Bastian Gerner · Foley Artist
Foley for
your next
project.
Footsteps, cloth and props, performed by hand for film, series, commercials and games. One artist, a direct line and AAA standards, from my own stage in Meerbusch or a full-size stage when the production calls for it.
Bastian Gerner · Foley Artist
Two kinds of projects.
Two kinds of problems.
You want Foley at the highest level, down to the last detail.
- Your go-to Foley team is booked out, and the mix date doesn't move.
- You want the quality of the big stages and big names, but not their budget. And at the big houses every note goes through a coordinator.
- Commercials needed it yesterday.
- You've had Foley before that took days of editing before it made any sense against picture.
Foley that sits in the picture the first time you hit play. Feet, cloth and props performed with the love for detail that lifts a film and tells the story better: the emotion in a movement, the hesitation in a step, the weight of a coat, the small sounds nobody noticed were missing.
In sync, in perspective and easy to cut, with nothing left but a little fine-tuning, not a rebuild. You talk directly to the person performing, not to a coordinator. Delivered edit- or mix-ready on schedule.
I learned every stage of film sound post at BASIS Berlin, then spent four years in sound editorial at D-Facto Motion, sitting in the final mix with the re-recording mixers and clients to finish the films. I know how Foley has to sound to sit in a mix, and what doesn't work there.
Open the session, play it against your cut, and all the small details are suddenly there. And your film sounds so much more alive.
You want sounds no other game has.
- Libraries are a great start, but the same footsteps and cloth are in thousands of other titles.
- Your world has its own materials, creatures and gear, and generic sounds never quite fit them.
- Most Foley dies on import: wrong lengths, too few variations, no naming logic.
- Cinematics need film-grade Foley to picture, inside a game pipeline.
- Foley often arrives at the very end: one huge list, one or two iteration cycles, and you live with what's delivered.
Senior Foley Artist at Ubisoft on Avatar: Frontiers of Pandora and Assassin's Creed Nexus VR.
Custom libraries performed for your world and nobody else's: movement sets, physics objects and props with real variations, specified by cue sheet, delivered clean, named and tagged.
Foley for your cinematics, performed linearly to picture like film, but prepared for games: split into the layers and timestamps your interactive cutscenes need for implementation.
Once your project is booked, revisions don't queue: notes today, new version tomorrow.
On longer productions, a direct line to a Foley artist from pre-production onwards changes the game. Your team asks for sounds whenever it needs them while building systems, and works with sounds that already point where you want to go, from day one to ship.
How far I take it
- 01Recorded Foley
Feet, cloth and props performed to picture and delivered as a clean session, ready for your Foley editor.
- 02Recorded and edited
I cut and fit the Foley myself and deliver it edit- or mix-ready, so your team only fine-tunes.
- 03The complete soundtrack
Trust me with the whole sound of your project. Dialogue editing, sound design, Foley and ADR editing are where I come from, and I've mixed films myself. ADR recording too: I worked as ADR mixer for three years. For bigger projects I bring in my trusted network, all the way to the final mix.
How far I take it
- 01Raw recordings
Performed Foley with all variations as raw files. Your team edits and implements.
- 02Edited assets
Cut, cleaned and delivered as ready-to-use assets, in your folder structure and naming convention.
- 03Implemented up to the event
Imported into Wwise or FMOD, organised in the right folders, containers, variations, volume, pitch and attenuation set up, and the event built. Your team only triggers it in the engine.
Big production? Bigger stage.
For projects with the highest spec that need a full-size room, I book into studio l'Equipe's Foley stage. Same hands, same standards, bigger stage, and only when your project actually needs it.
Don't take
my word for it.
Straight from the inbox: what supervisors, sound designers, editors and directors wrote after delivery.
I definitely haven't had Foley this good in a long time.
This is Foley quality you couldn't wish for any better. You can feel the heart and passion that went into it, like in everything of yours I've had the chance to edit so far.
The foleys sound beautiful and three-dimensional and have a depth to them.
I once worked with another foley guy and I had to do so much just to make his work useable, but seriously you just killed it.
Sooo good. Genius. And funny!! I literally lol when I watched.
Getting lots of compliments about your Foley from the director.
I listened to the footsteps last night, and the sound of them and the performance are amazing, great work!
Great work in such a short time.
We're super happy with your work and your super professional manner. From the client we've only heard the best about you!
I've started making my way through the Foley and it has been lovely!
Loïc was really happy with your work. I'm keeping your contact for future projects!
Great job! Awesome as usual, thanks so much!!
Performed by hand.
Every take.
Bastian Gerner · Foley Artist · Sound Supervisor
I'm Bastian Gerner, a German Foley artist with more than 15 years in film and AAA game audio. As Senior Foley Artist at Ubisoft Düsseldorf I performed and recorded Foley for titles including Avatar: Frontiers of Pandora, Assassin's Creed Nexus VR and Anno 1800. Today I run my own Foley stage near Düsseldorf, with a modular, non-resonant concrete floor and a large wood floor area, and record for games, cinema, streaming, TV and commercials worldwide.
My conviction: great Foley is performed, not generated, and it doesn't need a perfect room.
↗- 2023 – todayFoley Artist, Mentor & FounderOwn Foley stage near Düsseldorf · The Foley Guild · worldwide, remote
- 2019 – 2023Senior Foley ArtistUbisoft Düsseldorf: Avatar: Frontiers of Pandora, Assassin's Creed Nexus VR, XDefiant, Anno 1800, The Settlers
- 2016 – 2019Foley Artist & ADR MixerD-Facto Motion, Berlin · on the in-house Foley and ADR stage I planned and built
- 2012 – 2016Sound Editor & Sound DesignerD-Facto Motion, Berlin · sound design, dialogue, Foley and ADR editing, finishing films in the mix · mixed The Glassblower, ARTE's most successful film of 2016
- 2011Internships, sound editing & audio postGoldcrest Post and Warner Bros. De Lane Lea, London
- 2010 – 2012Apprentice Sound EditorBASIS Berlin Postproduktion
- 2009Boom OperatorCinema and TV, Berlin
- 2002 – 2009Freelance Sound EngineerMusic production, studio and live · Würzburg and Berlin
- TeachingLecturer, Foley & Game Sound DesignCologne Game Lab, TH Köln (2022 – 2025) · SAE Institute Germany (2020 – 2025)
A real room.
Real surfaces.
Modular surfaces, a car door, a few hundred props and a recording chain I trust. Everything your picture or your game needs is within arm's reach. Click any photo to see it bigger.
The room
30 m² of stage: a concrete floor, a large wood floor area and space to move, run and fall.
The props
A car door, wood boards, stone, shelves of shoes, metal, glass, wicker and cloth. A few hundred props, sorted and within reach on the stage.
Plus a second 30 m² storage room for the big stuff: large metal objects, suitcases, chairs and big resonant bodies that would crowd the stage.
The gear
A recording chain I trust, from mic to session.
- DAW
- Pro Tools · Nuendo · REAPER
- Mics
- Sennheiser MKH 416 · Neumann TLM 103 · Schoeps MK41 · Shure SM7B
- Contact
- HBK accelerometer · Leaf Audio geophone
- Outboard
- ADT · RME · SPL · Tegeler
- Plugins
- iZotope · Waves · Sound Radix
Before you book.
Virtual coffee or recording session? +
Book the virtual coffee when you have a project to scope: a film, a series, a library or cinematics. We talk schedule, deliverables and budget, and you get a quote afterwards. Book the recording session when you need a few specific sounds now that you can't find anywhere: one hour live over Zoom after a short brief, files delivered straight after. It's also the easiest way to try working together.
How fast can you deliver? +
Film and TV: delivered edit- or mix-ready on the agreed schedule. Games: once your project is booked, revisions don't queue, notes today, new version tomorrow. Need a few sounds at short notice? The custom recording session is the fastest way in. For full stage days, ask early: the calendar fills.
Do I need to come to the stage? +
No. Picture, cue sheets and deliveries move online over a secure transfer. If you'd like to attend a session, just ask.
Is my project safe under NDA? +
Yes. NDA-bound material is handled one-to-one over a secure channel, never stored beyond delivery and never shown publicly, not in my teaching and not on my channels.
Do you use AI to generate sound? +
No. Everything here is live, performed Foley. That's the whole point.
Two ways
to start.
Pick the one that matches where your project is right now.
Virtual coffee
You have a bigger project coming up: a film, a series, a commercial, a custom library or cinematics. In 20 minutes we talk scope, schedule and budget, and you get a quote afterwards. No pitch, no obligation.
Book a virtual coffee → €300 · 1 hour · live over ZoomCustom recording session
You need a handful of sounds right now and they're in no library. Send a short brief, and I record them live for one hour over Zoom, slotted in between my regular production days. You hear every take as it happens and get the files delivered straight after. Fast access when your production needs it, and the easiest way to find out how we work together.
Book a recording session →