TFS is proud to work on 3 shortlisted features in this years Sound category for the 2022 Academy Awards

The Academy of Motion Picture Arts and Sciences announced shortlists in some categories for the 94th Academy Awards. Out of the 10 films shortlisted in the Sound category, TFS were thrilled to have carried out Sound on 3 of those features:

🎬 ‘Belfast’
The mix was completed in Sound Theatre 2 with Mixers Simon Chase and Niv Adiri.
Sound Design was by Soundbyte Studios and Supervised by James Mather.
Foley Mixer – Sophia Hardman
Foley Artists – Oli Ferris and Sue Harding
Foley Editor – Arthur Graley

🎬 ‘Last Night in Soho’
Working closely with Focus Features and Working Title Films, the TFS team was very proud to join Lead Mixer Julian Slater, with Tim Cavagin and William Miller co-mixing on the film.

🎬 ‘No Time To Die’
The TFS team joined a stellar line up of artists on the feature working closely with Supervising Sound Editor Oliver Tarney to bring the epic Foley to life.
Foley Supervisor – Hugo Adams
Foley Mixer – Adam Mendez
Foley Artists – Andrea King, Sue Harding
Foley Assistants – Sophia Hardman, Oli Ferri @olihferris

Check out all nominees and good luck to all those shortlisted:

TFS carries out Foley on new ‘Adistar: The Long Slow Run’ working with 19 Sound

With a 60-minute film received in total silence, there was a big Foley work to be done and every sound had to be created for the Adidas campaign.

We were thrilled to work with our client 19 Sound, who contacted TFS to carry the Foley work, with Adam Fil Méndez as Foley Mixer and Oli Ferris as Foley Artist.

Find out more about how the sound was created for ‘Adistar: The Long Slow Run’ or watch the full advert on YouTube >>

TFS welcomes IBC remote play HADO tournament to the campus

In 2021, TFS welcomed the IBC 2021 LBXR Accelerator tournament, a project aiming at examining how technologies can amplify important aspects of Location-Based eXtended Realities, immersive interactivity and accessibility.

The TFS team – spotted cheering – was very excited to witness some proper esports taking place in their studios!

You can now watch the full pilot episode of the IBC remote play HADO tournament on YouTube, with mixed physical and virtual hosts >>
20 Jan 1

The Beatles: Get Back to be released in IMAX and on DVD/Blu-ray with Sound by TFS

Directed by Peter Jackson, the epic documentary series The Beatles: Get Back become a sensation when it got released on Disney Plus in November 2021.

The Beatles fans and music enthusiasts will be happy to know the 60-minute feature will debut at selected IMAX cinemas on 30 January 2022, marking the 53rd anniversary of the band’s epic concert.

TFS award-winning Re-recording Mixer Tim Cavagin carried out an IMAX mix of the highlights, which features the band’s famous rooftop performance mixed in Theatre 2 for IMAX cinemas.

We look forward to re-watching this instant classic!

TFS carries out Sound on Ghodwa which picks up Best Film Award at the Cairo International Film Festival

Ghodwa had a great reception, with a brilliant public reaction and sold-out screenings at the Cairo International Film Festival and the Red Sea Film Festival! The feature also won the Fipresci Award for Best Film in the International Competition at Cairo.

Directed by Dhafer L’Abidine in his directing debut, Ghodwa tells the tale of a father and son, reunited after years apart following Habib’s worrying state of health. With a deadline to catch and pressure from unpredictable events, Habib and his son Ahmed’s roles are reversed, a situation neither is prepared for.

TFS carried out Sound on this feature, with Max Walsh as Supervising Sound Editor and Re-Recording Mixer and Rob Davidson as Sound Mix Technician.

The TFS Picture team also worked on the feature – with Malcolm Ellison carrying out the Colour Grade.


Homebase film their new advert at TFS

It’s show time…

This year, Homebase and Merman picked Studio 1 at Twickenham Film Studios to shoot their Christmas advert.

With a real-life reindeer on site, it was a very exciting day for the whole team at TFS.

We loved working closely on this festive ad with Merman the BAFTA-winning independent production company and welcoming the whole Homebase team to our campus.

Watch the ad >>


Christmas release for The Amazing Mr Blunden

Written and Directed by Mark Gatiss, this Sky Original film is an adaptation from Antonia Barber’s novel The Ghosts and the 1972 film. The story follows events after an unusual face-to-face between two London teenagers and an enigmatic old man who offers their mother to become the caretaker of a haunted country house.

TFS carried out Foley on this new feature, with Adam Mendez as Foley Mixer, Sophia Hardman as Foley Editor and Oli Ferris and Sue Harding as Foley Artists.

The Amazing Mr Blunden is available on Sky Max and streaming service NOW.

Watch the trailer >>


TFS Hires Elliot Bick as Dailies Operator as part of newly launched Dailies department

TFS are thrilled to share that Elliot Bick has joined as a new Dailies Operator as part of the launch of the UK’s largest and most state-of-the-art Dailies department.

He joined a world-class team of Dailies creatives, colour scientists, artists and technical operators to deliver the very best tent pole Feature Film and Episodic work for all the big Film Studios and Streamers.
His arrival at TFS follows on from his previous roles at Picture Shop Post where he worked as a Dailies Operator, and also prior to that he worked at Technicolour for over 4 years and Clear Cut Pictures for nearly 2 years.

Some of his creative project highlights include working on: The Essex SerpentPinocchio and His Dark Materials.

Working as part of the Twickenham Film Studios Dailies department the facility offers clients 10x Dailies suites and 4x state of the art picture 4K VFX review theatres complete with the latest Baselight alongside Daylight grading and Dailies software. This on site, state-of-the-art offering is matched with an equally safe and secure remote Dailies solution which enables the expert TFS team to capture and create images on set live from locations around the world.

Elliot Bick says on joining TFS: “I’m very excited to join the Twickenham Film Studios team and have the opportunity to work in such a historic and prestigious environment with such a world-class team. In my role as Dailies Operator I get to work with incredible teams and love being so involved in such a crucial part of the filmmaking process. We also have a lot of upcoming projects that I’m really looking forward to getting involved in”.


A day in the life of TFS Foley Team


A spotlight Q&A interview with our Twickenham Film Studios Foley Team

We caught up with our Twickenham Film Studios multi award-winning, creative Foley team to hear more about exactly what Foley is, delve into some of their highlight creative creds and favourite recent projects, what it’s like being the team behind invisible natural sounds that people didn’t even know existed!

1. Tell us about the TFS FOLEY team? Each of your roles?

Adam Méndez – Senior Foley / ADR Mixer

Sophia Hardman – Foley Mixer & Editor

Oli Ferris – Foley Artist

With longtime Freelance Collaborators Sue Harding and Andrea King


2. What is FOLEY and how does it work for those who aren’t clear on what your team does and how you work?

Foley can be thought of as the part of a soundtrack of a Film or TV show that was performed by an artist to match the action on screen.

The Foley artists are similar to musicians in that they can take an object (from the shoes they are wearing, to an oven, to large piece of sheet metal) and ‘play’ it in time with the action on screen to produce a sound that augments the story.

Generally, we look at the picture and fill in the appropriate sounds with the artists performing them, the mixer recording them and the editor tidying them up and making them mix ready after the shoot.

We’ll either have a Foley Supervisor in with us or have notes from the Director via the Sound Team to guide us.

We have a large room covered with different surfaces and several storage areas full of props and shoes, which we rummage through to conjure up the sounds.

Our TFS Foley Theatre is one of the largest in the UK, one which we have evolved over time to create a recording space that we are immensely proud of today.


3. What’s it like working as part of the TFS Sound Team?

AM: We’ve been fortunate enough to work on some great projects for outstanding crews here. Twickenham Film studios in its various guises has been an incredibly creative place and that’s allowed us to build a studio environment that we are very proud of.

SH: The Sound Team at TFS is a tight circle of creatives who are highly skilled and motivated. Being a part of such a successful and youthful team is inspiring and exciting.

OF: It’s amazing to be part of such a talented and hardworking team.


4. Talk us through your big historical Film and TV credentials? Best moments / greatest hits? Challenging ones?

AM: My first big film was Slumdog Millionaire. Sound Supervisor Glenn Freemantle’s enthusiastic direction got me very hyped up. Hugo Adams Supervised the session and we produced some nice sounds, including a boy falling into a pile of poop that involved a lot of wet newspaper. That project really opened my eyes to what you could create in a studio. It also opened a lot of doors for me, and I’m very grateful to have been involved.

OF: Black Mirror, USS Callister, was a pivotal project for me that cemented my transition from working front of house as a Runner to full time Foley Artist for the studio.

SH: I cut my teeth editing many episodes of Poldark and learning loads as I went – the extremely busy episodes coupled with fast turnaround times meant that I had lots to learn, fast. From here I went on to apply my knowledge to feature films, such as The Kid Who Would Be King, Sound Supervised by James Mather which was my first jump into feature editing!


5. Tell us about your award-winning projects?  

AM: I’ve been very lucky with the projects I’ve been exposed to. I was still fairly inexperienced when Glenn Freemantle hired me forSlumdog Millionaire and some years later Gravity came along which was such an exciting project to be involved with. I was basically just keeping up with Nicolas Becker and Hugo Adams on this huge learning curve whilst they experimented with tons of metal and unusual microphones. It was my first time using a geophone and deliberately saturating sounds and I was happily thrown well outside of my comfort zone. 1917 was a hugely exciting challenge. Oliver Tarney and his team had a very clear and specific brief for us which involved some research into WWI trenches and kilos of clay being mixed up by Sophia and Oli. The single shot nature of the film meant we were following the leads in a way that meant performance was key, so after we had built a trench and covered it in sticky clay and mud. Foley artists Sue Harding and Andrea King had to perform long walks with as much nuance as possible. The Foley we shot was then married to location Foley tracks by Hugo Adams and then fed back to Oliver his crew for mixing by Mark Taylor before being presented to the director in huge continuous chunks. It was a very intense project

SH: Being a part of the TFS Foley team has meant exposure to some incredible projects and getting to be a tiny tiny part of amazing projects like 1917, which I assisted on (and experienced mud and mess like never before). Also I would be remiss to not mention Black Mirror S4, which I was part of the CAS award winning team for the episode USS Callister which was a whirlwind of an experience but one I’m extremely grateful to have had.

OF: Like the other two have said, 1917 was a Foley dream project for everyone and a very messy one at that, and being part of the sound team for USS Callister gave me a opportunity of a life to go out to LA as it got nominated for a EMMY, and as luck would have it we won, a moment I will never forget.


6. Tell us about some other key creative highlights?

AM: Maleficent: Mistress of Evil for James Mather and the team at Soundbyte was extremely enjoyable as we had to create sounds for toad-pig creatures, walking mushrooms and fairy-leafed trees as well as rippling feathery wings. We had a lot of fun rummaging through the props as we were asked to bounce a golden crown through fairyland at one moment then record massive suits of armour the next. News Of The World for Oliver Tarney was beautiful to work on as there were a lot of delicate sounds for the artists to perform which had plenty of space for them to sit in the mix. We also got to let rip as Oli and Sue tore a wheel off a wagon which involved large pieces of wood being furiously shaken.

SH: Getting to record Foley for Enola Holmes for Eilam Hoffman and Nina Hartstone, was a real step up for me in terms of recording and it was a dream job in terms of foley as it was laden with moments that meant we could really show off what we can do and the end product was something I am extremely proud to have been a part of. Also recently, a personal highlight was getting to be involved in No Time To Die. It goes without saying that the Bond films are iconic and getting to be a part of such a film is something I always wanted, so feel very grateful to have been part of the team.

OF: The One and Only Ivan was a great challenge with all the different animated animals from elephants, gorilla and seals to a rabbit in a firetruck. The fight scenes in Enola Holmes were great fun as well, making sure we got the right amount of energy in them.


7. You recently worked on No Time To Die? Tell us more about how Foley worked with Sound?

No time to die for Oliver Tarney was a very exciting piece to work on as we were part of a huge franchise that started before I was born!

The most fundamental part of the work we do involves the footsteps of the characters in a film. The goal is to make a sound that blends in seamlessly with all the other sound elements but also adds something to the story. In Bond, for example, when he is in the classic Bond tux he needed to sound smart, yet also dangerous. Anna de Armas’ character, Paloma, similarly needed to sound elegant but also deadly so that you believe it equally when she is walking through the party or running at an assassin. This means that in the studio we chose the shoes and surfaces that give us the right sound to enhance the soundtrack. We work under close supervision from Oliver Tarney and the sound team who give us the work-in-progress soundtrack to play back the Foley against so we can make sure we’re giving them the best elements.

Sounds like explosions, gunshots, car chases are all created by Sound Designers from a mixture of raw recordings and library effects. We can augment these moments by adding any details that might sound better performed by a human. For example, in No Time To Die when the hi-tech thieves abseil into a top-secret lab we recorded the sounds of their footsteps on the glass building, their ropes slowly pulling through carabiners which blend in around the laser glass cutters and eventual explosions. Later, when Bond and MI6 agent Nomi are stalking the tunnels of Safin’s lair picking off a small army, we performed sounds for their tactical kit and feet through the puddled water that sit in between the gunshots. Our role is really to provide the human element amongst these wonderfully crafted effects.

Aside from the excitement at being involved in such an iconic franchise, there was the added buzz of the long delay of its release caused by the pandemic. We actually finished our work on this project around Christmas 2019, so it was great to finally be able to see it hit the screens this year.


8. What are your favourite props used in notorious effects? Can you tell us about what you use for some of the best known sounds?

AM: Although we do have certain go-tos’ for some situations, we try not to get too stuck on favourites as we want to keep everything evolving. Our clients are paying us for something new each time so we try our best to deliver and to keep progressing.

SH: Adam is totally right and it’s hard to pick out a favourite prop. But I will tell you what my least favourite sound is…. a sound that makes me recoil in horror and usually get annoyed with Oli for doing: A fork being aggressively scraped down a piece of metal. It’s the worst and I hate it, but in the context of a project when it’s added at the right moment it can bring so much energy into what it’s applied to, think car crashes or explosive fight sequences.

OF: I guess my shoes, I’ve got a really big collection now that is forever growing which helps me get the right amount of character for each walk, also I have to give a shout out to the flaming sword! a plastic door curtain, that I try to get into everything we work on from cigarette lighters, ovens and fireplaces to swords, wings and explosions.


9. What tech do you use as part of your role at TFS you couldn’t live without? 

AM: Our dust extractor. The amount of dust the studio generates is unbelievable, and on days where we have been working with sand (for example, on The Martian) or dry dirt it was quite common to head home with a sore throat and chesty cough. That dust extractor is a hero!

SH: Of course, we couldn’t do without our pre-amps & microphones, ProTools or mixing console, the tools that we have access to, we have spent time testing and learning how best to utilise to the best of our abilities.


10. Any favourite gadgets / sound apps you’d recommend?

AM: I’m always on Spotify

OF: I like having a guitar in the studio

SH: App wise I’m really enjoying Worldwide FM – a way to listen to broadcasters around the globe.


11. Films with best Foley you wished you had worked on?

AM: I would have loved to have worked on James Cameron’s Aliens. I remember impersonating the sounds of that film with my schoolmates in the playground. From the purring computer in the opening scene to the nasty visceral sounds of the eggs hatching. It’s one of the main reasons I got into film sound and I was so excited to add a small contribution to that series when we worked on Alien: Covenant.

SH: I wish I could have worked on Big Hero 6, that film charmed me with its soundscapes and its use of comedy sound also in particular for the Baymax character I thought was genius.

OF: No country for old men would have been amazing to work on, love the captive bolt pistol Javier Bardem walks around with, it’s just a great sounding film all together.

*The TFS Sound department has just gone through a full renovation and tech upgrade as part of the exciting TFS complex redevelopment making us the most state of the art, technically advanced Sound Theatres in the world.

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