“With a minimum direction and only a QuickTime (with a horrible guide track to boot), the Foley team at Postred were able to quickly cue, record, and deliver edited Foley for the film. After unzipping the Pro Tools session and importing it into my master sound edit, I hit play. It is one of the only times I have “just hit play” on a Foley session and not immediately reached for the VCA’s to turn all the props and feet down. Each sound was exceptionally well-recorded, with great care taken to prop and shoe choice and character’s performance. The sync was spot-on. I did have a handful of notes for the Foley team, which were swiftly executed. But the sheer quality of the sounds they recorded shows how the right room, props, and people can transform Foley into something with depth and meaning. It is refreshing to have Foley that can play a larger role in telling the director’s story versus “just for the M&E.” The excellent communication, dedication to sound quality, and expediency of delivery easily place Postred at the top of my call list for Foley recording.
It is always a risk when working with new people, especially if they’re not recommended by a colleague. I had an indie feature film that needed full-coverage Foley for international distribution, but my usual collaborators were unavailable. Looking for help, I posted on Facebook and was recommended to give Postred a shot. After reading a bit about their process and wonderfully-built stage in Georgia, I decided to take the risk – mostly due to the excellent communication by Tina, Head of Business Development at Postred.”