Asbjoern Andersen


Sound designer Shaun Gallagher was brought in to handle the foley sound for Mortal Kombat X’s Story Mode. Mortal Kombat X is the latest – and fastest-selling – installment in the long-running series, and it’s being hailed by reviewers as a superb entry in the franchise.

Shaun’s foley solution was a combination of custom recordings, sample libraries, and midi. Get the details below, and be sure to check out the special video at the end of the post to hear the foley sounds in isolation. Here’s his post – reprinted with his kind permission.

 

When I began my contract at Netherrealm Studios back in July of 2014, Rich Carle, Netherrealm’s audio director, informed me that one of my primary tasks would be to “own the foley process” for Mortal Kombat X’s Story Mode over the next several months. Little did I know what I was in for…

The team decided to take a different approach to foley for this game.

The team decided to take a different approach to foley for this game. Typically in visual media (TV, film, games), footstep, cloth, and interaction foley is performed live to picture, and then cleaned up and edited in post, if need be. In my experience, the largest amount of time spent in foley is on footsteps. Timing, performance, and volume all need to be practiced multiple times to picture, memorizing the scene and its nuances, until you’ve hopefully captured your best take.

In games and animation (where production sound is absent and all audio needs to be created from scratch), a 7 minute scene with 6 characters, all needing footsteps (with varying shoe types) performed to picture can quickly grow to be time consuming with diminishing returns. Also take into account the nature of animation and game design. In film or TV, the visual aspects of a character are locked. For example, after picture lock, you can count on a certain character in a specific scene having the same shoe type, for it to not be raining, and for the character’s costume to remain the same.

In games, where dozens of people are simultaneously refining environments, effects, character models, etc., this is not the case, and any one item in the foley track in a scene may need to be swapped quickly to match something visual that has changed. Hopefully you can see how important time, energy, and flexibility were when creating audio for MKX’s story mode.

Our solution? There are currently a few companies offering MIDI solutions to our foley problem, specifically for footsteps. We initially decided upon 2:

• Signo SFX-Instruments
• Foley Collection

Both services provide the same thing: individual footfalls for a variety of surfaces and shoe types, performed at varying volumes and mapped to keys in custom patches that work in Native Instruments’ Kontakt. This allowed us the option to, say if a surface changed or character costume was altered, easily swap out the patch for an already performed MIDI region. Timing and volume remain the same, but our surface or shoe type could be altered on the fly. This still requires quite a bit of time, as footfalls need to be performed to picture in real-time.

However, unlike recording in a foley booth where if a timing or volume mistake was made for any one footfall, with MIDI this is no problem

However, unlike recording in a foley booth where if a timing or volume mistake was made for any one footfall, with MIDI this is no problem; you could finish your performance and open the MIDI region, nudge notes for precise timing and change any volumes on the fly. Hell, swap the patch entirely while all of the data that was needed to be performed in real-time remains unchanged.

As for cloth and interaction foley:

This was either created from foley recordings done in house, or designed using a mixture of the former and library material, and then edited and placed accordingly. Here is a picture of a typical foley session in Nuendo. Note the separation of scenes and Kontakt instances based on ground type and MIDI routing to group tracks for easy stem bouncing of each individual character:

mortal kombat x foley

And here’s a zoomed view of a typical amount of footstep patches in one instance of Kontakt, and the MIDI performances associated with each character and their footstep patch:

mortal kombat x foley sound 2

We later contracted John Roesch and his foley team at Warner Brother’s Sound Studios in Burbank and had them record additional footfalls and scuffs, which we then edited and programmed into our own Netherrealm Footstep Foley patches for use in Kontakt. This ended up being the go-to material for footsteps.

I believe our combination of MIDI patches for footsteps in conjunction with traditional foley recording and editing yielded a great result and saved a ton of time and hair pulling

In retrospect, I believe our combination of MIDI patches for footsteps in conjunction with traditional foley recording and editing yielded a great result and saved a ton of time and hair pulling, especially for the amount of times scenes changed throughout development. There were additional surfaces we felt we could have used towards the end, particularly raised wood and corrugated metal, but I was able to design something that sounded just fine.

Listen and judge for yourself!

This video highlights footstep, cloth, and interaction foley using the processes outlined above. Anything we classified as sound design (punches, characters breaking items, etc.) have been omitted. VO is included for context (warning: the video is graphic):



Shaun Gallagher Foley Design


A big thanks to Shaun Gallagher for letting me reprint his post. Want to know more about him and his work? Check out his blog here for details.
 

Please share this:


 



 
 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • ⏰ For a very limited time:
    Add this library to the cart and enter ah4launch in the cart coupon field – to sprinkle an extra launch discount, on top of the current discount!

    Animal Hyperrealism Vol IV is a sound library containing animal vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 294 files. The sounds were recorded in zoos, and wildlife centers.

    The asset list includes but is not limited to: hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, brown bears, pheasants, wildebeests, African wild dogs and many more. The content has been recorded at 192KHz with a Sanken CO100K, an Avisoft CMPA and a Sennheiser 8050 for center plus two Sennheiser MKH8040 for stereo image.

    The resulting ultrasonic spectrum is rich and allows for truly extreme manipulation of the content.

    15 %
    OFF
  • Bundles Mattia Cellotto – Complete Bundle Play Track 13100+ sounds included $1,162

    Mattia Cellotto’s extraordinary sound libraries are some of the most popular releases in independent sound effects – and here’s your chance to get them all at a nice discount. Here’s what’s you get:

    NEW: ANIMAL HYPERREALISM IV contains animal vocalisations – from hippos, hyenas, vultures, dwarf mongooses, elephants, African cranes, parrots, tigers, pigmy hippos, rhea ostriches, to brown bears, pheasants, wildebeests, African wild dogs and many more. Features 2000 individual sounds in 294 files.
     

    CATACLYSM is a collection more than 1400 sounds in 400+ files of recorded, synthesized and designed sounds created to support important destructive moments and add a stronger sense of extreme consequence to any sound.
     

    ANIMAL HYPERREALISM VOL I is a library containing themed animal vocalisations & sounds, from real to designed creatures totaling more than 1300 individual sounds in 290 files.
     

    ANIMAL HYPERREALISM VOL II is a library containing themed animal sounds & vocalisations, from real to designed creatures totaling more than 2000 individual sounds in 283 files.
     

    ANIMAL HYPERREALISM VOL III is a library containing sounds themed animal vocalisations, from real to designed creatures totaling more than 1700 individual sounds in 279 files.
     

    METAMORPHOSIS is a huge collection of recorded source, synthesized material and hybrid sounds – more than 2300 sounds total.
     

    GLACIER ICE is a library containing over 300 high quality sounds of ice cracking, breaking, shattering in various sizes of blocks – recorded entirely in the Italian Alps over the course of two winters.
     

    POLARITY delivers more than 950 sounds of electricity, science and technology – captured in several locations around the world, from electricity museums to science labs.
     

    ULTRASONIC DRY ICE is a library containing over 600 sounds themed metal resonances, scrapes and all sorts of weird.
     

    ROCKS MOMENTUM gets you more than 1100 sounds of rocks, bricks, wood logs, stones, impacting on different surfaces, rolling, being scraped one against the other and so on. The library was recorded in the Italian alps, and in Inverness, Scotland.
     

    WATER VOLUMES delivers you over 300 sounds of natural hot-springs, bubbles, and liquids of various densities boiling under the effect of dry ice.
     

    METAL GROANS AND SLAMS is a library for which metal was kicked, hammered, bowed and… induced to vibrate through feedback loops?! The collection features 346 unique sounds recorded through field trips in US, UK and Italy.
     

    CRUNCH MODE & THE BORAX EXPERIMENT are also included as a bonus: Crunch Mode features 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust & frozen goods, and The Borax Experiment gets you 158 squishy, gory, slimy, gooey SFX.
     

    15 %
    OFF
    Ends 1759874399
  • Bundles The Vault – The Ultimate RTSB Bundle Play Track 29683 sounds included, 2459 mins total $1,159

    The whole 9 yards.
    Comprised of 11 heavy hitting libraries, this bundle includes SEISMIC CORE, OVERKILL, 4 ELEMENTS, COLLISION, INTERACTIVE, SCI FI, GEARBOX, SORCERY, HERO, BROKEN, and MELEE. Save by bundling all ELEVEN in a single library.

    GEARBOX:
    Boutique analog mechanical contraptions, steampunk gadgetry, gizmos and machines big and small.


    SORCERY:
    Spells, deflects, casts, blocks, beams, and more. Unrivaled wizardry at your fingertips.


    BROKEN
    Car crashes, explosions, crumbling buildings, earthquakes, ripping earth and metal, to debris, and more.


    HERO:
    HERO – Sword fights, stabbing, guillotines, impaling, battle cries, shields, drawbridges, armor, foley and more.


    MELEE:
    Punches, kicks, blocks, bodyfalls, grabs, slaps, bone breaks, blood splatters, and more.


    SCI FI:
    Spaceships, machines, mechanicals, weapons and more. Technologies exceeding your boldest visions of the future.


    INTERACTIVE:
    The ultimate Game UI SFX library including clicks, pops, whooshes, musical and tonal elements, and ready to use designs for every UI action and game style.


    COLLISION:
    The ultimate sound effects library for massive impact sounds. Stingers, crashes, hits, whooshes and fully designed impact effects.


    4 ELEMENTS:
    Harness the raw power of fire, water, earth, and air with over 3000 elemental sounds crafted for limitless creativity.


    OVERKILL:
    Unleash pure audio carnage with OVERKILL – a brutally detailed 5.7 GB sound library featuring 3390 hyperreal gore sound effects across 607 files.


    SEISMIC CORE:
    Unleash raw sonic power with SEISMIC CORE – a meticulously crafted 1.62 GB sound library featuring 548 impact-driven sound effects across 108 files.


    25 %
    OFF
Explore the full, unique collection here

Latest sound effects libraries:
 
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II & Zoom F3 recorders. Library contains wav files of driving, foley, mechanical and electrical sounds. It is only available in UCS.

  • PLANES & HELICOPTERS contains flybys, takeoffs, and landings of 13 aircraft models and 5 helicopter models, including small and medium-range passenger planes, private jets, tiny planes and firefighting aircraft. Recorded as close as possible to the aircraft, in airports. You’ll find turbojet, turboprop, and propeller-powered aircrafts. You’ll also find military and civilian helicopters sound effects.
    The sounds can be used for a realistic purpose but you can design spaceships or futuristic vehicles.

    13 %
    OFF
  • Car Sound Effects Lada Riva 1980 compact car Play Track 218 sounds included, 51 mins total $65

    All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is only available in UCS.

  • Electricity Sound Effects Fridge Hums Complete Bundle Play Track 60 sounds included, 130 mins total $24

    A comprehensive fridge hum library with 60 sounds / 2+ hours of hums, buzzes, beeps, industrial room tones, clicks, drips and more

    20 %
    OFF
  • Helicopter Sound Effects CH-47 Chinook Helicopter Play Track 40 sounds included, 46 mins total $80

    This library delivers the raw power of this legendary military transport helicopter. Originally recorded for the acclaimed Netflix series Money Heist: Part 5, this library captures every rotor, engine, and maneuver with pristine detail and fidelity—now available for your own productions.

    From the thunderous rotor blades slicing through the air, to the deep roar of its twin turbines, and the massive fly-bys that shake the ground, this collection delivers 46 minutes of sounds from one of the most iconic helicopters in history.

    Recorded using a multi-mic setup, every nuance has been preserved – from the hurricane-like rotor wash to the natural echoes bouncing across the runway and hangars. This library is a perfect fit for war films, military documentaries, AAA video games, or any production in need of authentic and cinematic helicopter power.

    What’s inside:

    • APU start ups, takeoffs, landings, and hovering sequences.
    • Close and medium imposing fly-bys
    • Interior and Exterior perspectives
    • Fully edited and UCS-compliant metadata for fast and easy search

    With CH-47 CHINOOK, you’ll have a rock-solid, versatile, and epic sound resource at your fingertips – ready to take your projects to the next level.

    Note: The SoundCloud demo contains radio communiactions and some cockpit switches. These are not included.

    20 %
    OFF

   

2 thoughts on “An inside-look at the Foley Process for Mortal Kombat X (with video)

  1. Foley Design? Really? Is that a real title given out these days or is it some made up name you give to a mid level effects editor who steels sounds from other Foley sessions and then hacks them into a new project?

    What the author is forgetting is that Real Foley is not just about footfalls. It’s all about Performance. And not just a performance by the Foley Artist but by also the recording engineer too.

    Yes, all the sounds in the demo are there but with no perspective, no emotion or feeling these scenes are as interesting as a hacked together 80’s dance track. What this is at best, is a demo of the authors effects editorial skills not Foley.
    As a Foley artist for over 25 years, after hearing this demo, I feel completely secure in my life’s work.
    So Please don’t call “Foley Design” Foley. In fact, Loose this tital completely. All this does is cheapens the craft and dummies down real sound designs and Foley artist world wide

    • I understand what you mean, in the sense that this isn’t a classic foley performance as such. However, I think your criticism is needlessly harsh. An analogy can perhaps be found in played/performed vs sequenced music – I think both types can certainly have artistic and real value as a craft. It’s just different types of music.

Leave a Reply

Your email address will not be published. Required fields are marked *

HTML tags are not allowed.