It’s Finally here!

Order your copy now and Save 25%. For a limited time get it for $18.70 plus $6 S&H (440 pages – it’s a really heavy book…)

Sound is not the enemy! – - Lee Haxall, Editor, Crazy Stupid Love, Meet The Fockers (Emmy Award Winner)

Sound is an excellent carrier of emotion. And film is about emotion. – Gary Rydstrom, Sound Designer – Saving Private Ryan, Jurassic Park (winner 7 Academy Awards)

I still pretend to get room tone. It’s totally cool to make all those bastards on the set hold still for a minute or so. There‘s no reason for it, it’s just our policy. – Michael “Gonzo” Gandsey – Production Sound Recordist, The Hunted

I like off beat stuff, weird sounding films and subtle sound tracks as compared to bombastic. – Ron Eng, supervising sound editor – Mulholland Drive, Coraline

The rule of thumb for good sound is: does it tell or promote the emotional content of the scene, does it support and/or reveal the story. – Tom Johnson, re-recording mixer – Alice In Wonderland, (winner 2 Academy Awards)

The Angry Filmmaker Survival Guide Part Two:Sound Conversations With (un)Sound People

Motion picture audio is one of the least understood parts of filmmaking. It is often neglected by film students and filmmakers alike. It is boring, scary, too technical and not considered important by most filmmakers. Until they get in to the editing room and realize that by not paying attention to audio earlier they are screwed.

There is so much false information about film sound that most students and filmmakers are afraid to deal with it. When they do, it is usually done incorrectly through ignorance and at a huge financial expense.

This book is intended to shatter the myths and mysteries around film audio and give both students and experienced filmmakers the knowledge and tools so that their films will sound like they have come from the Hollywood studios without huge Hollywood budgets.

For the book, I have assembled a lineup of Film Industry Heavyweights in all areas of audio production for film and television. This group consists of location recordists, sound designers, picture editors, sound editors, re-recording mixers, and post-production supervisors.

This all-star cast has won Oscars and Emmys in addition to awards from various film industries worldwide. Interviews include, Gary Rydstrom, Tom Johnson, Jim LeBrecht, Ron Eng, Harry B Miller III, Peter Kurland, Lee Haxall, Ken Karman, David A. Cohen and a host of others discuss their methods and secrets. (Click on the names to go to their IMDB page.)

“If you read only one book on sound, this is the one, and, after you’ve read it, you’ll never, ever, ever say, “We’ll fix it in post.” – William M. Akers – author of Your Screenplay Sucks!

Sound Conversations With (un)Sound People – 440 pages

For Orders of more than 10 books please contact me directly, (kbaker@angryfilmmaker.com)

Order your copy now and Save 25%. List Price is $24.95 For a limited time get it for $18.70 plus $6 S&H (US Only)

For Orders outside the US I’ve had to add $14 for S&H

The Angry Filmmaker Survival Guide: Making the Extreme No Budget Film

Kelley Baker is the Angry Filmmaker.  But his independent films are not angry, they’re honest.  He’s angry at the state of independent film. For Baker, it’s about telling the story, not what actors are starring in it.

Kelley Baker worked in Hollywood for 20 years. He’s well known for being the sound designer on six of Gus Van Sant’s feature films, including My Own Private Idaho, Goodwill Hunting and Finding Forrester. He’s also made numerous award winning short films and 3 of his own independent feature films. The latest, Kicking Bird, was made with a budget of $6000 and has played to international audiences.

Each year, Kelley takes his van out on the road with his dog Moses to show his films and conduct workshops on independent filmmaking.  Here, with all his attitude, is the wisdom of an Angry Filmmaker, gained the hard way, through experience.

“Finally, a film resource that tells it like it is! - – Jon Gann, Director, DC Shorts Film Festival

“This is a great book, written by an impassioned filmmaker who also happens to be a teacher of the first magnitude. – - William M. Akers, author of Your Screenplay Sucks!  100 Ways To Make It Great

“Baker is on fire about making films.  You will be too after reading this brutally honest compilation of personal stories and practical advice from the front lines of independent filmmaking.” – - Morrie Warshawski, Consultant and Author (Shaking the Money Tree: The Art of Getting Grants and Donations for Film and Video – 3rd Edition)

“He pulls no punches calling out both Hollywood and very specific directors for being creatively bankrupt. The author then presents his philosophy on the physical process of filmmaking with tips and advice that could only come from someone who has been there and had scars and debt to prove it. That being said, he does not hold anything back, he tells the whole story, warts and all.” – - Nathan Eckelbarge, Microfilmmaker Magazine

Buy it now for $14.95 + $2 S&H

For a Limited Time  Download the Entire Book (PDF version) for a mere $5!

The following work books contain some of the information that is in my other book, but these are intended as lists of things you shouldn’t forget, and  can have with you in the various stages of making a movie to make notes on.  I have included things in these that I always seem to forget when I am working.

Pre-Production

A lot of filmmakers don’t really understand the process, and how it can save them time and money making their film. If you haven’t prepped everything correctly during pre-production, then making your film is going to be a lot harder.

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Production

On the set you have to make at least 15 decisions a minute, and you don’t always have time to think things through. Stuff happens during production that causes changes to the way you had planned to shoot. Deal with it.

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Post-Production
If you rush through this stage, you’re not doing your movie any favors. Or your cast and crew. It’s at this stage that most features fall apart. A lot of the mistakes you made in production can be fixed here. And what can’t be fixed can be cut around, hopefully.

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Or order all 3

This includes the Pre-Production, Production, and Post-Production books

Set of 3 books, including Pre-Production, Production, and Post-Production

Download all Three for only $10.

Sound Work Book

Why is the sound so bad on Independent movies? Good sound is the difference between professionals and amateurs.

Sound is the most over looked part of the whole filmmaking process. Most filmmakers don’t know the difference between the three types of microphones, let alone their pick up patterns. This workbook tells you all that, and other things to think about before and during the making of your movie.

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No Budget Work Book

The companion book to Kelley’s No-Budget Filmmaking Workshop

What I have tried to do here is to take what I consider the most important things to remember when making a film and put them here in one place. I’ve even given you room in this book to make your own notes. Write down things you think are important, things you need to get done, and come up with tips of your own.

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Sound Design Work Book

The companion book to Kelley’s Sound Design Workshop

One of the most important things in any movie is sound. And the most important sound? It’s the dialog, stupid! If you can’t hear or understand the dialog, then you’re hosed. You’ve got nothing. It doesn’t matter how pretty your pictures are, how good the acting is, what a terrific music score you have, or how clever you think you are. If you can’t hear or understand the dialog, you’ve got NOTHING!

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