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

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

SANGRY Not Yet Rated | Write the First Review
$18.70

Order your copy now and Save 25%. For a limited time get it for $18.70!
 

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

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