This clip was done in Pro Tools 9 using no plugins aside from the Waves Sound Design bundle. The only DAW-specific effect was the Reverse from AudioSuite. All of the effects were usable and are the majority are audibly present, and all of the plugins from this Bundle are used in this clip. The idea behind my edit was to create a hyper-realistic environment that temporarily warps into reality, and then quickly shifts back into hyper-reality. In the end, the driver re-enters reality, but in a panicked state, having experienced the collision before him. The plugin I found of the most use was the Doppler plugin, followed by the SoundShift sound pitcher. However, they are all easily represented in this clip. Now for a detail of what sounds I used and what plugins I used... *Deep Breathe* Here we go... ------ OPENING TO WHEEL: Crowd Cheer (Radio Broadcast style) -GTR Tool Rack - Futz radio *I went for the perspective of a radio broadcast in the opening, so I used GTR ToolRack to futz this into sounding as such (variant of "Clean Rythm"). Race Track Scramble (Radio Broadcast Style) -DeEsser - Improve intelligibility *For the opening, this clip was already futzed for radio enough, but lacked clarity. I was able to use the DeEsser to remove the frequencies that were competing with the fire crackle (above 7kHz) in a compression-style removal. Easier and less noticeable than any EQ. Sports Cars CU Bys (Radio Broadcast Style) -GTR Tool Rack - Futz radio *Just like the crowd cheer, this was futzed for radio using a variant of GTR ToolRack's "Clean Rythm" preset. Windmill Electric (Overall Hyperreal Space) -Q8, Enigma - Q8 to shape tone, Enigma to create hyperreal atmosphere *The Windmill served as a perfect background for the whole clip, but it was too "straight forward" and definitely considered "noise". So I used the Q8 to boost some frequencies and cut others for a more "toned"sound, then used the Enigma's "Always Rising" preset (altered) to completely warp the sound into something seemingly hyperreal. Fire Small Crackling (Exhaust Flames) -Q2, RBass - Q2 to automate upper pitch for fire fly-through, RBass for rumble on tire and again on fire fly-through *This fire was perfect for the exhaust flames of the opening car. By using the Q2, I was able to automate the high-end of the crackle for perspective shifts (outside of the fire, going through the fire, and then back out again). The RBass was also automated to provide a realistic rumble as you pass through the flames, as well as a hyper-realistic rumble for the opening wheel (to enforce the idea that the wheel is hot). ---------------- WHEEL SHOT: Crush Metal Auto {Nothing} - To impress upon heat warping metal *Nothing had to be done with this clip. Just panned for imagery and mixed down to enforce the idea that the heat is warping the metal. ---------------- PAN TO EXHAUST FLAMES: Man Snoring ("Growl" of Engine) -GTR Stomp, Sound Shifter, Doppler, L3 - Layered 3 Man Snoring FX with various settings of GTR Stomp's Vibrolo, PitchShifted each differently, applied Doppler for perspective on fly-through, L3 to maximize gain *Layering 3 different clips of Man Snoring yielded an amazing low "growl" and "rumble" to compliment the "SCCA Racing" effect. GTR Stomp's amazing Vibrolo pedal created the varying pitch and volume needed to replicate an engine. The SoundShifter pitched each of the three in a different way for variance, and the L3 gave me the most gain through limiting for a very "fat" sound. Scca Racing Int Race ("Hum" of Engine) -SoundShifter - Pitched down to match warped perspective *Pitched down the clip to match the hyper-realistic perspective of the engine that was provided by the Man Snoring clips. Gas Stove Turn On (Fire Fly-Thru) -[TimeStretched] Morphoder, LoAir - Morphoder to give warped tone, LoAir to improve fly-through rumble *This short clip was perfect for the fire fly-thru. Time stretched, then used Morphoder to tone the din. Most importantly, I used LoAir to remove the dry signal and produce a purely rumbling tone to accent the fire. ---------------- PAN OVER CAR: Cymbal Single Hit (Hyperreal Feel) -[Reversed & ButtCut] Q1, H-Delay, SoundShifter - Q1 to shape tone down, H-Delay for hyperreal feel, SoundShifter to pitch down slightly *I reversed the Cymbal Hit and butt-cut it to itself. I then used the Q1 to remove some of the highs, H-Delay to give it some hyper-realistic space, and then SoundShifter to pitch it down slightly so that it was less bothersome and fit the mix better. Cannon Blast ("Whoosh" Over Car) -[TimeStretched] UltraPitch3, Doppler, L2, TransX, Q1 - UltraPitch to lower pitch and add higher voices, Doppler for perspective, L2 to maximize gain, TransX to shape transient, Q1 to shape tone *First, I Time Stretched the Cannon Blast. I used UltraPitch to add some higher voices to the sound. The Doppler plugin was amazing at creating a flying perspective, the L2 helped me to maximize my gain, and the Tra