Here's one:

Foley miking must be pretty tight on the prop and must by be hyper clean.

In fact, lots of really great sounding foley ends up being miked from 3' to 6' away. Adding a little distance to the mic position makes mixing that much easier because the perspective is much closer to what you need the sound to be, and because it naturally loses any proximity effect and off-axis effects that could mess with you.

Also, re: cleanliness - it really is amazing how much noise you can get away with when cutting foley. Its important to always cut in context, because doing so will give a clear indication as to how much cover one has in the foley room. This is not to say that one should be sloppy with regards to noise, but more to say that one should be obsessing over performance far ahead of obsessing over noise floor.

Here's one:

Foley miking must be pretty tight on the prop and must by hyper clean.

In fact, lots of really great sounding foley ends up being miked from 3' to 6' away. Adding a little distance to the mic position makes mixing that much easier because the perspective is much closer to what you need the sound to be, and because it naturally loses any proximity effect and off-axis effects that could mess with you.

Also, re: cleanliness - it really is amazing how much noise you can get away with when cutting foley. Its important to always cut in context, because doing so will give a clear indication as to how much cover one has in the foley room. This is not to say that one should be sloppy with regards to noise, but more to say that one should be obsessing over performance far ahead of obsessing over noise floor.