For example, I set the grandfather clock to a few seconds before a whole number (such as 6 o'clock) and then filmed, waiting for it to chime. The only weakness was that the chime didn't sound as low/deep as I would've hoped, nevertheless, I stuck with the plan. I filmed the clock while it was chiming instead of recording audio of the chime itself. I don't think this hindered the film in anyway, it just gives a clearer visual of the audio transitions and makes the trailer more intense.
A film that uses a grandfather clock similar to my genre is Donnie Darko. It features at 00:59 and 1:50. Like my film, they did not use a foley artist for the grandfather clock.
A good example of Foleying is this:
"This was for "Vroege Vogels" (air date September 22, 2009), where Menno was supposedly peeing in a jar. I created a similar sound with water and two glasses. The microphone is a Neumann TLM 170R" - http://nn.wikipedia.org/wiki/Fil:Foleying_the_water_sound.jpg
Of course, this shows that when you can't obtain the sound you want, you need to use a similar sound. As for mine, there are no 'rude' type aspects for sound like this, so I can just use the actual sound for something I want, not a different chime to the clock. Perhaps because a viewer may have a similar clock, and notice that the sound if different.
SoundWorks Collection: Gary Hecker - Veteran Foley Artist from Michael Coleman on Vimeo.
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