Our philosophy
and studio
Every project requires its unique approach.
Every project requires its unique approach.
With each foley project, I always consider different techniques and perspectives within our foley team. Foley is a team effort. Sometimes foley needs to be felt and quiet, sometimes foley needs to be rough and demanding. It always depends on the context of the film.
Our work has been shown at festivals such as Cannes and Locarno, also we’ve worked on Golden globe and Bafta nominated productions.
You can find our foley work on Streaming platforms including HBO, Netflix, and Amazon Prime.
Our foley studio in Delft
We select our microphone setup, experiment with different placements, and perform and mix in a way that supports the sound philosophy of the film.
This can range from upfront in your face, to realistic acoustically intimate. We record in Pro Tools and deliver foley mono and mixed.
Because of this, we’re always mindful, of how the material will be processed later in the mix.
We will not get too distant or up close, so that the sound designer is unable to process the foley in different ways.
Our studio is 63 m² and includes several rooms, each with its own acoustic character. We use the main studio room, which can be configured to sound either dry or wet,
as well as spaces such as a stairwell and a kitchen, which add natural depth and reverb to the recordings.
In the studio, we work with traditional microphones, but we also experiment with hydrophones, geophones, contact microphones, old military radio microphones,
and any unusual microphones we come across that may be useful in a given context.
My name is Yorick Sedee, foley artist and founder of YSFoley. I’m a foley geek, deeply driven by the craft. I love nature, board games, and sports, all of which support my work in foley. We work with a pool of freelance foley mixers and foley editors who are well experienced in their field.