Avanti! Fronted by unusual soloists

Avanti’s 32nd Summer Sounds Festival will see a premiere from Sami Klemola with Foley artist Heikki Kossi fronting Avanti!.

The festival program has been released: ”In addition to more conventional solo instruments, Avanti! will be fronted by some more unusual soloists – including a juggler and a Foley artist.” Read full article

Interview with Gore Verbinski

Gore Verbinski talks about the importance of music and sound on his latest film, A Cure For Wellness: “Usually on a film, as you shoot and cut, you temp the music as you go, and then the sound designer and composer come in fairly late in the process, but I felt it was crucial to get these two guys in right from the start. So we never really temped with someone else’s music or sound effects. We created every sound and music cue from the start, and we had this great Foley artist, Heikki Kossi, from Helsinki, who really got it. He didn’t stack tons of sounds and overdo it. He just got simple, great recordings of exactly the right sounds, like the squeaky crutch.”  Read full article from Post Magazine (2017).

The Happiest Day in the Life of Olli Mäki – Sound Featurette

Check out this video by SoundWorks Collection about the sound of the film with supervising sound editor Pietu Korhonen, foley artist Heikki Kossi and re-recording mixer Peter Albrechtsen. ‘The Happiest Day in the Life of Olli Mäki’ is a 2016 Finnish drama film directed by Juho Kuosmanen based on the true story of the Finnish boxer Olli Mäki and his championship title fight in 1962. This spring it premieres in cinemas both in the US and the UK. Read UK and US screenings

Heikki Kossi nominated for the Golden Reel Award

“Finnish foley artist Heikki Kossi has been nominated for the Golden Reel Award for his work in Mark Osborne’s The Little Prince. The Golden Reel Award is given by the Motion Picture Sound Editors, an honorary society of motion picture sound editors, to acknowledge the year’s best work in the various areas of sound editing, including dialogue, ADR, effects, foley and music. The Little Prince’s sound editing team is nominated in the category of Animated Features. Tim Nielsen (Skywalker Ranch) is the supervising sound editor of The Little Prince.” Read full article

Interview with Pietu Korhonen, Peter Albrechtsen and Heikki Kossi

Post Magazine explores the soundtracks of a few foreign films that resonate on a human level. These world-class supervising sound editors and re-recording mixers share insight on the sound of Tomato Red, The Happiest Day in the Life of Olli Mäki and Bilial. Read full article

Supervising sound editor/sound designer Pietu Korhonen says, “Director Juho Kuosmanen was aming for very naturalistic, documentary and raw sound to match his cinéma vérité-style visuals. After seeing the first cut, it was clear that we should aim for another direction to make the film more alive with sound. Also, the film is without score, so that gave us a lot of possibilities. We could give the black and white film more dimension and color, and direct the audience’s attention using sound.”

The Happiest Day in the Life of Olli Mäki

Premiere for The Happiest Day in the Life of Olli Mäki in Finnish cinemas today, 2nd of September. H5 Film Sound congratulates director Juho Kuosmanen and all the wonderful people involved. –Enjoy folks!

Sound credits: Supervising sound editor, Pietu Korhonen / Sound Recordist, Pietu Korhonen / Boom Operator, Svante Colerus  / Sound Assistant, Ville Katajala / Re-recording Mixer, Peter Albrechtsen / Pre-mix foley and dialogue, Niklas Skarp / Sound editor, Pietu Korhonen, Erik Bjerknes / Foley supervisor, Heikki Kossi / Foley mixer, Pietu Korhonen, Kari Vähäkuopus / Sound FX recordist, Mikkel Nielsen, Asbjørn Deradu / Sound post studios, H5 Film Sound, Cloudberry Post / Foley studio, H5 Film Sound / ADR studio, Boomout / Mix studio, Nordisk Film Shortcut Audio, Steffen Addington.

Watch out for a cameo walk on appearance by the real-life Olli and Raija in the close of the film. It is a beautiful small joke, which at the same time makes a profound point about the magic of time and love.

Interview with Mark Osborne and Tim Nielsen

Check out this video by SoundWorks Collection featuring Director Mark Osborne about his new animated film The Little Prince and Supervising Sound Editor, Sound Designer and Re-recording Mixer Tim Nielsen.

The Happiest Day in the Life of Olli Mäki

The Happiest Day in the Life of Olli Mäki is first feature where sound production in done fully by H5 Film Sound. Supervising Sound Editor Pietu Korhonen and Re-recording Mixer Peter Albrechtsen have reason to be pleased when Juho Kuosmanen’s debut feature will premiere on 19th of May in the Un Certain Regard section at the 2016 Cannes Film Festival. The film was mixed at Nordisk Film ShortCut Audio, Copenhagen and premixes of dialogue and foley were done at Cloudberry Post, Gothenburg.

The story is based on the real life of Olli Maki, the Finnish boxer who competes for the featherweight boxing title in 1962, but is distracted by his first love. Jarkko Lahti, Oona Airola and Eero Milonoff lead the cast.

Read interview with Juho Kuosmanen, director.

Creating foley for The Little Prince

The Little Prince had amazing voice acting and such an inspiring supervising sound editor Tim Nielsen who had mind blowing ideas of using paper elements. – Every project leaves an imprint on me as a Foley Artist. That’s the most inspiring thing in this work.

Interview with Tim Nielsen

Read full article from A Sound Effect (2016)

“We were so fortunate to work with Heikki Kossi, in Finland, and simply one of the best foley artists I’ve ever worked with. When we had discussions early on, we knew that foley could and would have to help sell these different worlds, and so we experimented back and forth a bit with sounds for the stop motion world. In both effects and in foley we spent a lot of time working with paper, including buying up different types of paper from around the world.

Heikki’s genius is also in how much ‘character’ he helped impart to these characters. While the sounds of the mother’s footsteps are very rigid and rhythmic, the sounds of the Aviator’s footsteps are much more ambling and shuffling. It might seem common sense, but it’s actually quite difficult to really impart character like that. Heikki has an amazing sense of comedy as well, and listening to something like the Mr. Prince character fumbling around trying to pick up a stack of brushes still makes me smile. I know this was as much a labor of love for him as it was for the rest of us working on it, and it really shows in his work. The sound of the film would have never been the same without him!

I’m not sure if Hekki’s approach would be a lot different than for a live action film, my guess would be that he would say that certainly in an animated film, the sounds get exaggerated a bit more, they need to be focused and clean, but that his job is largely the same in both. Too many people assume foley is about ‘coverage’, as in ‘we just need footsteps because they are missing in the production.’ But good foley is so much more than that. It’s a true art form, and it’s a very important part of a good soundtrack.”

Interview with Peter Albrechtsen

Check out this video by SoundWorks Collection about the sound of Danish film, “The Idealist” featuring Sound Designer Peter Albrechtsen and Sound Re-recording Mixer Lars Ginzel.

Interview with Heikki Kossi

Read full article from Audiospotligt (2015)

“In 90’s I was playing upright bass in a band called Keystone Cops as an professional full-time musician. We had something like 150-200 shows every year but between the tours I just rented a movie box from downstairs video rental store and watched films over and over again. I think that was time when I fell in love with film. That was the time when I just enjoyed the films and I still do. In 1997 I started studying sound design in radio and internet in Turku Christian Institute.

During our first year we did some radio features and collages. I started to do some sounds by hand like car crashes (without crashing a car) so I just used my imagination. I started looking for whistling tires before the crash and I found a rusty note stand which had the right sound. Then I heard glass breaking sounds inside my head and quickly found some little pieces of glass from trash can at our school. Then of course I wanted the rolling wheel cover sound. Cover of the pea soup can fit the job nicely and sounded exactly right. I felt from the very beginning that this organic way of making sounds was very natural for me.”