New & Improved Workshop DVDs & Workbooks

 

Making the Extreme No-Budget Film Workshop DVD

It’s NEW! It’s IMPROVED! All Killer No Filler!

 

Okay, it’s not totally new… But I have updated this workshop and added more examples of what I’m talking about!

“When it comes to independent filmmaking Kelley Baker is the real thing.” – – Brian David Johnson, Futurist, Filmmaker, Author

There is nothing worse than watching a film and seeing mistakes that are avoidable.

If you rush through any stage of filmmaking you’re not doing your movie any favors. Or your cast and crew. Slow down, and put this movie together to the best of your ability.

I am constantly being asked questions about the pre-production process, which leads me to believe that a lot of filmmakers don’t understand the process, and how it can save them time and money if they do it right.

So how do you get the most for very limited resources and ask the right questions to get free stuff?

“There is this attitude that, unless you are “on the set”, you’re not really making a movie. In reality, the most important part of the filmmaking process is pre-production.” – – Kelley Baker

Shit happens during production that causes changes to the way you had planned to tell your story. Deal with it.

Whether this is your first time making a movie or you’ve done it before and you want a refresher, then this workshop is for you. It’s chock full of tips and other common sense stuff that we all have a tendency to forget when you have a dozen people asking you to make 25 decisions every minute.

Oh yeah, and don’t forget to feed the cast and crew well. Your movie depends on them!

No Budget DVD Chapters
Chapter One: Trust Me, It’s Not What You Know
Chapter Two: Pre-Production (Work Now or Suffer Later)
Chapter Three: Budgeting – How Much Do I Need?
Chapter Four: How I Screwed Up
Chapter Five: How Short Films Helped Me Make My Features
Chapter Six: Stolen Toyota
Chapter Seven: Making A Pitch (Why should I care?)
Chapter Eight: Locations – What Are The Odds?
Chapter Nine: Location Sound
Chapter Ten: Music Rights
Chapter Eleven: Where The Hell Do I Find An Audience?
Extras
A) Who Is This Guy?
B) Wardrobe
C) You Shot That on $4000?
D) The Importance of Sound
E) Birddog Auction
F) Book #3 – Self Distribution & Marketing
G) Final Tips

Suggested List Price $29.95.  Buy if now for $19.95 + $3 S&H 
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For Orders Outside the US I have added $10.00 for additional S&H

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  The AFSG No Budget Work Book

This is the Companion Book to my No-Budget Filmmaking  Workshop and can be used with The Angry Filmmaker Survival Guide Part One:

 

I have re-written this workbook from top to bottom and added all sorts of new things.

Time passes, things change. But some things stay the same. One of those things is how hard it is to make a good movie.

What I have tried to do is to take what I consider the most important things to remember when making a film and put them 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.

Among the tips…

Give out short questionnaires with your screenplays, including specific things that you are concerned about. You get more specific feedback when you outline what it is you’re looking for, and it’s always nice to have written feedback that you can refer to later.

When you are scheduling never put the final scene, big climactic scenes, or any love scenes early in your schedule if you can avoid it. Your cast and crew are still getting to know how each other work, and you haven’t set up a good working pace yet. Get the cast and crew comfortable with each other before you shoot the really tough scenes. Scenes that are tough to shoot from an acting standpoint. There’s nothing worse than throwing two actors into a love scene early on, and saying, “Okay, take your clothes off in front of strangers and start making love!” It’s not going to be a very good scene.

Cast a wide range of actors, especially age-wise. The more diverse your cast is, the more an audience will think they’re watching a “real” movie. If people think they’re watching a twenty-something production, they’re going to take it less seriously. Have actors from all walks of life in various roles. A friend of mine who used to judge film festivals told me he can usually tell the age of a director by the cast. It’s something to think about.

For those of you just starting out I have added exercises in Script Breakdown & Numbering, Making Prop & Location lists, Budgeting, Scene Breakdowns and more.

I’ve also added copies of forms that I use (feel free to copy them) and a Glossary of Terms so when you’re working on a set you won’t ask a question using the wrong terms.

I want you to road test this book. Scribble on it, spill coffee on it, fold it, smash it, get it wet when you’re checking locations, and generally beat the hell out of it.

And yes, I keep a copy of this around that I can refer to when I’m working because I forget things too!

Suggested List Price $19.95.  Buy if now for $14.95 + $3 S&H
Add to Cart
For Orders Outside the US I have added $10.00 for additional S&H
Add to Cart

Buy Both the No Budget Workshop DVD and the Workbook for $25.95 + $4 S&H
Add to Cart

For Orders Outside the US I have added $10.00 for additional S&H
Add to Cart

 

Sound for Independent Films Workshop DVD

 

It’s NEW! It’s IMPROVED! All Killer No Filler!

 

Okay, it’s not totally new… But I have updated this workshop and added more examples of what I’m talking about!

“Sound can evoke images, images cannot evoke a sound. Sound is powerful stuff. Close you eyes and listen.” – Michael “Gonzo” Gandsey – Production Sound Recordist

“Dialogue rules in movies. Obviously all the other stuff is fun and creative, but there’s nothing worse than going to a movie and turning to the person next to you and saying “What’d they say?” – Lee Haxall – Editor

A film can look like crap, and people will think it’s arty, but if they can’t understand the dialogue they’re not going to watch it.

Look at the Paranormal Activity, or Blair Witch Project. They both look like crap and both got major distributors. When those films were purchased the distributors dumped hundreds of thousands of dollars in to the audio so you can hear and understand all of the dialogue. (Then they marketed it back to you as a $25,000 movie and you believed them. We’ll talk about that some other time…)

Sound can make or break your film. It’s the difference between looking professional and amateur.

You spent all that fucking money on your camera and hired a distant relative to roll sound, now what?

As the Sound Designer on Gus Van Sant’s films, as well as animated features, network television specials and his own features, Kelley Baker has a unique approach to the Art of Sound Design. Whether you’re working with a huge budget, or a non-existent one, sound is the one area of filmmaking that always gets little attention, until the very end. “We’ll fix it in the mix…” is an often heard expression, but what does that mean?

As a sound designer it usually means you’re fucked. There’s never enough money or time to do sound right. Now what?

Kelley shares his insights, and shows you creative solutions to many sound problems. He also breaks down scenes from films he’s worked on and discusses why certain decisions were made.

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 dialogue, you’ve got NOTHING!

Sound Design DVD Chapters
Chapter One: If We Can’t Understand The Dialogue…
Chapter Two: Oh Please, God! Not ADR!
Chapter Three: Covering Your Ass And Fixing Mistakes
Chapter Four: Using Sound To Create Character
Chapter Five: Getting Inside Will’s Head
Chapter Six: Open With FX
Chapter Seven: Scare Them With Sound
Chapter Eight: Know The Rules. Then Break Them
Chapter Nine: Foley Saved Your Ass… Again
Chapter Ten: Let’s Mix This Thing!
Extras
A) Location Sound
B) Faux Play: The What And The Why
C) You Care About That Damn Boat
D) Importance of Sound
E) Musicians Are Not Sound Designers
F) Book #3 – Self Distribution & Marketing

Suggested List Price $29.95.  Buy if now for $19.95 + $3 S&H
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For Orders Outside the US I have added $10.00 for additional S&H
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The AFSG Sound Workbook

 

This is the Companion Book to my Sound Design Workshop and to my book, The Angry Filmmaker Survival Guide Part Two:

“The more I’m in the business, the more I’m realizing a lot of directors are catching on to the fact that if you give the sound person some respect right from the start on location it can save you a lot of time and money in post. ADR is not cheap.” – Lee Haxall – Editor

“Saving Private Ryan is an awesome sound job. I’ll bet a lot of people don’t really think about someone going through and cutting every gun shot, every body fall, every ricochet, the air backgrounds and the water sounds.” – Harry B Miller III – Editor

One of the most important things in any movie is sound, (after story and acting). The most important sound? It’s the dialogue, stupid!

I am constantly being asked questions about Sound which leads me to believe that a lot of filmmakers don’t really understand the best ways to use sound and how sound can help move your story along.

The location sound people always get the short end! How come it can take a day to dress a set, five hours to light a scene, and another hour to get the camera move right, but everyone screams at sound if they want a rehearsal for level check? And half the time, it’s the damn camera crew that’s doing the yelling.

When you get in to editing that’s when people learn they should have taken more care with the sound. And fixing it becomes Job #1.

What I have tried to do is to take what I consider the most important things to remember when working with sound 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.

Tips include…

Recording sound on a separate audio recorder gives you more control at the recording stage of the process. A separate recording system is almost always better than the one in the camera.

Sound people should always have good headphones. NOT EARBUDS!!!  If you listen to what you are recording through a good set of
headphones, which offer some isolation from background noise, you will hear the thinness of peoples’ voices because the mic is too far away, or if the noise of the traffic is drowning out the dialogue.

A roll of double stick tape always comes in handy. Bring your own roll of Gaffer’s tape. Surgical tape works wonders for taping lav
mics down.

In this book I have given you exercises in Location Recording, Dialogue Recording with Different Mics, Building a Sound Library, and Creating A Story from a single shot.

I’ve also included an Audio Glossary, Forms you can copy, and a brief list of films with interesting sound that you should see.

I want you to road test this book. Scribble on it, spill coffee on it, fold it, smash it and generally beat the hell out of it.
Don’t let this book sit on your shelf collecting dust and God knows what? Use it!

Suggested List Price $19.95.  Buy if now for $14.95 + $3 S&H
Add to Cart
For Orders Outside the US I have added $10.00 for additional S&H
Add to Cart
Buy Both the Sound Workshop DVD and the Workbook for $25.95 + $4 S&H
Add to Cart
For Orders Outside the US I have added $10.00 for additional S&H
Add to Cart