About our philosophy
and studio.
Every project requires its unique approach.
Every project requires its unique approach.
We always consider different techniques and thoughts with supervising sound but also within our foley team. It’s a team effort.
Sometimes foley needs to be felt and quiet, sometimes foley needs to be rough and demanding. It’s always about the context.
We’ve had our work shown in festivals like Cannes and worked on Golden globe and Bafta nominating productions. You can also find our work on Streaming services like HBO, Netflix, Disney and Amazon Prime.
We’ve had our work shown in festivals like Cannes and worked on Golden globe and Bafta nominating productions. You can also find our work on Streaming services like HBO, Netflix, Disney and Amazon Prime.
Our studio
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 work destructively.
Unless otherwise requested, we deliver the foley tracks mixed together.
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 flat or wide, as well as spaces such as a stairwell and a bathroom, 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.
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 flat or wide, as well as spaces such as a stairwell and a bathroom, 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, and I am the founder of YSFoley. I am a foley geek, deeply driven by the craft of foley. I also 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.