Footsteps in a corridor, a creaky door, a wrinkled garment: in cinema, these sounds are often added in post-production. The foley artist reproduces gestures and handles objects to give the onscreen actions a sonic presence.
This work does not imply that everything is silent on set. In an interview published by the CNC in 2021, foley artist Claire André explains that for live-action shoots, the on-set sound can serve as a reference. Foley enables the creation or recreation of sounds to fit a project's needs. In animation, the drawn movements do not provide that starting recording: the surrounding sound must be imagined.
To create a sound, the prop isn’t always the one shown on screen. The Onisep job profile notes, for example, a salad spinner used to mimic the hiss of a subway train. Professionals rely on a mix of objects and tools, but also their hands, feet, or mouth. A library of pre-recorded sounds can also supplement their resources.
This invention requires a high degree of precision. Creating a convincing sound isn't enough: it has to land exactly as the movement happens. Rhythm and listening are therefore essential. A step, a bang, or a door closing must accompany the action so that the audience links it to the gesture.
The choice of sound also hinges on the scene’s intent. Claire André recalls using tiny bells to accompany the firefly flight in the animated series Petit Malabar, a move meant to give the moment a poetic tone. Foley work, in other words, seeks mood over strict realism. The foley artist also describes her exchanges with the sound editor and the sound engineer, and the option of recording several takes.
These sounds then join the rest of the soundtrack elements. In an interview with the CNC on mixing, Emmanuel Croset explains that this stage brings together the film’s sounds and allows the team to fine-tune their balance, character, and spatial placement. The mixer comes into play after the production sound work, sound editing, foley, and musical composition have been completed.
The presence of sound on screen results from a series of decisions: to create it, to choose it, and then to place it among the voices, atmospheres, and music. Croset notes that the final mix contributes to the film’s aesthetics and can alter how the rhythm of a sequence is perceived. A very subtle sound—like a spectacular effect—belongs to this collective construction.
