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Assume that you're looking at a scene with dozens of hard synced events that need a few layers of sound per event. Something like a fistfight or a shootout.

What's your specific workflow for finding all of the sync points and then cutting the various layers of sound to those sync points?

I have my methodology which I'll edit this post with once a few answers are in, but I'm eternally curious as to whether I'm doing this as efficiently as I can. Thanks in advance for any responses.

-- edit:

ok, here's my workflow

1. go into grid mode and spot all sync events with markers to the frame edges

2. grab a group of sounds for a layer and begin cutting the transients to the markers. This typically means going into tap to transient mode, tabbing, hitting "b" to break the region at the transient, and then grabbing the region and lining it up to the marker. if there's a lead up to the file I'll usually just manually trim it back out again.

(as a side note, one thing I don't do is to use region markers on the transients. I haven't found the workflow there that makes me faster yet, but I'm suspicious that one exists.)

3. with one layer cut I'll move on to the next using a similar technique. if there are swishes that lead up to the transient I'll usually just eyeball those once the impact are in.

4. once all the layers are in I'll begin tweaking the timing things that Tim outlined. Sometimes events do have to be moved to accommodate musicality and other things. This is also the point at which I'll work on the balances more consciously.

ok, spot the flaws there. any useful critique is appreciated.

Assume that you're looking at a scene with dozens of hard synced events that need a few layers of sound per event. Something like a fistfight or a shootout.

What's your specific workflow for finding all of the sync points and then cutting the various layers of sound to those sync points?

I have my methodology which I'll edit this post with once a few answers are in, but I'm eternally curious as to whether I'm doing this as efficiently as I can. Thanks in advance for any responses.

-- edit:

ok, here's my workflow

1. go into grid mode and spot all sync events with markers to the frame edges

2. grab a group of sounds for a layer and begin cutting the transients to the markers. This typically means going into tap to transient mode, tabbing, hitting "b" to break the region at the transient, and then grabbing the region and lining it up to the marker. if there's a lead up to the file I'll usually just manually trim it back out again.

(as a side note, one thing I don't do is to use region markers on the transients. I haven't found the workflow there that makes me faster yet, but I'm suspicious that one exists.)

3. with one layer cut I'll move on to the next using a similar technique. if there are swishes that lead up to the transient I'll usually just eyeball those once the impact are in.

4. once all the layers are in I'll begin tweaking the timing things that Tim outlined. Sometimes events do have to be moved to accommodate musicality and other things. This is also the point at which I'll work on the balances more consciously.

ok, spot the flaws there. any useful critique is appreciated.

--another edit

I found this tutorial that gives me a better look into how I might improve using the sync points.

http://www.showmeprotools.com/using-sync-points/

still digging...

Assume that you're looking at a scene with dozens of hard synced events that need a few layers of sound per event. Something like a fistfight or a shootout.

What's your specific workflow for finding all of the sync points and then cutting the various layers of sound to those sync points?

I have my methodology which I'll edit this post with once a few answers are in, but I'm eternally curious as to whether I'm doing this as efficiently as I can. Thanks in advance for any responses.

-- edit:

ok, here's my workflow

1. go into grid mode and spot all sync events with markers to the frame edges

2. grab a group of sounds for a layer and begin cutting the transients to the markers. This typically means going into tap to transient mode, tabbing, hitting "b" to break the region at the transient, and then grabbing the region and lining it up to the marker. if there's a lead up to the file I'll usually just manually trim it back out again.

(as a side note, one thing I don't do is to use region markers on the transients. I haven't found the workflow there that makes me faster yet, but I'm suspicious that one exists.)

3. with one layer cut I'll move on to the next using a similar technique. if there are swishes that lead up to the transient I'll usually just eyeball those once the impact are in.

4. once all the layers are in I'll begin tweaking the timing thing that Tim outlined. Sometimes events do have to be moved to accommodate musicality and other things. This is also the point at which I'll work on the balances more consciously.

ok, spot the flaws there. any useful critique is appreciated.

Assume that you're looking at a scene with dozens of hard synced events that need a few layers of sound per event. Something like a fistfight or a shootout.

What's your specific workflow for finding all of the sync points and then cutting the various layers of sound to those sync points?

I have my methodology which I'll edit this post with once a few answers are in, but I'm eternally curious as to whether I'm doing this as efficiently as I can. Thanks in advance for any responses.

-- edit:

ok, here's my workflow

1. go into grid mode and spot all sync events with markers to the frame edges

2. grab a group of sounds for a layer and begin cutting the transients to the markers. This typically means going into tap to transient mode, tabbing, hitting "b" to break the region at the transient, and then grabbing the region and lining it up to the marker. if there's a lead up to the file I'll usually just manually trim it back out again.

(as a side note, one thing I don't do is to use region markers on the transients. I haven't found the workflow there that makes me faster yet, but I'm suspicious that one exists.)

3. with one layer cut I'll move on to the next using a similar technique. if there are swishes that lead up to the transient I'll usually just eyeball those once the impact are in.

4. once all the layers are in I'll begin tweaking the timing things that Tim outlined. Sometimes events do have to be moved to accommodate musicality and other things. This is also the point at which I'll work on the balances more consciously.

ok, spot the flaws there. any useful critique is appreciated.

Assume that you're looking at a scene with dozens of hard synced events that need a few layers of sound per event. Something like a fistfight or a shootout.

What's your specific workflow for finding all of the sync points and then cutting the various layers of sound to those sync points?

I have my methodology which I'll edit this post with once a few answers are in, but I'm eternally curious as to whether I'm doing this as efficiently as I can. Thanks in advance for any responses.

Assume that you're looking at a scene with dozens of hard synced events that need a few layers of sound per event. Something like a fistfight or a shootout.

What's your specific workflow for finding all of the sync points and then cutting the various layers of sound to those sync points?

I have my methodology which I'll edit this post with once a few answers are in, but I'm eternally curious as to whether I'm doing this as efficiently as I can. Thanks in advance for any responses.

-- edit:

ok, here's my workflow

1. go into grid mode and spot all sync events with markers to the frame edges

2. grab a group of sounds for a layer and begin cutting the transients to the markers. This typically means going into tap to transient mode, tabbing, hitting "b" to break the region at the transient, and then grabbing the region and lining it up to the marker. if there's a lead up to the file I'll usually just manually trim it back out again.

(as a side note, one thing I don't do is to use region markers on the transients. I haven't found the workflow there that makes me faster yet, but I'm suspicious that one exists.)

3. with one layer cut I'll move on to the next using a similar technique. if there are swishes that lead up to the transient I'll usually just eyeball those once the impact are in.

4. once all the layers are in I'll begin tweaking the timing thing that Tim outlined. Sometimes events do have to be moved to accommodate musicality and other things. This is also the point at which I'll work on the balances more consciously.

ok, spot the flaws there. any useful critique is appreciated.