think it's the case always.
I had done the music for a horror film and it didn't have the final sound design.
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Posted: |
May 15, 2017 - 1:25 PM
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By: |
Col. Flagg
(Member)
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In television, a composer will work to a cut that usually has temporary basic sound effects, sometimes room or exterior ambiences, and temp score and songs. Never foley.
In features, it depends, but usually it's quite similar to television except that the temporary sound fx work is more detailed and more attentive to the 5.1 surround environment for preview screenings. Rarely is foley provided, unless it's in the form of a temporary sound effect.
Foley's a lot like orchestral music in the sense that it's usually a physical, live performance. Also, like music, it's relatively expensive to record, complex to edit, and one of the last things to get done before the mix.
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Posted: |
May 15, 2017 - 1:58 PM
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By: |
John Mullin
(Member)
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Also, "foley" typically refers to things like footsteps, props that are being handled in the shot, etc.
As Saul, Mike and others have said here, the editors and assistant editors will usually put in basic placeholders for the "big" sounds - doors slamming, gun shots, explosions, body hits, tires squealing, machines operating, et al - but typically not "foley" effects unless the sound of echo-y footsteps approaching off camera are in some way vital to understanding what is happening in the scene.
Even then, those sounds will be replaced by the "real" sound design team, which is usually busy recording and cutting their own sounds during the same period of time that the composer(s) work(s).
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