Syd Stembridge has done just about every imaginable type of specialty guns for movies. If they exist, then the folks that would have them is Stembridge gun rentals in Glendale (818/246-4333). About 4 bucks a pop, not including gun rental. Only works with modified guns, currently only 9mm and a few others. No pyro guy, permit or fire officer needed. Guns with electronic flashes: Creative Efx 818 365-0655 Ammo for electronic guns: Edolmar Eng 818 365-9208 haven't used them, but have seen it on film and they work well, with a long flash. You either need longer duration gun barrel flashes, or sync the flashing to the shutter speed. The rate of cycling is dependent on the "beat frequency" between the two, the camera frame rate and the flashes per second of the gun barrel flash of the HMI flash. When it is more out of phase, it gets brighter and darker more quickly and appears to be more of a "flicker." When it is only slightly out of phase it is seen as a slow darkening and then lightening of the lamp's apparent exposure on the film. The same thing happens when you see HMI "flicker" with magnetic ballasts and an off speed generator or camera (or if you have really bad karma that day, BOTH.) What you were seeing was the gun flashes running slightly out of phase with the shutter in the camera. The Brandon Lee incident was a tragic and senseless accident. Especially with the talent and safe directions for pointing the muzzles of the weapons. Also, playing with the shutter angle and overcranking might give you some interesting effects.Īnd remember safety for everyone involved. There are many specialized weapon loads out there.so consult with your fav (licensed) armorer. This would tend to reduce the amount of muzzle flash you get. M-16's and MP-5's all use the "Hollywood" flash suppressor (a small "restrictor") in the barrel that increases the gas pressure so that the weapon will cycle with the lower pressure blanks. Remember the type of weapon will influence what type of muzzle flash you get. Test-test-test!!! The armorer should be able to provide loads that will give you the flame effect you want. The trade off is that the charges cost about $4 apiece, and not every gun type has been modified, and their is no chamber or moving parts which limits close ups. You don¹t need a pyro guy, or a gun expert, and they look good. Creative Efx, in San Fernando CA., makes a neat line of guns which take electronic ammo charges, which are safe at any distance, even less than a foot, and produce a long duration flash. I'd appreciate your input about this matter.ĭaniel.after 10 years of low budget features and half a hearing loss later.their is an answer. The guys in post-production say it is a relatively simple, and commonly done, task to take a gun flash from one gun shot and copy it to another where there is no flash. Using Panavision cameras with a 200 degrees shutter would offer a marginal improvement but that would not be the solution to all. that I belonged to this really good and intelligent e-mail group and that I would submit the question. Old Chaplin meets Rambo :-).Īnyway I told the director that this editor should stick with editing but. Reducing the frame rate in order to slow shutter speed, already at 180, would diminish the chances equally, not to mention the really fast pace action shots we would get by undercranking. We were already shooting with the shutter at 180. Gee, some rocket scientist there, quick call the Nobel society. Now some know it all editor told the director that using slower shutter speeds would help. It sure looks odd when someone fires and you can see the recoil but no spark. Especially in a shot where the actors fires multiples shots, the chances of getting them all on the film are reduced even further the more shots are fired. Even if one were to do 10 takes of each shot there is no guaranty that it would work for all gun shots. Even though the gun guys are using special gunpowder mixes to cause longer duration flashes, handgun flashes often happen while the shutter is closed. Machine guns and shot guns are usually all right because they have a longer lasting flash. Of course we all understand why, knew about this problem beforehand, but also realize we are pretty much powerless to do much about it. In the recent action footage I did, the director was sometime disappointed because not all the gun flashes show up on the film. Some of you have probably done a lot more gun shots than I (on film that is), hence the reason for this post. All Camera and Lens evaluation from 2000 onwards.Lens Comparisons Anamorphic, Spherical, S35 & FF.The Agony of Choice - Vintage/New Lenses.ACES for cinematographers (video demo/class).ACES LUTs for use in a non-ACES environment.ACES - Geoff at AMPAS Cinematography Summit.ACES - Protect Your Creative Intent with ACES.
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