When it came to editing the foley our job was quite easy, because almost all of the sounds happened in the centre of the screen and needed to be low down in the mix because they weren’t important focal points in the film, such as miscellaneous cutlery sounds and other little sounds like that.
We did have a little bit of trouble though with finding the perfect level for some of the more important sounds, such as the car engine, the door slamming, and the gunshot sound. This is because I personally found it hard to gauge how much louder and more prominent these sounds should have been without having the atmos and dialogue tracks present as well to relate them to.
This meant that I had to go back three or four times purely to raise and lower certain foley sounds to find the right balance. This also had an effect on our LUF measurements for the broadcasting limits, because every time we altered, the average loudness of the film would change slightly.
Once we did have the right levels though it was just a case of adding little bits of panning wherever I could to add more of a stereo feel to the film, such as an automation for the engine of the car to come across the screen, and for certain footsteps to walk off the screen in some sections.
Overall the foley mixing was one of the easier tasks of this film because there was no weird or overly creative sounds for us to attempt to recreate.