ABSTRACT
Foley artists begin their contribution to the sound design on the Foley stage. They collect their shoes and props for the session, go over any cue sheets, sip their coffees, perhaps devour a bagel, and begin to plan the first few cues. Normally, if the project is a live-action or animated film, there will be some time to view the beginning of the show to get a sense of the amount of work required to be completed before the session is finished. The spotting session is where brainstorming meets ordinary details. Ideally, when a supervising sound editor (SSE) is hired to head a sound crew, they meet with the director and the picture editor. Sometimes, if time permits and the budget allows, the first picture assistant and ADR supervisor might attend the session as well. Sometimes, a spotting session is for the intention of “repurposing” an already released film.
