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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!
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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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
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Buy Both the Sound Workshop DVD and the Workbook for $25.95 + $4 S&H
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The Angry Filmmaker Survival Guide Part Two: Sound Conversations With (un)Sound People


I’ve heard the sound in your movie and it SUCKS! You need to buy this if you want to be taken seriously.

Test drive this book with the FREE Fucking download on the home page.

And for a limited time you can get it for $16.95 plus $3 S&H (440 pages)

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 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.

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)

List Price is $24.95

For a limited time get it for $16.95 plus $3 S&H (US Only) Trust me, you need this!

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Book Cover

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 three of his own independent feature films, Birddog, The Gas Cafe, and Kicking Bird. The most recent, Kicking Bird, was made with a budget of $6000 and has played to international audiences.

His films have aired on PBS, Canadian and Australian television, and have been shown at Film Festivals including London, Sydney, Annecy, Sao Paulo, Sundance, Chicago, Aspen, Mill Valley and Edinburgh.

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

back cover“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

“One of the best books on making your way through the independent filmmaking jungle with justifiably-angry filmmaker Kelley Baker as your top-notch guide: Funny, profane and committed to telling the unblemished truth. Don’t make your next movie until you’ve read this terrific book.”

John Gaspard
Author, “Digital Filmmaking 101,” and “Fast, Cheap and Under Control”.

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

Buy it now for $9.95 + $3.00 S&H

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For Orders Outside the US it’s $9.95 + $10.00 S&H for a total of $19.95

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Or Buy Both Books for $24.95 + $4 S&H US Only
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