Simply not true. Will you get some directors using cookie cutter sound templates? Of course... bad ones. Hell, Bay reuses entire shots in his movies (often in the same damn franchise).

But good filmmakers will hire good sound designers and they will create good sound with what they have available.

Computers are a tool, nothing more. Digital sound is no different to digital imagery... people say they hate it, but they only hate BAD examples of it.

Can foley survive? Short term, maybe; long term, unlikely.

Fundamentally, it'll come down to the same question as any other technique in any commercial artform... cost vs quality. If foley remains the best way to get a sound, you will find people willing to pay for it. As digital sound creation gets better and better, there WILL come a point where no-one can tell the difference.

If you don't believe me look at guitar amplifiers. For decades, guitarists have preferred old vacuum tubes (known as valves) to generate the sound they want in a guitar amp. Digital (commonly referred to as solid state) amps are cheaper and generally pretty crap.

But these days, even people who love valve amps (and I include myself in that) have to admit that it's almost impossible to tell the difference between a genuine valve amp and a good computer model of the same (side note for guitar techy people... I know modelling != solid state).

And that's not just in playback, it's in live performance too. A kemper or an AxeFX FEELS like a valve amp, and you can vary the settings like a valve amp.

I believe that foley will ultimately go the same way. People like Wes Anderson will continue to use it, but for most filmmakers on a budget, they'll go with the sound creation software.

hehe, this is how i doodle when i am procrastinating at the office. i can't draw, so i end up making strange things like this.
the idea here was that i also wanted to make something from christian bale's rant, but the techno ideas have already been done, so i made something else.

his voice sounds like it goes through a vocoder, but it is actually loaded into "Alchemy"'s granular engine, which chops the sound into tons of little snippets/grains that you can manipulate, here by singing a new melody. the "gimme a gimme a gimme a fucking a" in the start, is that sound.
the more normal bale scream was sent through a guitar amplifier with a spring reverb to make him even more screaming.

so then i had lots of sour

time to add something sweet

the stripper is from www.archive.org and her dancing already fit very well with the "swing" in christians screaming rythm. i did some things like reduce saturation and increase contrast on the long shots, and opposite on the close ones.. etc. fun in "Vegas".

but i still haven't done my accouting for last year

Tags for this video have been changed from 'the fucking fucker, guitar amplifier, tubes' to 'the fucking fucker, guitar amplifier, tubes, metasonix' - edited by lavoll