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Editing   &   Sound Design

I cut and layered takes in Pro Tools. For explosions, I built three layers: a low thump (pitched kick + sub boom) for body, a mid crack (snare rim + short burst) for snap, and a top layer of debris (shaken plastic and paper) for toy scale. I lined the transient to the exact frame and used a fast shaper to keep the hit clean. For Buzz’s jetpack, I started with a f ighter‑jet pass‑by recording, sped it up, raised pitch, and added Doppler and auto‑pan to sell small size and fast motion. I added a short “spin‑up” chirp and a breathy air‑intake whoosh before each take‑off. For “to infinity and beyond” shield on, I used a synth sweep: filtered noise + a rising sine with a soft shimmer. A tiny pitch glide and a short whoomp at the end make it feel like a bubble closing. When Buzz falls into the base, I switch the space to a larger indoor impulse response with clear pre‑delay. I roll off highs so the reverb feels like walls and metal, not open air. Lasers use bold synth tones. Buzz’s laser is bright and clean: a quick up‑glide on a saw/sine stack with a touch of chorus. The enemies’ targeting beeps are short square‑wave bleeps with a tight gate. I pan them left‑right and use light tremolo so they feel like scanners sweeping the room. Small plastic hits and cloth swishes sit around these, with EQ pushing clicks so toy textures read.

Mix

I balanced backgrounds first, then Foley, then hard effects, and placed music last under the key beats. I rode dialogue space even when there was no actual dialogue so the mix felt like a film mix. Main tools: reverb, delay, stereo width, distortion for texture, pan, automation, and EQ. For the jetpack and shields I drew manual volume rides and pan moves to match camera motion. Explosions get a short room send, while the fall‑into‑base switch flips to a longer hall send with more pre‑delay.