The Hana-Bi clip mostly features sounds that could easily be recreated using the same house-hold objects seen on screen, and before turning to stock effects I at least wanted to try and replicate them all with foley recordings. I first considered the recording environment, in this case a garage, and decided the closest surrogate i had to the workshop environment was my basement, which was isolated from external noise interference. The acoustics in the basement were not an ideal match, as the garage in the film is relatively open whilst the low ceiling in the basement meant for a very confined sound, however in The Sound Effects Bible Ric Viers notes that a foley room should be 'acoustically dead' so that the room does not artificially colour or amplify the sound.
I first recorded a wild track using the Rode NT-4 condensor microphone in stereo so that the sounds would blend more seamlessly into the picture. To record the individual foley sounds I utilised the supercardioid pattern of the Sennheiser MKH-416, as it rejects the majority of unwanted sounds from its sides and rear, and used a close mic technique.
I did multiple takes of each object, variating the performance and microphone proximity with each one to give me a more diverse range to choose from when matching it to the on screen action. The sheeting was replicated with a plastic bag and I scrunched and tore paper and tape trying to mimic the pattern as the character peels it from the taxi. In an attempt at sonic authenticity I tried to recreate the props that the coat and hat are placed upon, stacking some boxes.
Screen Shot
Recreation
The dirty basement floor was also useful for recording footsteps on a 'gravelly' surface, I experimented both by holding the microphone towards my feet as I walked, recording in mono, and leaving the mic in a fixed position in stereo and walking towards and away from it. In the end the Mono recording yielded better results and I altered the proximity later in Soundtrack Pro.
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