[Konvas] OT: Muzzle Flashes

Mon Nov 3 12:47:51 CST 2008

I'm with HW on all of his points.  As some of you know, I mostly film
military and police simulation.  Every day I film it seems we are
exploding something or firing a weapon.  Primarily, I have worked with
revolvers, 9mm semi-auto handguns (mostly Beretta and Glock), M16s, M4s,
AK47s, AK74s, Fals, and Browning 50Cal. Machine guns.  I could talk a
lot about how to get nice muzzle flashes out of those guns but what is
more important to me is SAFETY.

Lately I have taken more to adding muzzle flashes, smoke and sfx in
post.  When we got to where our subject matter experts couldn't
distinguish between real and fake gunshots, we dropped shooting the real
ones.  We can easily and quickly composite very realistic shots now for
every weapon (including full auto) with no problem.  We've found the
best thing, though, is for the actor to hold the gun level and NOT
attempt any kind of kickback.  We've animated flashes, smoke, and even
ejected cartridges flying through the air.  Sound is no problem to add,
as we've found that recording real gunshots is difficult.

That said, if you HAVE to use blanks, here's a few considerations I
practice that come to mind (not all ...I've done this for so long that
some things are second nature to me and I'll forget something I'm sure).

1. Before the shoot, get a licensed, qualified, reccomended expert to be
the armorer.
2. Start your shoot EACH day with a mandatory crew / cast meeting.
Inform EVERYONE that ANYONE at ANYTIME can stop the shoot / shot if they
feel something is not quite right / safe / or if they just have a "gut"
feeling the weapon or what is about to happen is unsafe or UNCLEAR to
all participants.  Make sure this is clear to any late arrivals on the
set. 
3. Close your mandatory meeting with prayer - realize something bigger
than you is more in control than you think you are.  If you don't know
how to pray, write me and I'll send you one (its ok to read one).
4. Watch your armorer like a hawk to see that they exceed YOUR
standards.  Listen to them.  Don't push them too quickly or work them
too long.
5. Blanks are extremely dangerous, they can kill, and can cripple, or
blind someone for life.  Never point a weapon loaded or unloaded toward
anything other that WHAT you are supposed to.  Otherwise, keep it
pointed to the ground.
6. Make sure the actor is 100% comfortable with the weapon; that they
know what to do with it before the shot, during the shot, and
immediately after "CUT".
7. Have the armorer secure the weapon immediately after the shot.  Clear
it and pronounce it safe.  This is the FIRST thing that happens after
CUT.  If you have so much going on that your amorer is not close, you
should have two armorers.  The only way to work is to have ONE person
who hands the weapon to the actor and then takes the weapon after cut.
Not just anyone standing near should do this. Use the SAME person so
it's a rote behavior.
8. Contact your local police jurisdictions.  Let them know you will be
shooting some blanks.  Give them the detail they need.  Talk to their
dispatch.  Find out when their dispatch changes shifts and call them
back immediately after the shift change to make sure the new dispatcher
knows you're using blanks.
9. Put up large signs that approaching police / or public would see that
note "Filming with Blanks". 
10. Make sure your amorer, when training an actor, reports loudly (and
gives time for people to acknowledge and get ready) when they are about
to fire.  Several people on the set make a living using their ears.
11. LOOK AFTER YOUR AUDIO ENGINEER. They need their ears like you need
your eyes. 
12. You should never have to discharge a gun directly down the barrel of
a lens.  Always have the actor aim below the lens or to the side.
Blanks have immense pressure and a stray piece of plastic in the barrel
can become a deadly projectile.  Protect your lens and camera operator's
eyes and ears. 
13. Use Hollywood style blanks.  NEVER USE  anything homemade.  Make
sure the blanks are manufactured with no wadding and little unspent
powder (which can blind someone 10 ft away).  I use
http://www.centrefirearms.com/
14. Close your shoot with prayer in thanks that God looked after you.
You can choose to do this alone if you want, but do the first prayer
with the whole cast/crew.

Ok, I've learned some of this the hard way.  #8 especially as my actor
almost got shot by police responding to gunshots.  We had signs, a huge
griptruck, and we were shooting in LA county and had their dispatch
notified -  we just didn't realize we were on the edge of Beverly Hills
Police jurisdiction.  The cops came up through a side street and ran
through another house's yard to get to us.  Amazing how with a camera,
lights and dozen people standing around that all they managed to see was
a lunatic with a gun.  Very scary.

Finally, I have fired armorers and subject matter experts off of a
shoot.  If you see something unsafe and its not immediately addressed,
you have to understand NOTHING is as important as LIFE.  If you are
directing and someone gets shot, its ultimately your fault.  Myself, I
don't want to live with that.

All the best, 
lael

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