Catch-up Blog - Cue Sheets, Pro Tools Markers and Video Synchronisation

I had a class in which we had to make a cue sheet and do a sound design for a 19 second ATAT Walker clip. During the process of creating a cue sheet I remembered a feature in Pro Tools which allows you to output timeline information through markers Fig.1. I did some research for this feature and found it to be part of the Pro Tools 10.3.1. This allows me to export session info as text, and in doing so I can select markers and the timeline format I want to export in. It has dramatically reduced the time taken to construct a cue sheet and allows me to work fully inside Pro Tools to the video with data as accurate as a sub-frame. With this in place I have been using spot mode and the previously made cue sheet when I am syncing audio with the video. This makes it simple to quickly align audio and then make fine tuning using nudges and slip mode.
Fig. 1

For the clip I tried to achieve sound that really justified the size of the ATAT. To do this I used drums, including a low tom and kick. These were then pitch shifted down so as to get that low end rumble and stomp of the Walker. I layered these with the previously non-pitch shifted drums to get a full range.
I used the sound of a Nerf Gun reload pitched down and time stretch to get the Walker mechanical movements. I also added some lo-fi to get a slightly more distorted sound which worked to make it seem more screeching and metallic instead of plastic. To get the sound of the leg coming off the ground I reversed the sound creating a smooth, seamless loop.
I had some lasers pitched down but the big problem with this was the target was off screen behind the camera. For this reason I had to try and judge the timings of the explosions going first of all with a rough idea of when it should trigger. When the clip was roughly in place I nudged it back and forth while loop playing the section of the video until I found just the right spot. I then took the timing of the shot being fired to when the explosion was triggered and then used this as the guide for the rest of the laser fire and explosions. Again both of these wounds were pitched down to give a better representation of the scale and power of the ATAT's.
In the background I had an ambient layer of wind to reflect the environment that the ATAT's were walking though. As well as this I put two crackling fires panned left and right to show that the destruction the Walkers were causing was spreading. To accompany all of that I had the sound of people screaming which was in sync with the explosions. My main point was to keep continuity off the camera so as to make the viewer believe this was truly going on behind it. Another method I used to sonically give perspective was EQ's and Filters. This gave the perspective that some things were farther away or behind the viewer by rolling off some of the high-frequency content as would happen as sound travelled through a real space.
To finish all this off I mixed the elements on and off screen to reflect their distances and positions and give a more balanced mix.

Finished Mix -

I was given feedback on the audio where the footsteps were still lacking some low end and some of the screams became rather repetitive due to it being the same people. This was helpful as knowing I can take the footsteps down another octave to give really low end content which will help to create more immersion in the sound.

All of this has helped to give me better ideas for Barton Fink. Thinking about the short clip from the movie it has elements that flow on and off screen, as well as some quick cuts. It also has longer static camera shots witch many of the features in the ATAT clip. I will need to set up an ambience for the hotel and the surroundings and this clip has helped me to think about my application of spot sounds both in front of and behind the camera.