Fonic's approach to Foley places it at the heart of sound design, adding depth and texture to every production. The studio has contributed to a wide range of acclaimed projects, from feature films such as Rose Plays Julie (The Guardian Top 50 Films of 2021), All My Friends Hate Me (Tribeca 2021) and Baltimore (UK and Irish theatrical release), to animation including Peppa Pig, Hey Duggee and the BAFTA-winning 'Grandad Was a Romantic' as well as immersive VR experiences such as Google's 'Back to the Moon', the first VR and 360° interactive Google Doodle. Fonic's expertise also extends to audio-only productions, having provided Foley for Pottermore Publishing and Audible's Harry Potter: The Full Cast Audio Editions series, collaborating with Strings & Tins on sound design to bring the stories vividly to life.
Across these projects, Fonic has built a network of Foley artists highly skilled in storytelling through sound. As part of the studio upgrade, Fonic worked with leading artists including Sue Harding (Blitz, Mission Impossible, Emmy winner) and Andrea King (1917, No Time to Die, The Martian) to shape the studio's creative potential.
The upgrade increased the studio's footprint and range of surfaces, including a new concrete water pit. Flooring now spans concrete, stone, marble, lino, wooden boards and exterior textures, allowing realistic footsteps across a wide range of different surfaces. The newly built aged wooden boards are widely regarded as among the finest in London for recording footsteps.
The studio also offers a broader selection of fabrics, hangings and curtains as well as increased space for object and prop storage. The collection has been curated over more than 20 years for its sound qualities, with new additions continually acquired, most recently a full suit of armour previously used in the Dungeons and Dragons feature film.
The expanded size of the studio allows Foley artists to perform natural movements with far greater ease, such as walking, running, duelling and manipulating cloth or large props adding depth and realism. Fonic's Foley recordist Stephen Maxwell, working with Andrea on a recent commercial, was able to take full advantage of the space, recording "feet traversing from hardwood to carpet" seamlessly in a single take.
Fonic has prioritised Foley across projects of all types and budgets, recognising its role in enriching sound design and expanding the audio palette. Fonic Director Barnaby Templer explains: "Foley is central to our work. It reflects our approach to craft, creativity and storytelling, allowing us to create layered soundscapes that support the narrative. Our upgraded Foley studio gives us greater flexibility to support film, television and audio projects".
Across these projects, Fonic has built a network of Foley artists highly skilled in storytelling through sound. As part of the studio upgrade, Fonic worked with leading artists including Sue Harding (Blitz, Mission Impossible, Emmy winner) and Andrea King (1917, No Time to Die, The Martian) to shape the studio's creative potential.
The upgrade increased the studio's footprint and range of surfaces, including a new concrete water pit. Flooring now spans concrete, stone, marble, lino, wooden boards and exterior textures, allowing realistic footsteps across a wide range of different surfaces. The newly built aged wooden boards are widely regarded as among the finest in London for recording footsteps.
The studio also offers a broader selection of fabrics, hangings and curtains as well as increased space for object and prop storage. The collection has been curated over more than 20 years for its sound qualities, with new additions continually acquired, most recently a full suit of armour previously used in the Dungeons and Dragons feature film.
The expanded size of the studio allows Foley artists to perform natural movements with far greater ease, such as walking, running, duelling and manipulating cloth or large props adding depth and realism. Fonic's Foley recordist Stephen Maxwell, working with Andrea on a recent commercial, was able to take full advantage of the space, recording "feet traversing from hardwood to carpet" seamlessly in a single take.
Fonic has prioritised Foley across projects of all types and budgets, recognising its role in enriching sound design and expanding the audio palette. Fonic Director Barnaby Templer explains: "Foley is central to our work. It reflects our approach to craft, creativity and storytelling, allowing us to create layered soundscapes that support the narrative. Our upgraded Foley studio gives us greater flexibility to support film, television and audio projects".
Adding to London's audio landscape, the upgraded Foley studio is now fully operational and available for bookings, with Fonic providing services through its award-winning artists or on a dry-hire basis. Visitors are welcome to tour the space and explore the extensive props library.
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