Westchester, NY (February 5, 2018)—Working under the direction of Ruy Garcia, supervising sound editor for EPIX cloak-and-dagger drama Berlin Station, Foley studio Alchemy Post Sound is aiming to provide the second season of the series with cinematic sound.
Practical effects, like the clatter of weapons and clinking glass, are recorded on the facility’s main Foley stage, which is designed to capture sound effects in a pristine state. Certain environmental effects are captured on location at sites where the ambience is like the show’s settings. Interior footsteps, meanwhile, are recorded in the facility’s new live room, a 1,300-square-foot space with natural reverb that’s used to replicate the environment of rooms with concrete, linoleum and tile floors.
“Ruy wants a soundtrack with a lot of detail and depth of field,” explains lead Foley artist and Alchemy Post founder Leslie Bloome, “so it’s important to perform sounds in the proper perspective. Our entire team of editors, engineers and Foley artists need to be on point regarding the location and depth of field of sounds we’re recording. Our aim is to make every setting feel like a real place.”
A frequent task for the Foley team is to come up with sounds for high-tech cameras, surveillance equipment and other spy gadgetry. Foley artist Joanna Fang notes that sophisticated wall safes appear in several episodes, each one featuring differing combinations of electronic, latch and door sounds. She adds that in one episode, a character had a microchip concealed in his suit jacket and the Foley team needed to invent the muffled crunch the chip would make when the man was frisked.
“It’s one of those little ‘non-sounds,’ that Foley specializes in,” she says. “Most people take it for granted, but it helps tell the story.”
Alchemy Post Sound • www.alchemypostsound.com