What Type of Filmmaking Info Do YOU Want?

Check out the latest review for Down and Dirty DV's runaway hit film book, The Shut Up and Shoot Documentary Guide, in the current issue of MovieScope magazine.

Thanks again for everyone's continued support of Down and Dirty DV. Your purchase of our premium products allows us to put out even more FREE resources like this blog and our podcasts.

Well, that book is history now. It's been written and released into the Universe. Now it's onto the next ultra-practical hyper-illustrated film book, The Shut Up and Shoot Filmmaking Guide which will focus on narrative production techniques and practice. If all remains on schedule, the new book will drop late Fall 2009.

I don't write these books fo me, but for you- new and old digital filmmakers with limited resources- otherwise known as The Down and Dirty DV Nation. So my question to all of you is:

What type of practical, hard-to-find, valuable, time and money-saving information would YOU like to see in the upcming Shut Up and Shoot Filmmaking Guide?

Holla at me with your ideas by leaving a comment below or feel free to email me at anthony@downanddirtydv.com.

If you are not on our FREE mailing list yet, make you sign up in the red box on our blog to recieve special offers and discounts on the new book as well as the first in the series and very long-awaited-almost-done-but-not-quite-yet instructional DVD on location audio recording.

Let a brotha know and I'll put it in there.

-Ant.

Spooky D.I.Y. Bullet Holes

Halloween's always been my hands down favorite holiday. It's the only one that's pure fun. No required gatherings, no gifts to buy or return, no long ceremonies...just people of all all ages dressed up and having (mostly) innocent fun.

When I was 9 my father bought me a deluxe special FX makeup kit which introduced me to the wonderful world of liquid latex special effects. I didn't have much patience or money for liquid latex to use in the various scar and bullet hole molds that came with the set, so I began to experiment with ways to make realistic wounds faster, cheaper and better.

As promised just (barely) in time for Halloween...I'm giving away my personal recipe for creating really cheap, easy and realistic bullet hole FX.

This is an early sneak preview from the upcoming narrative filmmaking book, "The Down and Dirty DV Filmmaking Guide", dropping from Focal Press next winter. Enjoy...

Click HERE to download the secret recipe as a .pdf file (20MB)

...With a little modification, pretty much this same technique can be used to create all kinds of realistic looking wounds...gashes, cuts, open sores, flesh wounds, deep scrapes, festering boils, warts, vampire bites, werewolf wounds, and mongoose scratches...that's all I can think of at the moment, but you can break out the liquid latex and make-up and use your own imagination.

Happy Halloween everybody!

-Spooky Ant.

Where the Hell's Ant-ny Been?

I just wanted to drop a quick line to let everyone know that I still love y'all, but had to slow down some on podcasts and blogs, because of the birth of the newest Down and Dirty DV hustler...Miles Quentin Artis. This is my second son and between my full-time day job at NYU, freelance projects and family my ass is on lockdown.

Anyway, things should be settling down sometime soon, so I'll be back in the mix soon enough. I'm gonna be dropping a tutorial on DIY SPFX bullet holes sometime before Halloween.

You know, I like to keep things here practical rather than personal, but so many of you have sent your well wishes and it's been so long since I've posted that I've decided to share with you the birth of my latest son, Miles Quentin Artis.

Enjoy "The Story of Miles" and stay tuned for more guerrilla film tips once I start getting some sleep again...

-Ant.

Client's Corner - Ian Hutchinson

Many people confuse the terms "Down and Dirty" and "Guerrilla" filmmaking as somehow being inferior or half-assed filmmaking methodologies or philosophies that compromise quality and professionalism.

These are the very same type of people that marched the well-uniformed British Army in straight orderly lines across open fields while a ragtag bunch of American patriots whipped their ass with rusty muskets while wearing plain clothes and hiding and shooting from behind any available rock, tree or gulley.

It's not really these people's fault, they just have very limited imaginations, so they don't get it. It ultimately may take a few musket balls in the head and bayonets to the groin to make them realize the potential effectiveness of superior guerrilla tactics that don't depend on overwhelming numbers, superior weapons or endless resources.

As I see it as a bonafide DV Evangelist, guerrilla filmmaking (when done right) often takes MORE careful planning and execution to make the very most of limited resources. Every move has to be thought out, every contingency planned for, and every dollar stretched to make it up on the screen.

Sneak Preview
Down and Dirty Filmmaking: Guerrilla Tactics for Professional Results DVD


Down and Dirty Filmmaking DVD - Guerrilla Special Forces from Anthony Artis on Vimeo.

(*This full 1hr. 22min. Seminar DVD will be available soon on this website.)


So to the Down and Dirty guerrilla filmmaking philosophy is not about being cheap and taking shortcuts that make things easier and compromise quality. Rather, it's about being ultra-efficient and using creativity, labor and planning to make up for your lack of resources and find a way to match or emulate the big budget filmmakers with half the money and crew.

The video below was done by talented animator/filmmaker Ian Hutchinson, one of my very first consulting clients. I helped Ian figure out where to put the (very limited) dollars in the budget for this project, so that they would have maximum impact onscreen.

People always ask me things such as should I rent a stedicam? A 35mm lens adapter? A Red Camera? A jib?...and my answer is different for every case, because it always depends on the COST vs. VALUE that that element brings to a particular project. In this case the big ticket item was a Steadicam operator and it was money well spent to execute the concept.

So don't get it twisted, I'm not a proponent of cheap and quick...I'm a proponent of effective and efficient. Peep Ian Hutchinson's video, Chocolate Pom Pom, below and see what can be accomplished with a small budget using creativity, hustle, an smart planning...

Chocolate PomPom
by animeboy46

Back-to-School Guerrilla Fashion Statements

Here's another perfect example of using guerrilla creativity to great end effect...my friend and all around film/video tech guy, Sean Charlesworth, has just put out an exclusive line of jewelry aimed at film and photo enthusiasts.

Not only are these funky well-made boutique-quality pieces, but they are completely unique in that they are fashioned from various film cameras (many which are no longer made) and other pieces of used film and photo-related equipment such as gears and springs.

Troll the streets of Soho all-day if you want, but you I don't think you'll find this funky fashion statement anywhere except Sean's online shop, SprocketHoles. And if you do by some miracle find something like it in the trendy part of town, it definitely won't be at the same reasonable prices given the rarity of some of these parts and the amount of labor that Sean puts into each piece.

I think it's the perfect and unique gift for the fashionable film and photo enthusiasts in your life. (I'm even having a piece commissioned, but won't say what, so nobody can bite my style, before I get a chance to rock it!)

And the perfect compliment to your new Arri film camera earrings of course is one of our very popular Crackhead/Crowbar Hoodies and T-Shirts to remind your crew to be to keep their eyes on valuable film equipment when location shooting. Both now on sale for $5.00 off the regular price!

Lusting for the Nikon D90...Mmmmm HD

Here's a revolutionary and very promising development for Down and Dirty filmmakers with an HD jones and a low budget...a digital Nikon S.L.R. camera that that takes 12.3 megapixel stills that can also record 1024 x 720 24P HD video all for only $1000.00...Let me just let that part sink in for a minute.

There. Got it? Oh and did I mention that it has an interchangable lens? Well, it does. Which means for a fraction of the cost, you can use fish-eye, telephoto, macro or any other 35mm prime lens to shoot crisp clean HD video.

Before I get you all worked up into a red hot HD frenzy, I should point out that it won't replace a video camcorder. However, it sure as hell will supplement one and make for a much lower cost alternative to get some creative shots in with a small camera that you might not otherwise be able to physically (or financially) pull off. And obviously, as an S.L.R. still camera, it has audio and memory limitations.

(photo: David Pogue for NY Times)

But make no mistake about it. This is the first attack in a new front in the DV Rebellion. The technology keeps making the impossible more feasible. Sequences and shots that cost $100,000 yesterday, can be pulled off with a laptop and a prosumer camera today. It's a good time to be a Down and Dirty filmmaker. "Impossible" in the world of DV these days is an ever-moving line.

Peep out David Pogue's NY Times article on the new Nikon D90.

American Cinematographer Gives Down and Dirty Props

"As one might guess from the emphatic title of his book, The Shut Up and Shoot Documentary Guide author Anthony Q. Artis is more than just a filmmaker, teacher and writer — he’s a sort of DV evangelist, a man on a mission to educate everyone about the benefits of digital production and postproduction."

- Jim Hemphill,
American Cinematographer Magazine

Since he described me (accurately) as a DV evangelist, let me give you a brief guerrilla sermon...

"The Shut Up and Shoot Documentary Guide" which began as a little self-published B&W guerrilla book that I wrote during my subway commute has already received more attention and positive reviews from all over the world than I could have hoped for, but the one I just got today is particularly special because it comes from one of the most respected magazines in the industry - American Cinematographer.

Way back when I first unveiled the very first version of this book at Sundance some 3 years ago hustling it out of my backpack as I walked up and down the steep Main Street hill in Park City I was so excited to finally see people's reaction to something I had put so much of my heart into. Not unlike with filmmaking, you bust your ass, your wallet and your brain for a long period of time never really sure if people are even gonna "get" your vision- or even worse if they are gonna think it sucks.

In as much as people may think I exude confidence, the reality is that I am just as insecure and unsure as the next person...I just don't let those feelings stop me. I can't afford to and neither can you as an aspiring filmmaker. Whether you are making a movie, writing a book, or starting a new company, any serious achievement will involve a constant head game that you have to win.

As filmmakers we are all aware of the pitfalls of budget, inexperience, faulty equipment, etc. But we rarely consider the biggest pitfall of all - the negative voices in our own heads. (I like to think of them like that line from the Exorcist that goes something like, "The Demon knows your weaknesses. He will mix lies with the truth to confuse you". I take that line as a metaphor for those voices of doubt in all our heads.)

I can't count the number of times I wanted to quit, thought I was wasting my time and money, was rejected by someone I really wanted to help me with the project or was just worn the hell out from hustling and trying to maintain a life outside of the project. Understand that these doubts ARE the very first tests. It's all part of the process. It's where 90% of the people with visions are shut down before the vision even sparks. I suspect there are hundreds of would-be indie hits, #1 tv shows, or even bonafide Oscar contenders half-written, half-shot, half-edited in closets and paper piles all over the world...dreams deferred.

I submit the below review from a American Cinematographer as proof that those voices are all full of shit and that if you have a film, a business, a book...any major personal achievement that you want to get off the ground and bring to completion- you've gotta do your damnedest to protect that vision from your own self doubts, because you truly never know how people will react to your vision unless you complete it and get it out there.

And in the best case scenarios you'll discover what I discovered in this process - completing a major artistic vision ain't easy, but it ain't impossible either. People with far less brains, talent, and character than you and me have successfully completed their visions. In my experience as an educator and film consultant, the biggest thing stopping us is usually us.

Pick a specific goal, ignore the negative voices and never stop moving towards it (however slow or meandering a path you have to take) and you will ultimately achieve it. Here's the proof:

American Cinematographer's Review of
"The Shut Up and Shoot Documentary Guide"

Inside Barack Obama's Media Team

As filmmakers whenever one of our friends makes a big move, we always joke with one another saying something like, "Now I can say I knew you before you were big and famous." Well, every so often it really does end up ringing true.

Such is the case with my one-time fellow NYU colleague, Arun Chaudhary. A little over a year ago, Arun left his position as a Grad Professor at NYU to join Barack Obama's media team as Director of Field Production. And, I know I'm pushing the cliches here, but it really couldn't have happened to a nicer, more talented guy. Even without me saying it here, Arun and his work as a film instructor and on the Obama campaign speaks just fine for itself.

A few weeks back I attended a packed-house lecture that Arun gave on the Obama campaign's media strategy at NYU. It was sponsored by FrogDesign and Fast Company Magazine (a read I highly recommended for entrepreneurial types). Arun showed a bunch of video clips from the Obama media campaign which I thought were quite cutting edge for politics- generally, very candid, humorous, revealing and even a few edgy spots and clips the campaign has put online. But most of all, they really seemed fresh and smart- not at all like the traditional political spots we're used to.


A Few Minutes w/ Arun Chaudhary,
Barack Obama's Director of Field Production




As Director of Field Production, Arun generally produces, edits, and sometimes shoots his own political spots, most of which are turned around in days and hours, not weeks. (There are several such teams of Producer/Camera producing spots independently, but all under a unified central media strategy.) So, by my calculations and for all practical purposes, Barack Obama has a straight up Down and Dirty video team.

I long ago gave up arguing and frothing at the mouth over the sickening ebb and flow of this non-sensical, divisive, blue vs. red, devolved state of American politics. (My senitiments on public political discourse online can be summed up by Jay-Z's line "Don't argue with fools...from a distance people can't tell who's who".) However, as a media maker, I still remain completely fascinated at the sheer effectiveness of the use of video media - the good, the bad, and the ugly - in modern American politics.

I'm not talking about the politics themselves or the right or wrongness of it, but I'm simply fascinated by watching how campaigns and all of our political entities craft and execute media campaigns- (even the misleading ones) to sway the opinion of a precinct, nation, or even world. I'm captivated by the game itself, rather than the players, if that makes sense.

While the politics have become a major turn off for me in recent years, the political media game remains facinating to me. It's the ultimate tv programming battle...coming up with effective attention-grabbing video projects, on a break-neck turnaround, on tight budgets, that are ultimately intended to play a major role in directly swaying the very course of history. (Witness the Paris Hilton/John McCain campaign ad battle I put up in my last post.) These aren't little commercials to sell cars or dog food...This is as real as media influence gets, because the stakes are no less than the leadership of the free world. (And that's not just hyperbole- that's some "realperbole".)

The times have changed. If anyone wants to be a viable candidate for a high public office, they really do need to build an organization that understands how to effectively use media to define their candidate, get their message out, defend against attacks, and when necesary attack back. Finding the fine line between humorous and offensive, candid and unwise, spirited defense and smear is not an easy business fo anyone. To date, I think the Obama campaign has played the media branding game as good as any candidate in recent times. (See Fast Company article on The Brand Called Obama)

And the fascinating thing about it all to me that I think alot of people miss, is that more and more in this age of instant and accesible on-demand video, the world is being swayed one way or another by nothing more than basic filmmaking storytelling techniques...the type of music, tinting footage, slowing down a shot, intentionally showing a "character" in flattering or unflattering lighting, juxtaposition editing, editing out of context, low angles, high angles, zooms in, zooms out, color correction... all very carefully crafted to sway public opinion, for better or worse (and I definitely think better in Arun's case), by everyday ordinary filmmakers - like us.

To me personally, these political seasons just serve as a reminder of the incredible power we hold- literally in the palm of our hands - when we know how to successfully execute our craft to tell stories that move people. (The electorate is just another type of audience.) If we are responsible with it and apply those very same story-telling techniques in the right directions- it stands to do just as much good as harm in our world...that's the real power in our hands as the media makers of the world.

Whether it's as big as presidential politics or a short doc on a battered woman's shelter. Through the application of our filmmaking craft, we alone are in uniquely powerful position to literally change the world - one visual story, one person at a time, in so many tangible and untangible, but very real ways.

Like I said in the book...if not us, then who? Look around you. We're it, Baby! You think the world is f#@ked up? Wanna change it?

Do what Arun did- grab a camera and Shut Up and Shoot.

John McCain vs. Paris Hilton

As I write this I'm working on a longer post that involves political media, but this story concerns unfolding events that go directly to the core of my next post on the topic of the power of social and political media.

I'll let the clips stand on their own for now and put them into context as they pertain to down and dirty filmmaking in the next post...coming soon. For now enjoy the political wackiness:



The Original John McCain Ad:



Paris Hilton's Response:

directed by Jake Szymanski and produced by Chris Henchy of Gary Sanchez Productions

FREE - Interview Bootcamp at B&H Aug.6th

Once again I will be rolling out some new premium seminar material at B&H Superstore Event Space in midtown Manhattan. This time up I will be giving a thoroughly engaging Interview Bootcamp. See event description below:

Down and Dirty DV's Interview Bootcamp - Weds. Aug. 6th - 11am -2pm

Come join us at the Event Space to hear the talented Anthony Artis give an A-Z overview of all the facets for conducting a successful interview from the technical practices of camera, audio and lighting to the practical techniques of planning and conducting interviews. This class is perfect for aspiring documentary filmmakers, small businesses, corporate videographers, and video journalists who are looking to expand and sharpen their skill set. After attending one of Anthony’s classes, you’ll walk away with a wealth of information and burst of motivation.


Joining Anthony will be Eric Drucker, from Lowel Lighting, who will be discussing different types of lights and how to control them so that we can use them to our advantage. Eric will demonstrate a range of lighting concepts using multiple techniques that will have you feeling confident about lighting interviews of different types.

Please understand that this is the first and last time that you will be able to get this full seminar live and in-person completely for FREE. Before I charge people for anything I like to test it out and tweak it to make sure that it is a superior value just like "The Shut Up and Shoot Documentary Guide", so if you snooze, you lose. (I'll still be giving this seminar in the future, just not for free again.)

This is essentially much of the very same info that I teach to students in the Sight and Sound Documentary class at NYU's reknowned Tisch School of the Arts- only instead of over a full semester and at a cost of tens of thousands of dollars, I'm gonna stuff and jam all the most important, succinct, and practical interview tips I can think of into your skull in the space of a few hours and for free...Not only that, but as an added bonus trainer, Eric Drucker from Lowel Lighting, will be there giving an interview lighting demo.


The B&H Event Space continues to be one of the best-kept little secrets around town. Every single month they give tons of free classes and seminars in various topics in photo, video, and multimedia. It's an incredible resource, especially for those of you who are self-teaching. All you have to do to go to any event is register. (Non-registered attendees will be permitted as space allows.)

Anyway, I hope to see you there. There will be a Q&A and booksigning of "The Shut Up and Shoot Documentary Guide" to follow.

Location:
The B&H Event Space is located on the second floor of the B&H Super Store, located at 420 9th Ave, New York, NY 10001. If you are registered, please arrive at the Event Space entrance 5 minutes prior to the scheduled start.