Secrets of Hollywood Special Effects

j Secrets of \ Hollywood

| Special I Effects

Secrets of Hollywood Special Effects

Robert E. McCarthy

Foreword by Steve Allen

Focal Press An Imprint of

Boston

Elsevier

London

Focal Press is an imprint of Elsevier

W A R N I N G : T h e b o o k y o u are a b o u t to read depicts special effects that are potentially dangerous. T h e y w e r e created and executed b y highly trained personnel under the supervision of a licensed professional. Do not attempt to re-create a n y of the effects c o n tained herein w i t h o u t proper training, experience, and professional assistance. Every effort has been made to ensure the a c c u r a c y of this information and the safety of the reader. Focal Press and B u t t e r w o r t h - H e i n e m a n n assume no liability for accidents that m a y be caused b y misusing the information contained herein.

Copyright © 1992 by Elsevier, a division of Reed Publishing (USA) Inc. All rights reserved. N o part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or b y any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier's Science and Technology Rights Department in Oxford, UK. Phone: (44) 1865 843830, Fax: (44) 1865 853333, e-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage: http://www.elsevier.com by selecting "Customer Support" and then "Obtaining Permissions".

Recognizing the importance of preserving what has been written, it is the policy of Butterworth-Heinemann to have the books it publishes printed on acid-free paper, and we exert our best efforts to that end. Photo credits: Figures 2 - 7 a through d reprinted with permission of the Coca-Cola Company. Figure 7 - 2 reprinted with permission of Leonard Nimoy. Sections from the Film Industry

Fire,

Life and Safety

Handbook

in

Chapter 1 1 reprinted with permission of the Californa State Fire Marshal. Figures 1 2 - 5 a and b and 1 2 - 6 a and b reprinted with permission of Hollywood Breakaway®. Figures in Chapter 1 3 reprinted with permission of the Gleason Family Partnership. Figures 1 4 - 1 through 1 4 - 6 and cover photograph reprinted courtesy of Tri-Star Pictures, Inc. Photographs of pyrotechnic devices and Squib Chart (back cover) reprinted with permission of De La Mare Engineering, Inc. Photographs of firearms and other equipment reprinted with permission of Stembridge Gun Rentals.

Library of Congress Cataloging-in-Publication Data McCarthy, Robert E., 1 9 3 1 Secrets of Hollywood Special Effects / b y Robert E. McCarthy, p.

cm.

Includes index. ISBN 0-240-80108-3 (casebound) 1. Cinematography—Special effects. TR858.M34

I. Title

1992

791.43'024—dc20

91—25088 CIP

British Library Cataloguing in Publication Data McCarthy, Robert E. Secrets of Hollywood Special Effects. I. Title 778.5345 ISBN 0-240-80108-3

Elsevier 200 Wheeler Rd. Burlington, MA 01803 10

9

8

Printed in the United States of America

D u r i n g the first printing of this book one of the dedications w a s mistakenly omitted. This dedication w a s to m y son, K e v i n Francis M c C a r t h y ; for m y mistake I sincerely a p o l o g i z e . I dedicate this b o o k to m y son K e v i n w h o h a s f o l l o w e d the tradition of four generations of the M c C a r t h y family, starting w i t h his great grandfather in 1883. A s a m e m b e r of the IATSE y o u h a v e m a d e m e v e r y p r o u d to s a y y o u are one of the best Special Effects m e n in the business, far surpassing m a n y of the effects I h a v e accomplished in m y career. T h a n k y o u K e v i n for all the help and s u p p o r t y o u g a v e m e , without y o u this b o o k w o u l d never have been written. I dedicate this b o o k to m y wife of 32 y e a r s , C a r o l , w h o has never been able to p u t her car in our three-car g a r a g e because there w a s a l w a y s a special effects project g o i n g on in it; w h o has p u t u p w i t h the horrible smells of chemicals that I h a v e u s e d in the backyard and garage; w h o s e dishes, pots, and p a n s I h a v e destroyed; a n d w h o at times hasn't e v e n been able to use o u r p o o l because of an air cannon or experiment being conducted in it. For p u t t i n g u p w i t h all the noise and m e s s that I've left behind for her to clean u p and for h a v i n g the patience of a saint and not t h r o w i n g m e out of the house all the times that I've d e s e r v e d it. Dearest, y o u can n o w h a v e y o u r dining room table back, after y e a r s of h a v i n g scripts, blueprints, d r a w i n g s , and g i m m i c k s on it. M o s t importantly, thank y o u for g i v i n g m e the e n c o u r a g e m e n t , support, and love that enabled m e to write this book. A n d to " T h e Great O n e . " A l s o to m y d a u g h t e r K a r e n and m y little l o v e — m y granddaughter Sabrina.

Contents

Foreword by Steve Allen Preface Acknowledgments 1

2

3 4

5

6

vii

xi xiii xv

Rain and Water Effects

1

Equipment Needed for Rain Effects H a r d w a r e and T o o l s N e e d e d for Rain Effects

1 3

W a t e r Supplies

5

Snow Effects

8

O u t d o o r S n o w Effects S n o w Scene Checklist Special Snow-Related Effects Snow Machines S n o w C o m m e r c i a l for Sprite

8 9 10 12 12

Steam Effects

14

Steam Equipment

14

Smoke Effects

17

S m o k e Producing D e v i c e s Spectrasmoke O t h e r S m o k e Producing Substances

17 21 24

Fire Effects

27

Fire Extinguishers Torches Fireplaces Campfires Candles Creating Fire Effects

27 27 29 29 31 31

Chemical Effects

34

Black Foam Bubbling, S m o k i n g Test T u b e s A + B Blood C o l d Fire Fire Writing Invisible Ink 1: M a k i n g Letters A p p e a r b y Use of Flame Invisible Ink 2: M a k i n g Letters A p p e a r b y Use of Heat Red Invisible Ink B r o w n Invisible Ink Invisible Ink f r o m Fruit N o n c h e m i c a l Form of Invisible Ink A p p e a r i n g and Disappearing Invisible Ink Different C o l o r e d Fireworks T h e Bottle of M a n y C o l o r e d W a t e r s T h e R o d of Fire Pitcher C h a n g i n g C o l o r e d W a t e r s Exploding Shoes

34 34 35 35 36 36 36 37 37 37 37 38 38 39 39 39 40

Secrets of Hollywood Special Effects

7

viii

Snakes from the S m o k e S m o k e from a T u b e S m o k e Rings Violent Flames Blinding Flash Brilliant Sparks Sprinkles of Fire Miniature V o l c a n o Bubbles T h a t Burn

41 41 41 42 42 42 43 43 43

Exploding Bubbles Spontaneous C o m b u s t i o n Silver Fire Blue Stars Red Fire

44 44 44 44 45

Green Fire Y e l l o w Fire Purple V a p o r Chinese Fire Eating Fireproofing D e m o n Fire (Fire Breath) T h e M y s t e r y of M a l a b a r The Magic Wound Anarchist B o m b s Telltale Cigarette

45 45 45 46 46 47 47 47 48 48

Permanent Bubbles R a i n b o w Bubbles Bouncing Bubbles Rubber Bones The Dry Hand Liquid to Solid Smoke Mystery 1 Smoke Mystery 2 Luminous Paint A M a n W h o W a l k s A w a y f r o m His S h a d o w : A n Illusion Mud

48 49 49 49 49 50 50 50 51 51 52

Quicksand

53

Wire Flying and Levitation

54

The Wire

54

Harnesses C a b l e Connections Spreader Bars Flying Rigs Flying Safety Flying Checklist Levitation Flying Inanimate Objects Object-Flying C r a n e Trip Releases C a b l e Slings T h e D e a d M a n Rig Cable Rope Knots Chain C h a i n Facts

56 59 60 61 68 69 71 74 77 78 80 81 82 85 91 95 95

Contents

Proof Coil Chain High-Test C h a i n Alloy Chain

8

9

10

11

ix

96 97 97

Passing Link C h a i n Straight Link M a c h i n e C h a i n Binder C h a i n s Transport C h a i n Straight Link C o i l C h a i n Chain Connectors

98 98 99 99 100 100

Weapons

101

Semiautomatic and A u t o m a t i c W e a p o n s Mortars B a z o o k a s and Rocket Launchers Shotguns and Semiautomatic Shotguns

101 102 102 103

Nonpyrotechnic Projectiles

104

Bullet Hit Effects D e l i v e r y Systems for N o n p y r o t e c h n i c Projectiles K n i v e s , A r r o w s , and Spears

104 106 108

Pyrotechnics

115

Licensing Storage of Pyrotechnics N o n p y r o t e c h n i c Materials Used w i t h Explosions Pyrotechnics and W e a t h e r Mortars Black P o w d e r B o m b s Creating a N a p a l m Explosion Naphthalene T e a r G a s Effects B l o w i n g G a s D r u m s into the A i r Det C o r d D o ' s and D o n ' t s Detonating Devices Fuses Flares Exploding Vehicles Exploding Buildings Kickers B l o w i n g O u t D o o r s and W i n d o w s Strafing Bullet Hits B l o w i n g Safes and Boxes Rockets Cannon Cars B l o w i n g U p a Tree B l o w i n g Bullet Holes in 5 5 - G a l l o n W a t e r or G a s D r u m s B l o o d Hits o n the B o d y B l o w i n g Someone's Brains O u t Creating Sparks C o n t i n u o u s C o l u m n s of Black S m o k e U n d e r w a t e r Explosions Trunion Guns G l o s s a r y of Pyrotechnic T e r m s

116 117 117 117 118 119 119 120 120 121 121 124 124 125 126 126 128 129 129 130 130 131 131 132 133 133 135 135 136 136 137 137

Fireworks

139

Specifications of Fireworks A p p a r a t u s and D e v i c e s Before the D i s p l a y O p e r a t i o n of the D i s p l a y

139 141 143

Secrets of Hollywood Special Effects

12

13

14

R e c o m m e n d e d Safety Precautions for Pyrotechnics and Fireworks G l o s s a r y of Fireworks T e r m s

144 145

Special Effects and Stunts

149

B o d y Burns C a r Fire Stunt Explosions and R a m p Jumps B r e a k a w a y Glass and T e m p e r e d Glass Effects Slingshot C a r s A s s o r t e d Special Effects Equipment Cobwebs

149 150 151 152 152 154

Bubble M a c h i n e s M i r r o r and Reflection Effects Scent C a n n o n s Tornados Volcano R o c k i n g C a r s , Airplanes, Boats, and R o o m s Spinning or Tilting R o o m B l o w i n g S m o k e through Small Hoses or Pipes Popping Champagne Corks C h a n g i n g a W o m a n into a Gorilla Pressurized S m o k e through Musical Instruments Fireballs from Musical Instruments Breakaways P r o m p t i n g and Image Splitters

155 155 156 157 158 159 159 160 161 162 162 163 163 164

T h e Haunted House

164

The Gleason Years

165

Reggie the W e a t h e r m a n Reggie and the Rocket Sled Reggie the Electrical M a n Shooting G l e a s o n O u t of a C a n n o n Gleason's Floating C l o u d Jackie Gleason, the Bicycle, and the Brick W a l l Reggie W a l k i n g o v e r Hot C o a l s T h e P o o r Soul and the Wilting Flower C o m p a r i s o n s and M e m o r i e s

165 166 166 166 168 168 169 169 170

The Fisher King

172

A Note to the Reader

178

Glossary

179

Basic Safety Rules for Chemical Effects

185

Index

187

X

Foreword

T h e simple fact that during m y forty-plus y e a r s of w o r k i n g in the c o m e d y field I h a v e frequently b e c o m e i n v o l v e d in the performance of physically dangerous stunts is not especially n o t e w o r t h y except, perhaps, for the fact that I a m v e r y p o o r casting for the role of m a c h o stuntperson. M y natural interests are h u m o r , music, p o e t r y , and p h i l o s o p h y . During m y school d a y s , although I b e c a m e proficient at baseball pitching and table tennis, I w a s b y no means a natural athlete. A g a i n s t that social backg r o u n d , it is still something of a mystery as to h o w I became i n v o l v e d in m a n y instances of risky business for the alleged entertainment of T V audiences o v e r the y e a r s . Part of the explanation, I suppose, is that I've a l w a y s specialized in spontaneous or ad-lib c o m e d y and, secondly, that early on m y writers and p r o d u c t i o n people discovered the funny possibilities of placing me in a dangerous situation just to see w h a t m y v e r b a l responses w o u l d b e . O v e r the years I h a v e been bitten b y out-of-control animals, swarmed o v e r b y tarantulas and ants, taken a tub-bath while suspended high a b o v e V i n e Street in H o l l y w o o d , p a c k e d into a small b o x that w a s then b l o w n to smithereens b y dynamite charges, f l o w n a b o v e the Los Angeles area while standing o n the upper w i n g of a W o r l d W a r I biplane, driven at high speed into flaming fences, and exposed m y general incompetence at fencing, mud-wrestling, horseback riding, and flying suspended in mid-air a la Peter P a n . O n e factor all such peculiar exhibitions had in c o m m o n w a s that while I generally had only the vaguest notion as to w h a t I w a s doing or h o w to d o it properly, there were those present w h o s e professional expertise enabled them to conduct and control the routines. D u r i n g the 1 9 9 1 - 1 9 9 2 television season, it has been possible for y o u n g v i e w e r s to see for the first time, and veterans to review, a four-year comedy series I did for N B C - T V in the late 1950s. This w a s the delightful s h o w featuring Louis N y e , D o n K n o t t s , Bill D a n a , T o m Poston, Pat Harrington, G a b e Dell, D a y t o n A l l e n , and other gifted c o m e d y performers w h o were members of our regular troupe. D u r i n g the original period of the series' production, I had the pleasure of meeting and w o r k i n g w i t h B o b M c C a r t h y , the best qualified puppetmaster, so to speak, w h o s e invisible strings enabled me to b e c o m e involved w i t h w h a t , even to the present d a y , is one of the most impressive stunts, tricks, or illusions k n o w n to theatrical science. N e w s columnist Ed Sullivan w a s then the host of a variety p r o g r a m that aired at the same 8 p . m . S u n d a y night time on C B S . I didn't k n o w that M r . M c C a r t h y w a s a regular e m p l o y e e of Ed's, or I might h a v e had paranoid suspicions w h e n he p r o p o s e d placing m y life in at least a certain degree of danger w i t h a stunt he had devised. T h e first evidence that such a thing could actually be accomplished w a s a p h o t o g r a p h of an attractive y o u n g l a d y seated at a grand p i a n o , her hands o n the k e y b o a r d . T h e unusual factor w a s that the instrument w a s at the time apparently about a dozen feet in the air, executing w h a t in xi

Secrets of Hollywood Special Effects

aeronautical terms could be described as an outside l o o p . W h e n producers Bill H a r b a c h , N i c k Vanoff, and other members of our production staff proposed that I submit myself to the same maneuver, I assumed, on the basis of the p h o t o g r a p h , that doing so w o u l d be a simple matter. W h a t I h a v e learned only recently w a s that M c C a r t h y had put the 8 X 10 p h o t o together o n l y to illustrate h o w the finished stunt w o u l d l o o k and had, in fact, never actually put a n y o n e through such paces. Be that as it m a y , about t w o w e e k s later, one S u n d a y evening, I seated myself at a grand p i a n o and began to p l a y a m e l o d y of m y o w n composition, l o o k i n g for all the w o r l d like the scores of musicians w e h a v e all seen playing piano o n television. But after the first few bars, the instrument, including the bench o n w h i c h I w a s seated, began to rise into the air. T h i s , I assure y o u , w a s no camera-trick or illusion. I w a s actually ascending, soon to b e , in m y opinion, m u c h too high, o v e r the stage floor and thoroughly uneasy about everything that w a s happening. W h e n , earlier that afternoon, the stunt had been rehearsed, I perceived immediately that the viewers at h o m e w o u l d p r o b a b l y think that camerag i m m i c k r y w a s i n v o l v e d . T o forestall that interpretation, I ordered that a Spanish shawl, a framedf>hotdgraph and a medium-sized vase of flowers b e placed on the instrument. T h e point w a s that w h e n the piano-top began to tip f r o m the horizontal plane these objects w o u l d fall to the floor, w h i c h w o u l d presumably clarify that w h a t the in-studio and at-home audience thought they were seeing w a s actually taking place. I had also suggested that several attractive y o u n g dancers m o v e under the instrument as it floated a b o v e their heads and pantomime fears for their personal safety once the routine b e g a n . O v e r the y e a r s B o b and I h a v e done that stunt (along w i t h a number of others) several times w i t h never a hitch. T o m y k n o w l e d g e he's the only special effects person in the business w i t h the reputation of never h a v i n g had a serious accident or injury o n a n y F/X job he's directed during the thirty-odd years he's been in the business. I don't pretend to be an expert o n the technical aspects of special effects, but B o b M c C a r t h y certainly is, h a v i n g done countless s h o w s w i t h some of the top entertainers in T V : t w e l v e years w i t h Jackie Gleason and services to Ernie K o v a c k s , G a r r y M o o r e , Ed Sullivan, " S a t u r d a y Night L i v e , " and m e . He has p r o v i d e d technical services to scores of B r o a d w a y s h o w s , such as " T h e D i a r y of A n n e Frank" and " T h e R o c k y Horror S h o w , " plus dozens of rock and roll concerts for such groups as Kiss and Bon Jovi, and countless m o t i o n pictures, the most recent i n v o l v i n g the creation of the F/X for the Red Knight in T e r r y Gilliam's The Fisher King. If y o u w a n t to learn the ins-and-outs, the real hands-on technique, I can't think of a n y o n e in the business m o r e k n o w l e d g e a b l e .

Steve A l l e n

xii

Preface

T h e field of special effects (F/X), w h i c h can be financially, emotionally, and artistically rewarding, is also the most demanding and exhausting of all the artistic crafts in the entertainment industry. N o other w o r k requires such a t h o r o u g h technical k n o w l e d g e in so m a n y areas. In most businesses, being a jack-of-all-trades, you're a master of none. But w h e n it c o m e s to special effects, being a jack-of-all-trades makes y o u a master of one: special effects. T h e f o l l o w i n g is a list of talents, skills, and trades that are needed b y a g o o d special effects person. Air/Hydraulics A n i m a l Trainer Armorer Artist A u t o m o b i l e mechanic Boats and sailing B o o b y traps and devices Bookkeeper Bridge builder C a m e r a and camera effects Carpenter Alchemist Deep-sea diver Draftsperson D r i v e r / equipment / trucks Electric m o t o r s and gears Electrician Electronic timing devices Engineer Explosives Fiberglass Fiber optics

Makeup Marksman Mason Mechanical timing devices Miniature maker Model maker Mold maker Mountain Climbing Painter Plasterer Plastics Plumber Projectionist Props Pyrotechnician Radio operator Repairman Researcher Rigger Safety expert Scaffolding Sculptor

Fire extinguishers and equipment Firefighter

Second unit director Snakes and spiders handler

Flyman Personnel manager Glazier Gunsmith

State and federal l a w s Static electricity Stunt person Tinsmith Weapon maker Welder Last, but not least, creativity and imagination!

Harnessmaker Illusionist Lighting effects Machinist

T o e v e r y o n e except the F/X person, m o v i e s are make-believe. For only the F/X person is directly responsible for other people's lives. D u r i n g the last 30 y e a r s m a n y professionals, myself included, h a v e argued for the most stringent safety requirements. Gratifyingly, the codes are being upgraded constantly. W i t h n e w e r and i m p r o v e d chemicals, h a r d w a r e , and techniques, F/X has b e c o m e safer than ever. xiii

Secrets of Hollywood Special Effects

There is and p r o b a b l y will a l w a y s be, h o w e v e r , an element of danger in special effects. There are u n a v o i d a b l e accidents. Special effects require a higher standard of accountability to ensure that accidents are not the result of incompetence or inattention. S o m e o n e once said, "Being tired is being in s h o w business." I've been o n productions for 50 or 60 straight hours, and 8 hours later, after a snack and shower, I w a s b a c k on the set. I mention this for only one reason: W h e n you're tired, y o u can m a k e mistakes. D o n ' t let exhaustion lead y o u into an a v o i d a b l e error. Leave nothing to chance. Plan ahead. Don't give accidents an opportunity to occur. If y o u remember but a single w o r d from this b o o k , let that w o r d be safety. Enjoy and study the information contained in this b o o k . Remember, h o w e v e r , that the special effects described here are of a professional caliber and should not be attempted b y individuals unfamiliar w i t h the materials, processes, and safety techniques i n v o l v e d . T h e black and white images in this b o o k were taken from years of accumulated tape. T h e y are, therefore, not quite as clear as p h o t o g r a p h s . In order to provide a better visual p a c k a g e to a c c o m p a n y this b o o k , w e h a v e created a set of five videotapes: Secrets of Hollywood Special Effects Videos. Each is approximately t w o hours long and is available f r o m Focal Press, individually or in the set of five.

xiv

Acknowledgments

Obviously no book of this intensely complex and technical nature could possibly have been written without the aid and encouragement of literally dozens of people specializing in all aspects of the business. If I have committed any error of omission in my acknowledgments, I humbly apologize. It was certainly nothing deliberate, but rather because I have drawn from such a plethora of information and sources, and from hundreds of friends and other professionals over the years. I want to give a special thanks to Louis Simmon for his diligence, dedication, and endless hours of work in making this book understandable to the layperson and assisting me in overcoming my grammatical shortcomings. I am deeply thankful for his support, understanding, and attention to detail. Artwork, drawings, and sketches for this book were particularly difficult and complex. To Aaron Lerner who toiled and puzzled over them for hours, I am much appreciative. To Gloria Rich, a special thanks for her uncanny ability to translate my mumbled dictation and paw-print writing into print. To Barbara Russiello for following the manuscript through page proof and into camera copy. Halfway through my work on this manuscript, a young man, Scott Nathanson, aided me in putting all this into my computer and assembled it chapter by chapter. As a computer expert, Scott saved my life. Since then he has worked extraordinarily hard to collate and generally shape this material. For this and his hundreds of helpful suggestions over and above the line of duty, I am grateful. I would be remiss in not thanking James F. McMullen, California state fire marshal, for his kind permission to reproduce portions of The Film Industry Fire, Life and Safety Handbook and for his recommendations and explanations of some of the more subtle aspects of the regulations. I'd also like to give a special thanks to Manny Chevez for his help and cooperation in obtaining much of the safety information incorporated in this book. A very special thanks goes to Gabe Videla and Joe Lombardie of Special Effects Unlimited. Gabe was especially generous with his permission to photograph their in-house equipment and spent many hours over the years sharing his wonderful friendship and knowledge with me, in addition to getting me started in Hollywood. Joe Lombardie is one of the most respected, knowledgeable, and safety-conscious F/X people I've ever known. He is without a doubt one of the premier people in the business. Thanks to Roger George of Roger George Rentals for providing access to his extensive special effects equipment for illustrations. I wish to extend very special and heartfelt thanks to Marilyn Gleason and The Gleason Family Partnership. The photos, many previously unpublished, were only available through their kind generosity, a generosity only matched by "The Great One" himself, a great friend, talent, and still greater person. Thanks to Syd Stembridge of Stembridge Gun Rentals who graciously proffered his expertise and photographs for the chapter on weaponry. Ray Vellozzi and Carlos Ramirez of Hollywood Breakaway were most helpful, providing me with their expertise and access to their facilities to help me xv

Secrets of Hollywood Special Effects

write a detailed and accurate description of their v e r y special and unique products. M y g o o d friend G e o r g e Jackman of D e La M a r e Engineering, Inc., kindly p r o v i d e d dozens of pictures and squib charts illustrating v a r ious types of pyrotechnic devices along w i t h invaluable and instructive advice. T h e sections o n s m o k e and similar special effects devices w o u l d h a v e been m u c h less complete w i t h o u t the invaluable aid and encouragement of Ira K a t z and Tri-Ess Science Services. Ira w a s unstinting in his permission to use information from his c o m p a n y ' s catalog, p r o b a b l y one of the most extensive in the w o r l d . A special thanks to V e r Sales, Inc., for their engineering expertise concerning cable, rope, and chain. I w a n t to B e e w w k e s and the C o c a - C o l a C o r p o r a t i o n of A m e r i c a for sion to use excerpts from the 1990 Sprite commercial that w e in California.

and technical thank Foster their permisshot for them

These a c k n o w l e d g m e n t s w o u l d be most incomplete if I did not thank an old and dear friend, the late H a r r y (Prince Hara) G r o s s . N o t o n l y did he create most of the chemical effects and formulae as detailed in C h a p t e r 6, but u p o n his death left v a l u a b l e information to me. In his m e m o r y I pass them on to y o u . Finally, I'd like to thank m y p r o d u c t i o n camera crew: C r a i g Bentley, Steve G a v i t t e , C a r o l M c C a r t h y , K e v i n M c C a r t h y , M i k e N e w c o m b , G r e g g (Bruno) Stempel, Brett T r a v i s , and M a r k W o o d l e y w h o assisted me w i t h the p h o t o g r a p h s in this b o o k . A s a perfectionist, I h a v e on occasion been k n o w n to be difficult to w o r k w i t h . T h e y are professionals and as such accepted m y sometime surliness w i t h gracious understanding and g o o d h u m o r . I could not h a v e done it w i t h o u t them. In conclusion let me say that a n y errors contained in this b o o k can o n l y rest w i t h m e . N o t h i n g is perfect no matter h o w hard one tries. I o n l y hope the information I h a v e presented is as accurate as h u m a n l y possible given the scope of the subject.

xvi

1

Rain and Water Effects Rain and w a t e r effects h a v e a l w a y s been used b y H o l l y w o o d to increase p r o d u c t i o n v a l u e inexpensively and to accentuate m o o d and atmosphere. Gentle spring s h o w e r s , massive thunderstorms, floods, or a simple dripping icicle o n a winter's night h a v e all satisfied the filmmaker's desire to create an individual and particular reality. It is difficult to imagine certain films w i t h o u t their rain or w a t e r effects: for instance, Wuthering

Heights

without its constant storms, The Towering Infemo w i t h no exploding water t o w e r , Captains

Courageous

minus its blustering seas, or the front nine in

Caddy shack w i t h o u t the furious rainstorm. T h o u g h seemingly so simple, achieving w a t e r effects requires t o u c h , taste, a n d timing in addition to a large extensive v a r i e t y of highly specialized equipment.

Equipment N e e d e d for Rain Effects T o d o an intensive rain scene, y o u need the f o l l o w i n g equipment: o v e r camera (overhead) rainstand, adjustable hose and nozzles, w e t d o w n hoses, rain mats, manifolds, drip pipes, portable rain towers, sandbags or weights (to secure the towers d o w n ) , and extra hoses, p u m p s , m o p s , and buckets.

Rainstands Preconstructed rainstands c o m e in /4-inch, l V i - i n c h , and 2V2-inch sizes. 3

N o r m a l l y , /4-inch rainstands rise 30 feet high; lV^-inch and 2Vi-inch rain3

stands are 30 to 40 feet tall. T h e y are designed to put out tremendous a m o u n t s of w a t e r covering large areas. T h e /4-inch stand c o v e r s an area 3

50 feet deep b y 100 feet w i d e ; a l V i - i n c h stand blankets an area 80 feet deep b y 150 feet w i d e . T h e 2Vi inch exceeds even that, covering 120 b y 200 feet; a considerable area to douse w i t h torrential rain. T h e stands use a b o u t 90 to 1 1 0 p o u n d s of pressure o n the 2Vi inch, 65 p o u n d s on the Figure 1-2 Rain between buildings, rain produced by a bird's mouth rainhead above (see detail) and by a Whirlybird rainhead in Figure 1-8

lVi

inch, and a b o u t 60 to 70 p o u n d s on the A inch. B y adjusting the pressure 3

o n the individual rainstands, y o u can control the size of the raindrops. T h e l o w e r the pressure, the larger the d r o p s , a n d it's just the reverse for a fine mist. A g o o d example of rain effects in operation (using /i-inch and 1 Vi-inch 3

rainstands) appears in the film The Return of the Living Dead. If y o u w a t c h the scenes closely, you'll be able to detect the use of o v e r h e a d rainstands. These w e r e positioned a b o v e and parallel to the c a m e r a , a n d cast a waterw a l l from it out to a distance of 20 to 30 feet in front of the lens. T h e areas b e y o n d the waterfall w e r e w e t d o w n w i t h hoses to maintain the illusion of an overall rainstorm. Y o u ' l l see everything f r o m drops dripping to torrential rains e m p l o y e d in all kinds of indoor and o u t d o o r situations (Figure 1 - 1 ) . Outdoor Overhead Rainheads

In m a n y cases, especially o u t d o o r s , y o u

cannot place rainstands on the g r o u n d because they will be seen in the shot. A g o o d solution is to stretch cables b e t w e e n buildings or telephone poles Figure 1-3

Crane rainbar setup

a n d h a n g y o u r rainheads and hoses f r o m these cables (Figure 1 - 2 ) . If y o u

1

Secrets of Hollywood Special Effects

are shooting a street scene in between buildings, use a spinning head, called a Whirlybird, that covers a 360-degree radius. M o s t rainheads only give y o u a 180-degree angle (see Rainheads and N o z z l e s b e l o w ) .

Rain Mats Rain mats (also k n o w n as horsehair or hoghair mats) are made of a rubberized upholstery padding material. W h e n the w a t e r strikes the mat, the sound is dampened, preventing interference w i t h the sound recording. Caution: A l w a y s check w i t h the electrician to m a k e sure all electrical equipment is properly grounded and insulated from w a t e r .

Crane Rainbar Setup A counterbalanced crane ensures a quiet operation and provides g o o d extensions u p to 60 feet high. W i t h a rainbar (IV2- to 2V2-inch pipe with several rainheads o n it), add a l V i - i n c h or 2 /2-inch water feed line. T h i s design enables the device to m o v e with the shot, covering the actors w i t h w a t e r as they m o v e , and eliminating the need for 20 or 30 rainstands (Figure 1-3). x

Fitting Hoses Putting t w o differently sized hoses together requires a hose reducer. T h e y come in various sizes and can even reduce a 2V2-inch hose d o w n to A inch. T h e brass fittings o n the ends of hoses are called couplings. T h e y h a v e rubber washers inside the fittings to prevent leakage. A l w a y s check this washer before connecting to a n y device. 3

Siamese Outlet Reducer T h i s is a Y-shaped outlet. It connects a single w a t e r supply hose or h y d r a n t to t w o l V i - i n c h hoses, thus doubling y o u r outlets. Each has its o w n separate v a l v e control (Figure 1 - 4 ) .

Pipe Threads Hoses, pipes, hydrants, manifolds, and so on can all be threaded differently depending o n their purpose, tensile strength specifications, and design. For this reason it is important to be a w a r e of the standard pipe thread configurations to be sure y o u r equipment connections are compatible. There are three different types of pipe threads: 1. National standard is a coarse thread and has fewer threads per inch. 2. SIPT stands for straight iron pipe thread. 3. Pacific coast pipe thread is a finer thread and has more thread per inch.

Rainheads and Nozzles Here is a list of some of the m a n y different types of rainheads: 1. 2. 3. 4.

Bird's m o u t h head (Figure 1-5) Quick-release l V i - i n c h f o g nozzle (Figure 1-6) Boston nozzle (Figure 1-7) Whirlybird heads (because they spin around, they're g o o d for street scenes w h e n the entire street must be covered; Figure 1-8) 5. w a t e r rings (on w i n d machines these give great hurricane effects; Figure l-9a-c) 6. w a t e r w a n d s are used to fill a specific area missed b y a rainstand or for foreground rain directly in front of camera (Figure 1-10) 7. lV2-inch Fog nozzle (Figure 1 - 1 1 ) 2

Rain and Water Effects

MINIATURE RAIN HEAD a b c Figure 1-9 Water ring: (a) Rain ring with miniature rainhead (also known as Bird's mouth), (b) Ritter AC/DC fan with rain ring, (c) Ritter AC/DC fan with rain ring in action

Manifolds A manifold

is a device w i t h a large opening (of IV2 inches or more) that

feeds a n u m b e r of smaller outlets through control v a l v e s . For instance, a 2V2-inch main on the manifold feeds four outlets of IV2-inches each (Figure 1 - 1 2 ) . T h e n I V i - i n c h hoses are attached to four l V i - i n c h manifolds and in turn are further reduced to six /4-inch valve-controlled outlets on each 3

manifold. Six /4-inch hoses are then run to individual /4-inch rainstands. 3

Setting Manifolds

3

Manifolds h a v e o n e master v a l v e that controls the flow

of water into them. T h e y also h a v e sub-valves that control the flow of water out of the manifold into the individual rainstands o r into other manifolds. M a n i f o l d s should be set so they can be individually manipulated. In this w a y , y o u can control the w a t e r pressure. T h i s is important w h e n y o u ' r e m a k i n g rain because different areas of the set m a y require different types of rain. For example, one area might require a light rain w i t h large drops while another needs smaller d r o p s , but heavier rain. These v a l v e s a l l o w y o u to preset each section to the director's specifications.

Hardware and T o o l s N e e d e d for Rain Effects T o create v a r i o u s rain effects, these are the types of equipment used most frequently: 1. E d d y v a l v e s

5. Universal spanner wrenches

2. G a t e v a l v e s

6. p u m p s

3. Ball v a l v e s

7. hoses

4. Spanner wrenches

Eddy Valves W h e n creating w a t e r and rain effects, use a v a l v e on the fire h y d r a n t called an E d d y v a l v e . T h e fire department of the city w h e r e y o u ' r e w o r k i n g can usually supply it. T h e E d d y v a l v e controls the flow of w a t e r from the h y d r a n t to the hoses and manifolds. Usually, the w a t e r flow is controlled b y a 2V2-inch line o n one side of the v a l v e a n d a IV2 inch on the other, w i t h b o t h lines controlled individually b y v a l v e s . M o s t fire h y d r a n t s h a v e 90 to 150 p o u n d s of pressure per square inch. T h e r e are primarily three sizes of hose used for rain and w a t e r effects: a 2V2, 1 V 2 , and A inch. 3

3

S e c r e t s of Hollywood S p e c i a l Effects

Gate Valves Y o u can put as much pressure as y o u w a n t on a G a t e v a l v e , w h o s e mechanism w o r k s similarly to a guillotine. It rises up and d o w n , closes the water on and off, and regulates the amount of water going in and out of the hose (Figure 1 - 1 3 ) .

Ball Valves T h e Ball v a l v e e m p l o y s a c o n v e x ball that rotates left and right to a l l o w w a t e r to exit (Figure 1 - 1 4 ) . This rotation seals off or opens to a c o n c a v e inlet adjacent to the inflow. W a t e r must be fed gradually as a sudden pressure surge will damage the seal. Figure 1 - 1 3

Gate v a l v e

Caution: W h e n holding a fire hose for w e t d o w n s or b a c k u p on areas where y o u r rainstands cannot reach, be a w a r e of the tremendous amount of water pressure c o m i n g out, a n y w h e r e from 100 to 125 pounds. It will take all y o u ' v e got to hold that hose, and if y o u let g o while it's open, it will w h i p around like a snake and break y o u r legs. A l w a y s put t w o people on a w a t e r line during hosing d o w n , especially if you're using over 80 or 90 p o u n d s of pressure.

Spanner Wrench

Figure 1 - 1 4

Ball v a l v e

T h e Spanner wrench is a special tool used for tightening or loosening hoses (Figure 1 - 1 5 ) . T h e notch on the end grabs the brass fitting w h e n y o u turn it. Y o u m a y need t w o wrenches, one on each side of each hose y o u are connecting or disconnecting. By turning them in opposite directions, y o u tighten or loosen them.

Universal Spanner Wrench Universal spanner wrenches open and close fire hydrant valves (Figure 1 - 1 6 ) .

Pumps

Figure 1 - 1 5

Spanner wrench

M a n y situations require a water p u m p to deliver water to the rain set from a pool, stream, lake, or reservoir. Pumps come in sizes ranging from V 2 - i n c h to 6-inch outlets, depending u p o n y o u r needs, and are operated b y gasoline or electricity. N a t u r a l l y a quality water p u m p should be used. In addition, a o n e - w a y foot v a l v e protects the prime on the p u m p b y preventing the water from draining back into the supply w h e n the p u m p shuts d o w n . W h e n d r a w i n g water from a source, a l w a y s put the p u m p as close to the w a t e r as possible. Remember, it's easier for a p u m p to push water out than it is to suck water u p . You'll ensure better pressure this w a y .

Hoses Figure 1 - 1 6

Universal s p a n n e r w r e n c h

A suction hose used on a w a t e r p u m p is a hard noncollapsible hose. If a fire hose were used as a suction hose, the minute the p u m p w a s primed the hose w o u l d collapse and prevent w a t e r from entering the p u m p . O u t p u t hoses are attached to the manifold. A regular fire hose is used in most cases, usually 2Vi inches in diameter. W h e n pumping from a water supply, there are three potential problems. Y o u could lose water pressure because y o u ' v e lost the prime, or suction, on y o u r hose. Y o u could lose revolutions on the p u m p . Y o u r hose could pick up something that will block it.

Figure 1 - 1 7 Protection s c r e e n for s u c t i o n h o s e on water p u m p

A l w a y s put a wire basket on y o u r suction hose to prevent sediment or loose debris from being sucked into the p u m p and damaging it or b l o c k i n g the hose (Figure 1 - 1 7 ) . 4

Rain and Water Effects

W h e n using fire hoses, especially o n mains, m a k e sure y o u use a good quality double-wall hose. A ruptured line can flood the equipment, or if it has enough pressure, cause it to w h i p around, possibly injuring y o u r c o w o r k e r s . Remember, water and electricity don't m i x .

Valve Control It's important to a l w a y s turn v a l v e s on s l o w l y w h e n charging lines for the first time. A surge in pressure can easily break a hose or snap off a rainhead or a rain tower. Exercise extreme caution in turning o n water supplies, especially w h e n drawing from h e a v y - d u t y pumps such as fire trucks, water trucks, hydrants, and similar devices. M o s t p u m p s produce 150 pounds of pressure, ready and waiting w h e n y o u start; some w a t e r trucks actually p u m p up to 600 pounds of pressure! S o turn the main v a l v e s on slowly. Figure 1 - 1 8 Window rain s e t u p

After y o u h a v e set all the individual rainstand v a l v e s to their required settings and all the lines h a v e been charged w i t h water pressure, an instanton ball v a l v e can be used to p r o v i d e rain o n cue.

Water S u p p l i e s M a n y locations have no fire hydrants, so imagination, c o m m o n sense, and originality are required to create alternative sources of water pressure for rain and water effects. Alternatives c a n be a nearby lake or river where a p u m p can be used to supply the water. W a t e r trucks, fire trucks, and portable tanks are frequently used. Y o u can also create a water reservoir with a portable pool, or even m o r e basic, a hole in the ground filled with water.

Rain Effects on a Sound S t a g e First and most importantly, waterproof the stage floor area w i t h hot tar and tar paper. A sprayed liquid envelope or plastic sheets can be substituted. T h e most elaborate setup is a complete tank built to enclose the set and rimmed on its circumference w i t h a wall approximately 18 inches high and sealed w i t h fiberglass.

Rain Outside a Window T o achieve a rain effect o n a w i n d o w that is to be viewed from inside, there are several things y o u must d o : 1. Seal the w i n d o w with silicon or caulking to prevent water from leaking in from the w i n d o w onto the set. 2. Use a drip pipe or spray nozzle overhead (Figure 1 - 1 8 ) . 3. Use a small spray nozzle o n the w i n d o w itself (Figure 1 - 1 9 ) . 4. If heavier rain is required, e m p l o y an overhead rain device such as a /4-inch rain tower or a water w a n d . 5. H a v e a catch basin to collect w a t e r from the w i n d o w . 6. L a y a rain mat in the catch basin to act as a silencer, dampening water noise and minimizing interference with the sound recording. A n o t h e r w a y to quiet raindrops is with liquid soap. Suds on the water surface p r o v i d e a cushion that stops the sound of rain dripping. 7. Use a siphon p u m p to recirculate the w a t e r from the catch basin back to the rain device and d o w n again. 8. Install a hose to fill and later drain the water from the catch basin (Figure 1-20). 3

5

Secrets of Hollywood Special Effects

Rain on a Moving Car Sooner or later you'll be asked to rig an a u t o m o b i l e for traveling in the rain. T r y the f o l l o w i n g procedure. Install a w a t e r pressure tank or a H u d s o n sprayer in the trunk of the car. Run a hose from the trunk to the top of the car and then to a spray nozzle and small pipe manifold mounted on the roof a b o v e the windshield or w i n d o w s . T h e manifold adjusts the w a t e r flow. Suction cups, clamps, or gutter mounts hold these setups on the roof. A pressure gauge and a regulator a l l o w adjustments for the proper w a t e r pressure. T h e biggest problem will be not h a v i n g a long time to execute the shot because of the limited supply of water in the trunk. A larger tank can be made to fit the job and pressured w i t h air or inert gas (Figure 1 - 2 1 ) . A n o t h e r method is to use t w o or m o r e H u d s o n sprayers in tandem.

Figure 1-21

Rain on a moving car

Heavy Rain on Moving Car In most cases, the car will be on a trailer or being pushed or pulled w i t h a bar mounted on a camera car that's either in front, behind, or alongside. T h e F/X vehicle is separate and equipped w i t h a large supply of w a t e r and a rainbar. T h e rainbar will be extended on an arm o v e r the front of the car or w h e r e v e r necessary as directed. Heavy Rain on Long Shots of a Moving Car This shot is p r e d o m i n a n t l y (but not exclusively) done f r o m the interior of the car, shooting out. If the scene is of a car m o v i n g along a road through a torrential d o w n p o u r , y o u have a lot of w o r k to d o . Rainstands must be set up on the roadside opposite the camera. 6

Rain and Water Effects

W e did this successfully in The Return of the Living Dead for a 1500-foot long shot. It t o o k an entire d a y to set u p and required four 4000-gallon w a t e r trucks plus three fire hydrants in order to get an adequate w a t e r supply. T h e script called for a v e r y high shot of 50 feet, so w e used a 60-foot crane (with I V i - i n c h rainheads) to put us a b o v e the camera crane. Seeing raindrops falling on actors from such a great height w a s tremendously effective.

Heavy Rain M a n y film rain scenes require rain to turn into a hurricane or h e a v y storm. In this case, use a w i n d machine, such as a Ritter or a Red Bird with a rain ring on it (Figure 1-22). A lightning machine can also be added. T h e placement of h e a v y d u t y rain and s n o w machines is determined b y weather conditions and, of course, the desires of the director.

Box 1-1

Figure 1-22 Wizard super fan. A Porsche engine powers this machine, which features a rain ring, smoke attachments, and a snow foam spinner (also can be used on Red Bird fan).

Water Weight

Water is very heavy, weighing about 7.5 pounds per gallon. A 2 /2-inch hose that is 1 Vz feet long contains about 1 gallon of water. If you have 200 feet of fire hose, you are attempting to control 1500 pounds of water, requiring a lot of labor to move or position these hoses when full. If you have the time, shut the water off and drain the hoses before moving them. Also a cubic foot of water weighs 62.5 pounds. S o if you have a water containment device, such a s a box, remember how much water weighs before considering moving it. Always make sure the containment device is well built and waterproofed. 1

7

2 S n o w Effects

A l t h o u g h there are m a n y w a y s of creating s n o w , indoors and out, a popular method is to use a Ritter fan, a large, almost silent, w o o d e n bladed fan (also used for rain effects, see Figure l - 9 b ) . S n o w is dropped in front of it b y hand, a shaker, or s n o w delivery machine. It can be fed from either the top or left side, facing into the airstream. It is never fed through the b a c k , h o w e v e r , as flakes w o u l d get into b o t h the blades and cage and foul up the mechanism. O n e of the oldest methods, still used occasionally, is a s n o w b a g attached to an overhead pipe. A line is pulled to control the v o l u m e of s n o w . T h e faster it is pulled, the faster the s n o w falls (Figure 2 - 1 ) . O t h e r delivery systems are automatic. These systems are all used for plastic snow. Plastic snowflakes c o m e in various sizes from number 5 (the smallest) to number 20 (the largest). Extended polystyrene granules poured into a Ritter airstream create a blizzard effect. Providing y o u ' v e used them on a clean surface, these snowflakes can be used o v e r again.

Outdoor S n o w Effects There are m a n y w a y s to create s n o w effects o u t d o o r s . 1. plastic flakes: These c o m e in large cartons containing sufficient material to c o v e r an area about 2 inches thick b y 49 square feet, or 7 feet b y 7 feet, loosely spread. 2. shaved ice: O b t a i n from a n y local icehouse. 3. snow blankets: Synthetic cotton matting can be found at any upholstery house. 4. Jetex foam machine: T h i s device attaches to a iy2-inch w a t e r line affixed with a pickup tube. T h e pickup tube syphons out the Jetex fluid and mixes it w i t h w a t e r to create a fluffy white f o a m , like soapsuds. O n a long shot it l o o k s just like s n o w . It covers a large area, lies close to the ground, and is p r o b a b l y the easiest to clean u p , as well as the least expensive of all the methods of delivering s n o w to a set. T o clean up, just hose d o w n the area (Figure 2-2). 5. gypsum: G y p s u m comes in 50-pound bags, each b a g producing half a cubic foot. A m o n g gypsum's other names are dolomite, lime rock, 640, and marble white. T o c o v e r an area 50 feet b y 20 feet b y 3 inches deep, y o u ' d need about 500 bags. 6. salt: Salt in the corners of w i n d o w s and windowsills l o o k s v e r y g o o d . T o prevent it from falling off, wet d o w n the surface before laying d o w n the salt. N e v e r use salt if animals are on the set or if y o u are w o r k i n g near trees, grass, or shrubs. 7. aerosol shaving cream: Use shaving cream on hard-to-stick-to surfaces like wire and chain-link fences. A few plastic flakes m a y also be dropped o n the foam with mica chips b l o w n on the surrounding area to give a slight reflection and glare and create more realism.

8

Snow Effects

S n o w S c e n e Checklist Here's a checklist to refer to w h e n y o u ' r e doing s n o w effects on a roof. 1. 2. 3. 4. 5.

white cotton and muslin flocking icicles w o o d frame w i t h chicken wire c o v e r e d w i t h muslin for buildup number 5 plastic s n o w

O n a l a w n , use the following for s n o w effects: 1. 2. 3. 4.

white cotton and muslin number 5 plastic snow shaved ice Jetex f o a m

For flocking trees, cotton batting is best. H o w e v e r , flocking presents a cleanup problem. W h e n possible, use shaving cream and mica chips to achieve the same effect. For ground effects, y o u can use g y p s u m , or any white sandlike materials such as lime rock, marble rock, and dolomite. Remember, mica flakes and other s n o w dressings give y o u highlights for a better-looking effect.

Snow Sets A snow set, either indoors or o u t d o o r s on location, requires a spread of white muslin o v e r the area. W h i t e muslin has several a d v a n t a g e s . First, it's a faster, easier cleanup. Second, y o u w o n ' t h a v e to use as m u c h fake s n o w to conceal grass, cement, rocks, dirt, and so o n . Under the muslin, place sacks of sawdust to create m o u n d s and additional w o o d and wire curves to give y o u the shape of things y o u require. Unbleached muslin is m u c h less expensive than the bleached variety and equally as g o o d for long shots. Bleached muslin is superior for closeups and foreground shots. Unbleached muslin shrinks w h e n wet and on most s n o w sets it will get w e t . Remember that muslin makes everything much easier to clean u p . N e v e r use plastic sheeting under s n o w for cleanup because it is too slippery and c a n present a safety hazard.

Flocking Before flocking, w e t d o w n the trees and shrubs lightly. Flocking has an added adhesive in it, so y o u needn't w o r r y about it sticking. B l o w on the flocking, adding a fine mist of w a t e r w h i l e applying, and it will adhere to tress and bushes. S n o w flocking is p a c k e d in 25-pound bags and referred to as s n o w - b o n d Christmas tree flock. It is flame retardant and lightweight, though v e r y bulky.

Snow Blankets Synthetic s n o w blankets l o o k identical to s n o w and provide a g o o d appearance on the ground, windowsills, greenery, and roofs. C o t t o n can also be used. 9

S e c r e t s of Hollywood S p e c i a l Effects

Figure 2 - 3 a

Foam s p i n n e r s on a Ritter fan

Figure 2 - 3 b

Ritter fan with s n o w foam a t t a c h m e n t

Foam Spinners Foam machines m a k e ground cover m u c h easier and faster. W h e n put through a spinner attachment on a Ritter, Red Bird, or Super W i z a r d fan, it makes g o o d - l o o k i n g falling s n o w (Figure 2-3a and b). C l e a n u p is simple and in addition is biodegradable. Foam or s n o w spinners use a combination of air pressure, water, and a foaming agent such as Jetex f o a m , all mixed in the right amounts and forced through the foam spinner in front of a wind machine to create the desired effect. T w o other automatic s n o w machines, the drum type and shaker, use plastic s n o w (Figure 2-4a and b).

Chopped Ice or Snow Ice

Figure 2 - 4 a

Drum-type auto s n o w m a c h i n e

Y o u can usually get a commercial ice c o m p a n y to c o m e in and b l o w c h o p p e d ice on the set for y o u . It's the easiest method and is actually cheaper than trying to do it yourself. S n o w ice is available from icehouses in 50-pound bags.

White Sawdust as Snow O n occasion white sawdust has been used for s n o w and ground cover, and w o r k s well as long as it hasn't been contaminated with other types of sawdust. Y o u need sawdust from a v e r y soft white w o o d . T h e texture is likewise important and should be as fine as possible. Usually it can be o b tained from a mill that deals w i t h only one type of w o o d . If the color isn't just right, give it a light coat of white p o w d e r , either plasta or talcum p o w der, or a n y white substance. Gently b l o w over it until y o u ' v e gotten the effect you're l o o k i n g for. For glitter and sparkle, sprinkle some mica chips or vermiculite on the surface. Caution: Sawdust is not fireproof. A l w a y s h a v e several water fire extinguishers on the set at all times.

Special S n o w - R e l a t e d Figure 2 - 4 b

Effects

Automatic s n o w s h a k e r

Dripping Icicles T h e effect of dripping icicles on the corners of eaves, roofs, and buildings can be achieved b y using a H u d s o n sprayer with a small tube and a needle 10

Snow Effects

v a l v e for adjustment. This will m a k e it appear as though the icicle is dripping. T h e icicles themselves are m a d e from plastic m o l d s . A n o t h e r method of m a k i n g icicles w i t h o u t moldings is to drip P y c o t e x or Pycolastic, paraffin, or resin o n a fine fiberglass cloth or on plastic wrap. For molding icicles meant to be hit and to break a w a y , b r e a k a w a y glass material of Pycolastic or P y c o t e x is used. See C h a p t e r 9, N o n p y r o t e c h n i c Projectiles, for other uses of Pycolastic and P y c o t e x .

Floating Ice or Floating Snow T o m a k e floating ice or s n o w on a stream, lake, or other bodies of water, use finely g r o u n d S t y r o f o a m flakes a n d / o r chunks of S t y r o f o a m shaped like chunks of ice. W e t them d o w n well to give them realism and to stop them from shifting too m u c h . B y b l o w i n g mica chips on the ice, y o u get beautiful sparkling reflections.

Three Ways to Frost Windows 1. prismatic lacquer: W h e n frosting a w i n d o w to l o o k like it's frozen w i t h ice, use a fine brush and a p p l y prismatic lacquer in the direction y o u w a n t . W h e n it dries, it l o o k s like frost o n a w i n d o w . 2. Epsom salts and stale beer: A l t h o u g h an old method, using epsom salts and stale beer has m a n y applications and the a d v a n t a g e of simplicity. T h e formula is truly basic: one part of flat beer mixed w i t h t w o parts Epsom salts. Let it stand for a few minutes and then apply evenly to a clean glass w i t h a cotton ball. 3. Freon: T o frost or steam the w i n d o w , or a n y glass, simply spray it quickly w i t h Freon. Liquid nitrogen can also be used. Caution: Liquid nitrogen is v e r y cold, about 310°F b e l o w z e r o . Use gloves, protective clothing, and safety glasses.

Footprints in the Snow There are m a n y w a y s of creating footprints, hoofprints, or tire tracks. 1. shaved ice: Unfortunately, footprints m a d e of shaved ice melt quickly. 2. Pyrocel: T h i s is the identical w h i t e material dentists use to take molds of impressions of teeth. It's similar to plaster of paris and can be used for molds of footprints, hoofprints, tire tracks, and so o n . 3. tiny heads of Styrofoam: These are v e r y small, almost the size of sand. W h e n stepped o n , they m a k e g o o d long-lasting footprints. Footprints can also be m a d e b y cutting S t y r o f o a m into b l o c k s , carving them into shapes, and coating them w i t h hot paraffin. 4. number

5: plastic s n o w is often used.

Smoke in Snow Scenes A n unusual and creative effect can be achieved b y putting a little s m o k e into a high-speed fan airstream, giving the l o o k of a v e r y fine driven s n o w w h i l e heavier granules of s n o w appear m o r e dense than they are. W h e n actors are speaking during a blizzard scene and are facing into the s n o w stream, a v o i d b l o w i n g the plastic or styrene directly into their faces. It can lodge in their mouths and eyes, causing injury. Simply cut d o w n the " s n o w " and increase the output of s m o k e . This w a y , actors can safely speak their lines. 11

Secrets of Hollywood Special Effects

S n o w Machines Ritter Machines Sometimes it's necessary to use more than one w i n d or s m o k e machine to get the effect. For a blizzard scene, for instance, w i n d machines to b l o w s m o k e and s n o w can be used between the camera and the actors. By adding a second Ritter to b l o w the simulated s n o w b e t w e e n the camera and the actors, and possibly a third, larger fan to b l o w Styrofoam, polyurethane, or plastic flakes in the b a c k g r o u n d (Figure 2-5) it's possible to create a d y n a m i c blizzard.

New York Snow Machine In N e w Y o r k , w e used a s n o w machine that consisted of a deep hopper w i t h a slotted opening at the top. T w o bearings, a shaft, and a propellertype device d r o v e the mechanism, and regulated the flow rate of the s n o w material. A s the m o t o r s turned, an elevator pushed the s n o w up the b l o w e r s , where a fan b l e w the s n o w out creating a snowfall. A regulator determined the speed and thus the density of the snowstorm. I h a v e o n l y seen these machines used in N e w Y o r k , thus the name N e w Y o r k s n o w machine (Figure 2-6).

Frost and Ice on Vehicles H y p o is used in film processing, and its crystals dissolve easily in w a r m w a t e r . For best results, add the crystals to the water (not vice versa) and stir gently. Be sure that the crystals are t h o r o u g h l y saturated. Spray this mixture on lightly. W h e n it dries, it will l o o k like the car (or w h a t e v e r o b ject w a s sprayed) has a coating of ice. This mixture is easily r e m o v e d w i t h water.

Hailstones R o c k salt is often used to simulate ice chips and chunks of s n o w . It can also serve as hailstones w h e n used w i t h a drop b a g . A s a substitute for rock salt, y o u can drop tiny white beans or white plastic beads.

Ice on Water Puddles T o achieve the l o o k of ice on small puddles of water, pour melted w a x or paraffin on the water's surface. It spreads out, hardens instantly, and floats. W h e n stepped on, it cracks like ice.

S n o w Commercial for Sprite Recently I w a s called in to complete p r o d u c t i o n o n a commercial that w a s presenting considerable difficulties. T h e producers had already spent seven w e e k s shooting in Australia, t w o w e e k s alone on the most important effect, and still were unable to get the shot. Simply, the script called for a girl to ski d o w n a slope, p l o w through a s n o w m o u n d , and exit the other side w i t h a smile and flashing e y e s . T h e problems were straightforward e n o u g h , although the solutions w e r e not. 1. There is no s n o w in Southern California, thus w e had to shoot in a studio. 2. There had to be ambiant s n o w in the foreground and b a c k g r o u n d caused b y the actress hitting the s n o w . 3. There had to be the illusion of speed w h e n she hit the s n o w m o u n d . 4. A l l b o d y m o v e m e n t s had to appear as if she w e r e actually skiing. 12

S n o w Effects

T o create this effect, I mounted a 12 X 8-foot platform on top of a 75-foot track. A t t a c h e d to the platform were seven air cannons and a frontmounted trip b o x , all containing v a r i o u s consistencies of s n o w . T h e trip b o x w a s activated b y a shock cord and trip release to give the impression a skier had p l o w e d through a m o u n d of s n o w . Three Ritter fans blew the snow, and t w o E fans b l e w the actress's hair and clothing to simulate w i n d . T h e camera w a s set up at a 4 5 ° angle to give the impression of greater speed. T o duplicate the b o d y , arm, and leg motions of a skier, her b o o t s were attached to a lazy Susan; her ski poles were shock cord mounted to duplicate the effect of u p - a n d - d o w n , and back-and-forth m o v e m e n t . For safety, w e p r o v i d e d her w i t h a locking position for the ski poles to help her regain her balance in the event she lost control.

Figure 2-7a S i d e air c a n n o n s firing s n o w . Courtesy The C o c a - C o l a C o m p a n y .

Trees were placed in the b a c k g r o u n d and the stage floor w a s covered and dressed w i t h s n o w . W h e n the shot began, the actress m o v e d d o w n the rails and w e cued the first cannons. O t h e r cannons were activated as she passed through the snow and out the other side, w h e r e u p o n w e released the trip b o x . T h e consistency or texture of the s n o w in the cannons and b o x w a s determined b y whether w e w a n t e d large flying chunks, a spray, or particles "exploding" from the " m o u n d . " T h e b a c k g r o u n d received its o w n dose of s n o w to correspond visually w i t h the foreground. A l l in all, w e completed the entire shot in only 40 takes including rehearsal, finishing it in just t w o d a y s . Figure 2 - 7 a - d s h o w s the setup and execution of the shot.

Figure 2-7b Rear air c a n n o n s firing s n o w . Courtesy The C o c a - C o l a C o m p a n y .

Figure 2-7c Front air c a n n o n s and trip b o x firing snow and c h u n k s . C o u r t e s y T h e C o c a - C o l a Company.

Figure 2-7d A c t r e s s breaking through the s n o w smiling. C o u r t e s y The C o c a - C o l a C o m p a n y .

13

3

Steam Effects

Steam and pressure devices should not be on-stage when you're using them. T h e y ' r e noisy, and dangerous because they run on either gas or electricity, and are constantly under pressure and high temperatures from the boiler. T h e safest location for these machines is outside the studio. Hoses are run into the studio, h o o k e d to manifolds, and distributed b y coupled extension hoses to the specific areas where the steam is needed. Items you'll be using in addition to the steam are steam hoses, steam traps, manifolds, fittings, and a chill b o x to keep the smoke or the steam floating close to the stage floor. A chill box is simply a b o x filled with dry ice with fittings and lines to the steam machine.

S t e a m Equipment Steam Hoses W h e n w o r k i n g with steam, never use air hoses or regular o u t d o o r garden hoses as a substitute for steam hoses, w h i c h are bonded, reinforced steel. T h e y are temperature rated from 350° to 450 °F. Steam hoses v a r y in size from Vi to roughly 3 inches in diameter and are pressure rated from 150 to 250 pounds per square inch. W e cannot overemphasize the importance of using these specialized hoses. A l w a y s install a bleed-off line to the boiler outlet in order to drain accumulated water and condensation from the lines. This prevents it from b a c k i n g up into the system. W h e n using steam or fog on stage, it o b v i o u s l y must be controlled and contained. This is most easily done b y keeping the stage floor cool and wet d o w n . In addition, construct a barrier around the periphery to contain the fog. M a k e sure no air conditioners or fans that could possibly cause an air disturbance are running. If a great deal of moisture is present, apply water-resistant sealer to the stage floor or cover it with a tarpaulin. But remember, a tarp can p r o v e slippery w h e n w e t .

Steam Traps Steam traps h a v e several purposes: they collect condensation from steam hoses, serve as a manifold, and function as a silencer and reservoir for the moisture d r a w n off from the unit.

Steam Boilers T h e function of a water boiler is o b v i o u s and needs no further explanation. Its proper and safe use, h o w e v e r , should be detailed. Steam boilers are rated b y horsepower, starting at Vi and m o v i n g up to V i , V i , 1, 2, 5, 10, and 25 horsepower and larger. Y o u r choice, of course, is determined b y y o u r particular needs (Figures 3 - 1 through 3-3). Boilers are constructed in t w o sections: an upper and a lower float chamber. T h e upper chamber controls the water intake into the boiler; the l o w e r controls the intake of fuel to the burner.

14

k

Steam Effects

M o s t boilers has a series of floats, v a l v e s , and safety mechanisms to m o n i t o r its functioning. These, h o w e v e r , will o n l y perform properly if the boiler itself is mounted absolutely level. A l l steam boilers h a v e pressure safety v a l v e s , also called pop-off v a l v e s . These v a l v e s are preset b y the manufacturer to precise specifications. If the pressure within the boiler exceeds the design specifications, an explosion will occur. These v a l v e s are designed to release w h e n too great a pressure is created, thus preventing the boiler f r o m exploding. A second series of monitoring devices are the glass w a t e r gauges. These gauges monitor the w a t e r levels in the boiler and indicate if additional w a t e r should be added. If the level drops too l o w , excessive heat will again cause an explosion. If y o u are w o r k i n g w i t h a boiler and see no w a t e r in the glass gauge, shut it d o w n immediately and a l l o w it to c o o l . A d d i n g w a t e r to a hot boiler can result in an explosion. Since boilers should never h a v e m o r e than 75 p o u n d s of pressure entering into the w a t e r line, a secondary regulator should be installed to prevent this. Likewise, a similar gauge indicating the a m o u n t of steam pressure in the boiler should be w a t c h e d in order to monitor the flow rate. A t the end of each d a y , drain, or " b l o w d o w n " the steam and w a t e r from the system. This technique rids the boiler of solid waste matter. Use caution because the w a t e r will remain hot enough to cause severe injury. W h e n operating a triple-cock steam boiler, take care because the upper c o c k releases steam, the middle releases steam and w a t e r , and the l o w e r one releases hot water. C o m m o n s e n s e precautions such as the use of g l o v e s , protective glasses, and so o n , should be used. W a t e r at 212 °F is live steam, and scalding is b y no means a pleasant experience. Steam acts differently than s m o k e . Steam vanishes, whereas s m o k e continues to rise and linger. There is a quality of difference in the feel and l o o k of live steam o v e r other types of s m o k e or fog effects. It requires some k n o w l e d g e to operate steam machines or steam boilers, w i t h some states even requiring licensing. D u e to the m a n y different models and methods of operation, it is advisable that steam devices be run o n l y b y qualified operators. Steam engines, whistles, and leaking steam pipes are created in this w a y , although there are other methods of achieving these effects.

Car Radiator Boiling Over Freon is used to create the effect of a boiling radiator. C o p p e r tubing is run from a Freon tank and properly positioned on the radiator. A 12-volt Freon v a l v e is h o o k e d to a driver-controlled switch that he or she activates o n cue. R y c o n 22 can also be used. Its major a d v a n t a g e is that it is safer for the environment.

Steam and Smoke Effects Outdoors W h e n y o u use steam and s m o k e effects o u t d o o r s , y o u m a y experience numerous problems. T h e weather is a major factor. Rain or continually shifting w i n d s often force y o u to m o v e y o u r machines repeatedly so that the s m o k e or steam flows in the proper direction. Wide-ranging temperature variations, for example, hot or cold, can also w r e a k h a v o c on the effect, causing steam to rise or fall or dissipate t o o quickly or s l o w l y . A l l these elements h a v e to b e considered w h e n w o r k i n g o u t d o o r s .

15

Secrets of Hollywood Special Effects

Steam Curtains A steam curtain is not w h a t it sounds like, for it is not actually steam that is used but rather c a r b o n dioxide ( C 0 ) and on occasion liquid nitrogen ( L N ) . This can be rigged in t w o w a y s from either a b o v e or below. 2

2

T h e first time I ever s a w this effect w a s at R a d i o C i t y Music Hall where they had a built-in system that w a s rigged to release the gas from a b o v e . T h e carbon dioxide dropped d o w n o n t o the stage floor, creating the illusion of a curtain of steam that m a s k e d the stage from the audience. During this interval a change of scenery t o o k place, and w h e n the carbon dioxide dissipated, the stage w a s totally reset. I've used this technique often in r o c k and roll s h o w s for groups such as Earth, W i n d , and Fire, but from a slightly altered perspective. Rather than dropping the carbon dioxide from a b o v e (because of problems with rock and roll riggings), I designed and built a special system that ran across the apron of the stage. It consisted of a series of carbon dioxide mortars, about 12 inches high, attached to high-pressure flexible steel hoses. W h e n fired, the c a r b o n dioxide flew directly up creating the identical effect, but in reverse. Remember, w h e n using c a r b o n dioxide you're w o r k i n g w i t h a gas under 1000 pounds of pressure. If y o u use pipe instead of hose, a l w a y s use schedule 80 piping.

16

4 S m o k e Effects

T h o u g h this chapter deals w i t h s m o k e and the machines that produce it, I think it important to note that visually there is v e r y little difference b e t w e e n s m o k e and fog. T h e terms smoke and fog are virtually interchangeable in this context and depend o n l y o n the atmosphere y o u are trying to create. Simply, all these machines produce a white misty, gaseous visual of v a r y i n g density and intensity. Depending u p o n the technique, y o u create either a " s m o k y " or a " f o g g y " l o o k , though some of these devices are m o r e readily applicable to one or the other effect. S m o k e effects allow a great deal of creativity for the effects person. S m o k e patterns and ignition systems, once properly learned, enable a v a r i e t y of simulations from b o m b s to magic w a n d s to v o l c a n o e s to b i l l o w s from a dragon's m o u t h . There are m a n y types of smoke-producing devices o n the market, and they h a v e several characteristics in c o m m o n . T h e y all use either oil- or water-based s m o k e fluid. T h i s fluid is heated in a chamber b y electric or gas flame a b o v e its boiling point and vaporizes into tiny liquid droplets, actually turning the liquid into a gas and creating w h a t l o o k s like s m o k e . Caution: A l l v a p o r i z e d s m o k e is toxic to some degree, so be careful to use it o n l y in well-ventilated areas.

Box 4-1

Flashpoints

Flashpoints are defined as the lowest temperature at which vapors ignite when exposed to flame. Knowing the individual flashpoints of the products you are using is imperative when attempting to create a smoke effect. When making smoke, always inform the proper authorities such as the fire department, police department, and local residents. To most people, smoke means fire, which can engender panic and chaos, the last thing you need on a shoot.

S m o k e Producing D e v i c e s T h e f o l l o w i n g is a list of some of the most c o m m o n smoke-producing devices used in the United States. 1. 2. 3. 4. 5. 6. 7.

17

M o l e Richardson fogger Ijeba S m o k e M a c h i n e and Dinafogger Super Fogger N e w M e e Fog system N e w H e a v y Fog machine Oil Cracker N e w Liquid Nitrogen (LN ) Fogger 2

S e c r e t s of Hollywood S p e c i a l Effects

8. 9. 10. 11.

dry ice fogger Roscoe 1500 fog machine Blitz fogger bee smoker

Mole Richardson Fogger

Figure 4 - 3 a

Ijeba TF-30 s m o k e m a c h i n e

This system can be used w i t h or without the dry ice basket mounted on the front. S m o k e is forced through the basket and the cooling effect of the dry ice keeps the smoke or the steam close to the ground (Figures 4 - 1 and 4-2).

Ijeba Smoke Machine and the Dinafogger T h e Ijeba is one of the better machines used for these effects; the Dinafogger (Figure 4-3b) is older and a bit m o r e difficult and delicate to operate, but b o t h function similarly. Ijebas are essentially small, gasoline-powered jet engines which pressurize oil, spraying it into the chamber, changing it into a gas (Figure 4-3a and b). Caution: N e v e r shut d o w n an Ijeba until first turning off the oil supply. If this is not done, the escaping oil will ignite and the machine will b e c o m e something akin to a flamethrower.

Figure 4 - 3 b

Dinafogger

The Super Fogger This is a propane-driven fog machine that condenses oil b y running it through heated coils (Figure 4-4). It is only used w h e n fog or smoke is needed to c o v e r v e r y large o u t d o o r areas. It is similar to the W o r l d W a r II s m o k e machines used to obscure ships from an enemy.

New Mee Fog System This is b y far the safest of all fog or smoke producing devices. It uses water and air under high pressure instead of chemicals.

New Heavy Fog Machine

Figure 4 - 4

Super fogger

It uses an oil base fluid that is run through a heating coil and condensed into fog a n d / o r s m o k e . T h e condensed s m o k e is then forced through a super cooling system that keeps the fog or s m o k e close to the ground. It can be used to blanket large areas up to 200 b y 200 square feet. It has the added a d v a n t a g e of being a v e r y quiet running machine. 18

S m o k e Effects

Oil Cracker This machine employs oil under high pressure air to create a v e r y fine overall mist (Figure 4 - 5 ) . It specifically accentuates light rays so that they are highly visible and precisely defined. O i l cracker machines are mostly used in rock and roll stage and video performances and in m a n y commercials for atmosphere. Caution: These machines must be cleaned after each use and residual oil disposed of because bacteria tends to build up and cause health problems. O i l cracker machines do not provide a particularly pleasant atmosphere to breathe over an extended period and in addition discomfort for those w h o w e a r contact lenses or h a v e sensitive eyes often results.

New Liquid Nitrogen (LN ) Fogger 2

This is used for ground fog o n l y . It must never be used where actors m a y be engulfed in it as liquid nitrogen completely displaces o x y g e n , w i t h predictable results. Liquid nitrogen is p u m p e d into a chamber in liquid form, converted into gas b y heated b l o w e r s , and run on-stage via plastic tubes (Figure 4-6). Caution: Liquid nitrogen causes severe burns and frostbite if it contacts skin. It can penetrate clothing; therefore, special g l o v e s , clothing, and enclosed safety glasses are m a n d a t o r y . Liquid nitrogen is 310°F b e l o w zero. If, for example, y o u r finger were immersed in it for as brief a time period as t w o seconds, it w o u l d be totally frozen and so brittle that it w o u l d shatter like glass.

Dry Ice Fog Machine A most c o m m o n effect seen in m a n y m o v i e s (from Dracula to The Hound of the Baskervilles to Wuthering Heights) is the dense, grayish white, ground fog that lingers and hovers just a b o v e the earth. This effect is created b y the dry ice fog machine. It is about the size of a 55-gallon drum with builtin water heaters that raise the temperature to 160 °F (Figure 4 - 7 a ) . A wire basket holding d r y ice c h o p p e d into sizes approximately 3 inches in diameter is held b y a pipe a b o v e the barrel (Figure 4 - 7 b ) . W h e n the barrel is approximately half filled w i t h hot water the basket is slowly lowered into it (Figure 4 - 7 c ) . It must not be d u m p e d quickly because it will give off a tremendous v o l u m e of fog that will h o v e r a b o v e the ground and will not dissipate or rise unless it is b l o w n off b y a fan. Remember, y o u are using frozen carbon dioxide and no one should enter the fog or breathe it. It can be lethal. N e v e r put this carbon dioxide fog o v e r someone's head or engulf them in it because it displaces all o x y g e n . It is a g o o d - l o o k i n g effect and safe if properly used.

Figure 4 - 7 b

19

Dry ice b a s k e t

Figure 4 - 7 c Dry ice b a s k e t and depth-adjusting handle

S e c r e t s of Hollywood S p e c i a l Effects

W h e n breaking up dry ice, a l w a y s w e a r protective gloves and goggles, as it is extremely cold (110°F b e l o w zero). Flying splinters, chunks, or ice dust that naturally occur w h e n y o u smash the blocks can be frightfully caustic, burning eyes and hands. D o not use ice dust in the basket or machine because it will activate the machine ahead of time.

Rosco 1500 Fog and Smoke Machine This is a n e w remotely controlled s m o k e / f o g machine and w o r k s o n similar principles to most smoke machines. A propylene glycol-based fluid is heated b y a coil and p u m p e d through an attached basket of dry ice. It has the best fine-tuning characteristics of any and all fog machines, w i t h one reservation. O n c e it has been disconnected from electrical p o w e r , it shuts d o w n , unlike the mole fogger, w h i c h can be manually pumped (Figure 4-8).

Blitz Fogger Inside a blitz fogger is a heating coil fired b y either electricity or propane. Fog is created w h e n the oil flows through the heated coil, condenses, and is forced out the front nozzle. Blitz foggers can only be used outdoors (Figure 4-9a and b). Be aware that oil dripping from the nozzle can be ignited b y the open burner flame. A l w a y s keep the tip of the machine tilted d o w n to prevent oil from flowing back into the heater. O n c e the coil is heated, the best and safest w a y to fog an area is to extinguish the fire before laying d o w n the fog or smoke. Use a paddle w h e n spreading the s m o k e to assure an even distribution on the set. A major difference between the mole fogger and the blitz fogger is the pressure source that drives them. T h e blitz fogger relies on a pressurized container controlled b y a device that adjusts the v o l u m e of fog.

Figure 4 - 9 a

Blitz f o g g e r 20

S m o k e Effects

Bee Smoker A n old-fashioned method of making s m o k e is w i t h a bee smoker, a simple metal container w i t h bellows mounted in the b a c k . A combination of charcoal and o l a b a n u m fired w i t h hot coals (approximately a teaspoonful) creates the smoke, w h i c h is then p u m p e d out w i t h the b e l l o w s . T h e bee smoker provides effective chimney smoke, s m o k e for b a r r o o m s , smoke emanating from under a d o o r , or similar light s m o k e effects (Figure 4 - 1 0 ) .

Spectrasmoke O n e of the best types of smoke is a product called Spectrasmoke, w h i c h can be used w i t h most of the f o l l o w i n g devices. It comes in p o w d e r or coarse granule form of approximately 3 or 4 mesh size. There are several methods of igniting it. O n e is to use a safety fuse, w h i c h is about / 3 2 of an inch thick and burns at approximately 1 foot per 30 seconds. It can also be ignited w i t h a simple electric match or nichrome w i r e . A n electric match of 1 volt at 10 ml amps to 12 volts or 24 volts of D C can also be used. N e v e r use an electrical p o w e r such as 1 1 0 or 220 volts. 3

S m o k e p o w d e r is a fine substance that can be put into a pile and ignited. O n e inch of it burns in approximately 10 seconds. T h e p o w d e r comes in v a r i o u s colors: white, red, y e l l o w , green, blue, gray, violet, off-white, orange, and pink (Figure 4 - 1 1 ) . T h e solid granules give more v o l u m e of smoke per ounce and burn a bit longer. T h e y are available in the same colors as the p o w d e r (Figure 4-12).

Hand-Held Smoke Devices Hand-held s m o k e devices are most often used b y magicians in stage productions. T h e y are 3 inches long, totally self-contained, and ignited elec21

Secrets of Hollywood Special Effects

trically b y a small internally located battery unit. A l m o s t a n y color can b e e m p l o y e d (Figure 4 - 1 3 ) .

Firing Boxes for Smoke Devices Figure 4 - 1 4 illustrates some of the m a n y firing boxes that can be constructed. A l l of them, including multiple firing b o x e s , use ignition systems from IV2- to 12-volt D C batteries. Be a w a r e that attaching more devices to the firing b o x e s requires more p o w e r to detonate them. A l V i - v o l t battery will fire one unit, but it will not fire three simultaneously. G a u g e y o u r required amperage and use enough batteries to ensure ignition for as m a n y devices as y o u need.

Figure 4 - 1 3 Spectrasmoke

Hand-held firing unit for

Smoke Stacks W h e n y o u need a large v o l u m e of s m o k e in a n y given area, attach s m o k e stacks to trees, in ground holes, behind pillars, or in virtually any place of concealment. T h e y d o leave a color residue around the stack itself, so it is important to protect the object to w h i c h the stack is mounted. A metal can or large w o o d e n base often helps protect the mountings from being damaged. Stacks c o m e in three sizes: l V i b y 12 inches, w h i c h has a 100-second b u r n time, l V i b y 6 inches giving a 75-second burn, and IV2 b y 4 inches, w h i c h burns for 50 seconds (Figure 4 - 1 5 ) .

Long-Burning Smoke Cartridges S m o k e cartridges are ignited b y an electric match or 12-volt battery, are slow burning, and put out a large v o l u m e of s m o k e . T h e burn time is approximately 75 seconds and, of course, they are available in standard colors. Three-quarter inch in diameter and 6 inches in length, smoke cartridges will operate in either a vertical or horizontal position and are useful in pipes, poles, crevices, or w h e n e v e r there is a concealment problem. T h e y are also available in short 30-second burns (Figure 4 - 1 6 ) .

Maxi- and Mini-Smoke Pots and Mini-Cups M a x i - s m o k e pots put out approximately 500 cubic feet of s m o k e . T h e y are IV2 b y 3V2 inches in diameter and burn for 12 seconds (Figure 4 - 1 7 ) . T h e y are available in colors.

22

Smoke Effects

M i n i - s m o k e pots provide a fairly large amount of smoke roughly 40 cubic feet a b o u t 10 feet high (Figure 4 - 1 8 ) . Because of their small size (1 inch b y 2 inches in diameter), they are easily concealable and therefore valuable w h e n masking is required. T h e y c o m e in the standard colors and are ignited w i t h an electric match requiring a 12-volt battery. T h e burn time is approximately 16 seconds. A mini-cup is a self-contained unit shaped like a little metal cup w i t h electrical wires (positive and negative) p r o v i d e d for battery ignition (Figure 4 - 1 9 ) . It's an immediate on-cue effect so if y o u h a v e split-second timing for a specific color of s m o k e lasting for a short time (say for a 30-second burn) mini-cups are most appropriate. T h e cups are approximately 1 inch across and / s of an inch deep and produce a slightly larger v o l u m e of s m o k e than s m o k e puffs (see b e l o w ) . 3

Figure 4-15 Spectrasmoke stacks, single and multiple stacks tied together

Smoke Puffs For a fast 5 seconds of s m o k e in a small confined area, s m o k e puffs are most efficient. T h e y require electrical ignition (the standard t w o - w i r e setup) to ignite them. A battery from V/i to 12 v o l t s can be used. U p o n ignition they emit little bursts of s m o k e and a little noise and provide approximately a 5-second b u r n .

Smoke Cookies

Figure 4-16

S m o k e cookies get their name from their round cookielike shape (Figure 4-20). T o use them, simply break a section off, ignite it, b l o w out the flame, and place it into a metal canister, can, or c u p . By w a l k i n g through a r o o m w i t h the burning canister y o u can, w i t h practice, achieve the effect of a light, misty, or heavily smoked r o o m (to simulate cigarette smoke, for example). S m o k e cookies c o m e in all standard colors. S m o k e cookies are quite costly, so it is not a g o o d idea to burn one fullsize cookie just to gain a lot of s m o k e .

Spectrasmoke cartridge

Magnetic Cartridges M a g n e t i c cartridges are designed for use on vehicles, vertical surfaces, and a n y situation where loose p o w d e r s or mini-pots are not feasible. T h e y stick to a n y iron surface and can be relatively inconspicuous. Units can be ganged to create an unusual effect of progressive color changes o v e r a long period of time (Figure 4 - 2 1 ) . Figure 4-17

Spectrasmoke maxi-pots

Smoke Pellets S m o k e pellets, or cigar smokers, are quite similar to incense and are used primarily on sets. W h e n placed in ashtrays, they simulate smoking ciga-

Figure 4-18

Spectrasmoke mini-pot

Figure 4-19 mini-cups

Spectrasmoke

23

Figure 4-20 cookies

Spectrasmoke

Figure 4-21

Magnetic cartridge

S e c r e t s of Hollywood S p e c i a l Effects

rettes, in guns, a smoking barrel, and can be used for barbecue pits, c a m p fires, or atmospheric s m o k e . T h e y v a r y from Vt to 2 inches in diameter b y 4 inches in length (Figure 4-22).

Body Smoke Pots There are times w h e n a scene requires actors' bodies to be smoking and smoldering as if from an explosion or fire; s m o k e c o m e s from their pockets, from under their necks, their jackets, and so o n . This effect is accomplished w i t h small metal s m o k e pots that h a v e a mounting pin attached. Prior to the scene, tiny slow-burning s m o k e pellets, v e r y similar to incense ( A of an inch across b y 3 inches long), are lit and a l l o w e d to burn until the tip g l o w s , w h e r e u p o n they are placed in the p o t s . T h e y are then pinned to the actor's specific b o d y part. These are v e r y safe to use and s m o k e while producing v e r y little heat. 3

Figure 4 - 2 2

S m o k e pellets or cigar s m o k e r s

Military and Simulated Smoke Grenades S m o k e grenades are readily available all o v e r the country from military surplus stores. M o s t h a v e a pull-pin igniting device. O n c e the pin is pulled and the grenade t h r o w n or dropped, it puts out tremendous v o l u m e s of s m o k e continuously (Figure 4-23a and b). A s w i t h all s m o k e devices, m a k e sure y o u are cleared w i t h the local authorities and conform to the regulations of y o u r area.

Other S m o k e Producing S u b s t a n c e s Smoke Oils M o s t oils used in making smoke create a white smoke w h e n heated, but if that same oil is ignited or burned, it results in a black smoke in most circumstances.

Figure 4 - 2 3 a

Military s m o k e g r e n a d e

If no other fogging oil is available, or if y o u ' v e run out, mineral b a b y oil, vegetable, hydraulic, or m o t o r oil can be used as a substitute. It is wise w h e n using these substitutes to clean y o u r machine thoroughly.

A-B Smoke Solutions This product e m p l o y s an A solution that can be used, for instance, to rim the edge of a cup, and a B solution that is sprayed with an atomizer at the cup. This results in a chemical reaction that causes steam or s m o k e to rise from the c u p . A s in any chemical effect, it is potentially dangerous and can h a v e negative effects, so take standard safety precautions such as w e a r i n g goggles and proper covering for y o u r hands and clothing.

Calcium Chips Y o u m a y be asked to create a boiling w a t e r effect w i t h steam, yet there are no facilities at the location to actually boil water. A viable substitute are calcium chips, w h i c h are quite small and requires only a few teaspoons-ful and a cup of water to cause a violently boiling liquid. H o w e v e r , the chips leave a whitish-gray sludge residue that is quite unusable for a n y other purpose.

Fast-Burning Gray Smoke Figure 4 - 2 3 b grenade

Simulated military-type s m o k e

Fast-burning s m o k e p o w d e r produces dense clouds of g r a y white smoke and a colored visible flame and is ignited electrically w i t h a hot wire, fuse, or electric m a t c h . Fast-burning black s m o k e is identical and emits a col24

Smoke Effects

umn of s m o k e w i t h a visible flame. It simulates oil or gas burning and explosions. D o not use a n y of these products near people or animals because they are quite caustic and toxic.

Black Smoke Diesel fuel, fire in a can, tap paper, or old tires can all be used to create v o l u m i n o u s clouds of black s m o k e . O r try the simple act of dripping oil o n hot charcoil.

Naphthalene A n o t h e r product often used for black s m o k e is Naphthalene. It creates a thick black substance w h e n burned. A v o i d an open flame around this substance because it has a l o w flashpoint and gives off ether gas.

Liquid Nitrogen Fog and Steam Liquid nitrogen, or L N is not o n l y g o o d for ground fog but also for frosting objects. It can be sprayed o n a n y object to achieve this coating. It can also be used for cloud and steam effects. 2

A l t h o u g h liquid nitrogen emits large v o l u m e s of dense white smoke, it is a hazard primarily because it displaces o x y g e n . It also m a y cause frostbite if it contacts the skin. Besides these dangers, liquid nitrogen creates a w e t and slippery floor that m a y cause injurious falls.

Fog Juices Fog or s m o k e juices are made from mineral oil or water-based substitutes such as propylene g l y c o l . Fog oil has a v e r y high flashpoint, so the r o o m must be well ventilated to a v o i d a b u i l d u p . In addition the v a p o r s are toxic and can cause lung d a m a g e w i t h prolonged exposure. Remember too that fog oil makes floors slippery.

Titanium Tetrachloride O f the several types of liquid chemical s m o k e that are used, titanium tetrachloride is the most effective, though highly toxic. It can only be used o u t d o o r s , a fact that has caused it to be o u t l a w e d in some states. Since it is air activated and a corrosive acid, extreme caution must be used w h e n handling it. It should only be e m p l o y e d on smoldering c a m p fires or w h e n a continuous smoldering effect is needed. D o n ' t use it at all if y o u can a v o i d it.

Black Smoke Liquid Black smoke liquid burns w i t h a dense black s m o k e w h e n lit in a container. It's great for smokestacks on trains and ships, although it has some fallout and therefore should only b e e m p l o y e d o u t d o o r s .

Kerosene Burning kerosene provides s m o k e that can easily be lightened or darkened in color. A touch of alcohol lightens it; adding diesel fuel darkens it.

Smoke Rings Years a g o on " T h e G a r r y M o o r e S h o w , " I did a takeoff on the old T i m e s Square C a m e l sign that used to rise high a b o v e B r o a d w a y in N e w Y o r k . It w a s a f a m o u s billboard picturing a m a n smoking a cigarette and periodically puffing out huge, perfectly formed smoke rings from his mouth. A s in most effects, the simplest and easiest solutions give the most effec25

Secrets of Hollywood Special Effects

five results, and this case w a s n o different, although it required extensive experimentation to achieve it. I began w i t h a round drum 24 inches l o n g b y 24 inches in diameter and designed to produce a 6-inch round s m o k e ring capped at one end with sheet metal. A hole w a s then cut through this cap in the dimensions of the s m o k e ring. Rubber sheeting w a s installed to seal to open end of the drum. In the center of the rubber sheeting w e cut a small hole and into it glued a round ring to w h i c h w e attached a piece of cable. A n o t h e r ring w a s mounted o n t o the inside of the sealing metal c a p . B y pulling b a c k on the rubber sheet and releasing it w e w o u l d , in effect, create a b e l l o w s . In the side of this cylinder w e inserted a 1-inch hose through w h i c h w e p u m p e d s m o k e filling the drum (steam could also h a v e been used). A s the rubber w a s pulled back and released, it forced the s m o k e out through the small 6-inch hole giving us the perfect s m o k e ring (Figure 4-24).

Box 4-2

Kerodex

Skin creams are available that can protect your skin. A product called Kerodex is extremely helpful. It is a barrier cream used in the industry to protect the hands. It is invisible and resists a wide variety of irritants. Another product, Kerodex 5 1 , is primarily for dry or oily work and is designed for caustic products that are insoluble in water, such a s grease or solvents, thinners, fiberglass, dyes, and the like. It w a s h e s off in soap and water and comes in 4-ounce tubes. For wet work, Kerodex protects the skin against water, water-soluble irritants such a s epoxy resins, plating solutions, bleach, photo chemicals, irritants, and soaps. It can be used with confidence against a broader range of irritants. But nothing substitutes for caution. As the saying goes, "There are old special effects people and bold special effects people, but there are no old, bold special effects people."

26

J

5 Fire Effects

Figure 5-1

Dry c h e m i c a l e x t i n g u i s h e r

S o m e of the most dramatic moments in films are created during a fire scene. T h i n k of the burning of A t l a n t a during Gone with the Wind. In recent films, fire effects can be a main d r a w i n g card of the film, such as in The Towering Inferno or Firestarter. Fire m a y be a main scene in a film or a small effect, but it a l w a y s needs to be handled b y the effects person w i t h the greatest care and planning. Fire is difficult to film and the director m a y get only one chance to film the scene. So set up y o u r fire w i t h special attention to detail and, even m o r e importantly, plan h o w you're going to extinguish it.

Fire Extinguishers There are three classes of fires:

Figure 5-2

Carbon dioxide e x t i n g u i s h e r s

1. Class A fires burn c o m m o n , solid combustibles such as cloth, rubber, w o o d , paper, and m a n y plastics. 2. Class B fires are fueled b y flammable liquids and gases. 3. Class C fires involve electrical or electronic equipment. There are also various types of extinguishing agents. Certain fire extinguishers are designed for specific types of fires. K n o w the type of fire y o u are creating and k n o w w h a t extinguisher y o u need to put it out. • Dry chemical: A multi-purpose A , B, C dry chemical extinguisher, for instance, effectively extinguishes A , B, and C fires and has an a m m o nium phosphate agent base (Figure 5 - 1 ) . A n o t h e r dry chemical extinguisher w o r k s on class B and class C fires. This has a sodium bicarbonate agent base.

Figure 5 - 3 Haylon extinguisher

Figure 5 - 4 Water-charged extinguisher

• Carbon dioxide is effective in extinguishing class B and class C fires and is preferred for electrical fires. It does not contaminate or leave residue on the materials that it extinguishes (Figure 5 - 2 ) . • Haylon extinguishes class A , B, and C fires and is a g o o d choice on highly delicate equipment, such as computers. It is a vaporizing liquid, leaves no residue, and is especially effective in confined environments. Extinguishment can be accomplished w i t h l o w e r concentrations of H a y lon than carbon dioxide. T h e agent base is bromochlorodifluoromethane (BCF) (Figure 5 - 3 ) . • Water-charged extinguishers effectively extinguish class A fires (Figure 5-4). • AFFF extinguishers are used strictly for gasoline fires (Figure 5 - 5 ) .

Torches Burlap Torches Figure 5 - 5

AFFF extinguisher

There are relatively few materials needed to m a k e torches: a w o o d e n pole, silicate of soda, wire, nails, and burlap. Y o u m a y find o a k u m (a loosely 27

S e c r e t s of Hollywood S p e c i a l Effects

twisted hemp or jute fiber impregnated w i t h tar) m u c h easier to handle than burlap. Spray silicate of soda to fireproof the w o o d e n handle so it does not burn along with the torch. In addition, it gives the torch a longer burn life. (See Box 5 - 1 ) . W h e n making torches, a l w a y s use a w o o d e n rather than a metal handle. Metal transfers heat and will become too hot to handle. T h e actual construction procedure is quite simple. W r a p burlap around the w o o d e n pole, wire it in place, and use nails to secure it. O n c e the torch is completed, dip the firing end into a bucket of the particular fuel mixture you're using. After the torch is soaked, the excess fuel should be allowed to stand and drain off. M a k e sure no excess fuel is on the torch because w h e n lit it could run d o w n the handle and become a fire hazard for the person using it. T i m i n g the burn life of a torch is essential in order to assure that a scene will not be lost due to a premature burnout. T h e simplest procedure is to construct several identical torches, light one, and time it. If torches h a v e to be constantly extinguished and relit on a set, put several chunks of d r y ice into a 5-gallon bucket and spray the dry ice with w a r m water, w h i c h will release the carbon dioxide. By dipping the burning end of the torch into the bucket, the flame will be extinguished immediately from lack of o x y g e n .

Box 5-1

Silicate of Soda

Silicate of soda (also known a s watergiass) is basically a fireproofing material. When it is dry, it becomes a glasslike, fire-resistant substance. Because of its chemical structure, it should never come into contact with glass, as it c a u s e s deep etching and permanent damage. More often than not, silicate of soda requires thinning as it is a thick substance. This is easily accomplished by mixing it with water. This substance can be used to flameproof almost anything from wood to cloth.

Propane Torches Propane torches m a y be used as a substitute for standard burlap torches (Figure 5-6). T h e y are not difficult to construct and h a v e definite advantages. A l o n g the side of the handle of a w o o d e n pole, mount a copper tube d o w n its length. W r a p it five or six times around the tip, being careful not to crush the tubing. After drilling holes every few inches in the w r a p p e d section of the tubing, apply several layers of o a k u m and bind it w i t h wire or mesh to hold it in place. A t t a c h a propane hose to the base of the torch, run it through the actor's sleeve, and fit it to a small propane tank that the performer carries. Use a small regulator v a l v e to adjust the fuel flow. Be careful w h e n lighting this p r o p as it has a tendency to flare. Propane torches are versatile and can be mounted on walls, on vehicles such as boats or cars, and positioned in places where oil torches are dangerous or impractical. Like a n y p r o p using gas, an element of danger exists, so as part of standard procedure, a l w a y s check hoses, valves, and connections for leaks. This is done most easily with a brush and soapy water. If soap bubbles appear around the hose or connections, it indicates a leak. A l w a y s keep several carbon dioxide fire extinguishers on the set. 28

Fire Effects

Fireplaces There are set procedures to the construction of a fireplace. Begin with a firebox made of steel, surrounded b y several layers of g y p s u m drywall to prevent heat transfer and thus inadvertent fire. T h e firebox must be separated from the floor and adjacent wall framing to permit a 2-inch airflow around the unit. Fireplace stacks rise up from this b o x and serve to dissipate the fumes and keep smoke and heat a w a y from the set (Figure 5 - 7 ) . N e x t , place a gas burner in the fireplace 2 inches a b o v e the floor. T h e feeding gas line extending from the fireplace to the back of the firebox should be at approximately the same level as the burner. W h e n lighting the fireplace, never open the gas c o c k until y o u are ready for ignition. A delay could cause a buildup of gas, resulting in an explosion. Installing a pilot light is ideal, but if impractical, use a piece of lit sterno on top of y o u r burner or h a v e someone w i t h a torch ignite the gas w h e n turned on (Figure 5-8). If y o u can a v o i d it, never put a piece of paper into a burning fireplace. T h e heated air rises and sends the paper up through the stack, resulting in burning paper flying through the air. If y o u h a v e to put a piece of paper in the fireplace, m a k e sure y o u h a v e wire mesh on top of y o u r stack. Using silencers for gas fireplaces is useful because, as y o u m a y be aware, there is a l w a y s an unavoidable hissing sound of escaping gas. T h e silencer consists of a pipe approximately l V i to 2 inches in diameter b y 12 inches long, capped at either end and reduced d o w n to the size of the copper tubing or pipe gas line. It is filled with steel w o o l that eliminates the noise, thus preventing ugly arguments between y o u and the sound person (Figure 5 - 9 ) . A n adjustable needle v a l v e and cutoff v a l v e positioned between the tank v a l v e and the fireplace is the best w a y to control the height of the flame. It also assures that the flame will remain constant from shot to shot, regardless of the intervening time span or cast and crew breaks. Just turn the tank v a l v e off, leaving the settings as is on the needle v a l v e . Naturally, as in all effects, take the standard safety precautions, such as gloves, glasses, and of course, the ever-present fire extinguisher.

Campfires Campfire logs are usually made from materials such as metal lath or logshaped wire mesh filled with a high-fiber filler such as fire clay or plasta mix and with dry colors (to achieve the proper hues of the log) and coated w i t h silicate of soda for fireproofing. In some instances, y o u m a y need ashes for the scene. A high-fiber filler and some lampblack are often used for this. Products such as crushed pyrosilicate also give the effect. T o complete the p r o p , y o u need a burner ring. This is made b y punching small holes at half-inch intervals into a piece of coiled copper tubing through black iron pipe and attaching it to a propane line. Slots are cut in the pipe at one-inch intervals to provide exit ports for the gas. T h e iron pipe can then be formed into v a r i o u s shapes, such as a ring, an H, or an X, depending on y o u r requirements (Figure 5 - 1 0 a - d ) .

Stage Campfire W h e n building a campfire on stage, use a firepad raised approximately 2 inches a b o v e the stage floor to allow an air space beneath. This setup pre-

29

S e c r e t s of Hollywood S p e c i a l Effects

Figure 5 - 1 Oc

Campfire l o g s

Figure 5 - 1 Od

X burner

vents heat transfer to the w o o d and a v o i d s scorching or burning. Materials most often used as firepads are d r y w a l l asbestos or corrugated steel plus steel pipe. Construction of the campfire is the essence of simplicity. Place pieces of drywall on steel pipe, again leaving 2 inches of separation between it and the floor (the same applies to the use of corrugated steel and the asbestos substitute as long as it remains raised 2 inches) (Figure 5 - 1 1 ) . Figure 5 - 1 1

Figure 5 - 1 2

S t a g e campfire burning

P r o p a n e tank s a f e t y c a p

T o rig and control a stage campfire, y o u need a burner or slotted pipe (e.g., copper tubing or black iron pipe) and the proper fittings for L P G (liquid propane) pressure hose. N e v e r use a n y hose for gas except the L P G hose. It will a l w a y s be marked as such. A silencer (see section on fireplaces), a propane gas bottle, a needle v a l v e , a pilot light or w i c k to fire the gas, and safety standby equipment of water hose and fire extinguisher complete the p a c k a g e . There are tremendous advantages to using gas as opposed to flammable liquids. A great deal of time is saved w h e n redressing the set, for example, w h e n the flames must be turned on and off instantaneously, but more importantly, gas eliminates the w o r r y of fire hazards that are inherent w h e n using a liquid that m a y drip or run. A l l propane tanks should have a safety cap attached to the tank that prevents leaks w h e n being stored. L P G gas is preferable to natural gas because it has been pressurized, liquified, and odorized (Figure 5 - 1 2 ) . 30

Fire Effects

Candles C a n d l e s can be a problem for special effects because they remain indifferent to whether or not the cameras are rolling and insist on continuing to burn. T h e difficulty is o b v i o u s w h e n a scene is shot over a period of several hours and then numerous reaction or covering shots are done. It suddenly becomes apparent that the scenes cannot be matched because the lengths of the candles differ from camera angle to camera angle. This can be maddening, and unless y o u keep using regular candles, cutting them to size and replacing them, y o u must find another solution. T h a t solution is lighter fluid candles. O n c e dressed with w a x , they look like candles, and they a l w a y s remain standard in size no matter the length of the scene. If the scene is written to occur o v e r a considerable time progression, these cannot of course be used.

Creating Fire Effects Fire Bars Fire bars c o m e in all shapes and sizes. T h e most c o m m o n l y used is a 3

/4-inch black iron pipe 1 to 6 feet long w i t h V s - i n c h holes drilled

IV2 inches apart its entire length. D e p e n d i n g on the effect y o u are looking for, slots can be cut on a bias about 2 inches apart along the length of the pipe to give the flame a more solid l o o k . Fire bars can be used for m a n y different effects: in w i n d o w s , in front of the camera as foreground flame, or w h e n e v e r a flame is needed on a set. A L P G gas hose is attached to one end of the pipe, the other end of the hose is attached to a cutoff v a l v e , and is attached to a regulator v a l v e and from there to the L P G gas tank and v a l v e . Figure 5 - 1 3 a - d s h o w s the different types of fire bars.

Figure 5 - 1 3 a

Fire bar with circular h o l e s

Fire Pans Fire pans are similar to fire bars except that the bar is inside a steel pan and facing d o w n instead of up (Figure 5 - 1 4 a and b ) . T h i s spreads the flame

Figure 5 - 1 3 b

Fire bar with d i a g o n a l c u t s

Figure 5 - 1 3 c

Fishtail g a s burner

Figure 5 - 1 3 d 31

Burning fire bar

S e c r e t s of Hollywood S p e c i a l Effects

Figure 5 - 1 4 a

Fire pan

Figure 5 - 1 4 b

Burning fire pan

o v e r a w i d e r area, but it is used basically the same w a y . O n e advantage to the fire p a n is w h e n dumping the tank (turning the L P G tank upside d o w n ) to get the liquid out, the gas is contained in the pan, making it safer to handle. T h e best w a y to ignite a fire pan or bar is with a fire ribbon or sterno can on top. Light it, turn on the gas, and the bar or pan will ignite safely. A w e e d burner can also be used. Remember, liquid propane gas is heavier than air so it will a l w a y s lie at the lowest point in a r o o m if not ignited immediately after turning on the gas. Be careful.

Fire on Walls, Door Frames, Window Frames W h e n the script calls for a wall engulfed in flame, or just the frame of a w i n d o w or d o o r , the easiest w a y to accomplish this effect is to use rubber cement. T h e object to be burned is painted w i t h t w o h e a v y coats of rubber cement and ignited w i t h a propane torch. In the case of a wall that is burning end to end and floor to ceiling, it is advisable to put a fire bar at the base, w h i c h increases the v o l u m e of the flame greatly. T h e fumes from rubber cement are v e r y explosive, so be sure to use it in a confined area. D o not a l l o w a n y o n e to s m o k e on the set or even in the studio. A l w a y s keep several carbon dioxide fire extinguishers on the set while the person is painting the rubber cement. There h a v e been m a n y people burned doing this j o b .

Fire Ribbons Fire ribbon comes in a tube not unlike toothpaste and is squeezed out in the same manner. It can start w o o d burning or be used as a trail to start or ignite p o w d e r s or fluids and similar special effects devices. It is also quite useful as a pilot light for gas effects.

Fire Balls from an Air Cannon Fireballs are s o m e w h a t dangerous, but they give great effects. (This is also discussed in C h a p t e r 10, Pyrotechnics.) A i r mortars are the primary delivery systems. T h e air mortar is filled w i t h propane gas under approximately 150 p o u n d s of pressure, all v a l v e s closed and sealed off. A t the nozzle or outlet v a l v e , place a bush burner flame thrower (simply a hot torch) for ignition.

32

Fire Effects

O n c e the mortar and flame thrower are aimed, the gas is released b y an electric solenoid v a l v e all at once. It shoots a column of fire usually 30 to 50 feet long, even longer depending on the nozzle on the cannon. T h i s effect is perfect if y o u need a large flame shooting out a or a d o o r w a y . It also w o r k s in a n y situation requiring a fireball shooting straight out at the camera. Remember to mount a heat protect the camera w h e n y o u use this effect. O b v i o u s l y , no should be permitted in the studio while performing this effect.

33

window to come shield to smoking

6 Chemical Effects (See page 185 for basic safety rules for chemical effects)

This chapter is dedicated to a v e r y close friend w h o passed a w a y several years a g o . I w o r k e d for and w i t h him and enjoyed every minute of it. His name w a s H a r r y R a y m o n d , professionally k n o w n as the Great Prince Hara. Prince Hara w a s one of w o r l d ' s best p i c k p o c k e t . He pocket routine, you'll never can't get the b o o k i n g s , y o u

the w o r l d ' s best illusionists and b y far the once said to me, " W h e n y o u learn the pickh a v e to w o r r y about h a v i n g m o n e y . If y o u can a l w a y s w o r k the s u b w a y s . "

Here's to y o u , Prince H a r a . W i t h o u t y o u , I'd never be where I am tod a y . Y o u taught me everything I k n o w about magic. T h a n k s too for all these m a r v e l o u s formulas y o u shared w i t h me.

Black Foam A b l a c k hard f o a m appears and o v e r f l o w s from a beaker. T h i s is sometimes called snake effect. • chemicals needed: p o w d e r e d white sugar, sulfuric acid • equipment needed: t w o 200 m l . beakers, glass stirring rod, large piece of c a r d b o a r d underneath beakers to protect painted surfaces

How to Achieve the Effect Fill one beaker one-third full of p o w d e r e d w h i t e sugar. Fill the other beaker w i t h 10 ml. of concentrated sulfuric acid. P o u r the acid into the sugar. Stir w i t h glass rod. T h e material will begin to darken and give off fumes. In a few moments, a black solid material will rise several inches a b o v e the beaker.

Safety Factors Sulfuric acid is v e r y dangerous. W e a r p r o p e r clothes, gloves, and safety glasses. T h e fumes from this chemical effect are sulphur dioxide. Therefore, d o not create this effect in a small unventilated r o o m . A l w a y s d o it o u t d o o r s or in a large ventilated r o o m .

Bubbling, S m o k i n g T e s t T u b e s • chemicals needed: w a r m w a t e r , dry ice, assorted food coloring • equipment needed: assorted test tubes and beakers

How to Achieve the Effect Fill test tubes or beakers w i t h w a r m w a t e r , about three-quarters full. A d d a few drops of f o o d coloring to achieve desired c o l o r . A d d a few small pieces of dry ice, about Vi-inch squares. T h e substance will immediately start to bubble and form a w h i t e s m o k y v a p o r on top.

34

Chemical Effects

Safety Factors D r y ice is v e r y cold (110°F b e l o w zero), therefore it can actually burn the skin if y o u touch it w i t h y o u r bare hands. So either w e a r g l o v e s or pick up d r y ice w i t h prongs. A l s o w e a r safety glasses. V e r y important: never enclose or seal d r y ice in a n y type of capsule or container. W h e n dry ice melts, it releases pressure that can b e explosive.

A + B Blood • chemicals needed: 25 grams potassium thiocyanate, 5 grams ferric chloride, salt • equipment needed: t w o glass beakers

How to Achieve the Effect A d d a few milliliters of w a t e r to each beaker. A d d the potassium thioc y a n a t e (solution A ) to one beaker and 5 grams of the ferric chloride (solution B) to the other beaker. A d d a small pinch of salt to each beaker to m a k e a saturated solution. Both A and B solutions are fairly clear and cannot be seen w h e n placed o n v a r i o u s objects. Example D i p a knife blade into one of the solutions. T a k e a cotton s w a b and dip it into the other solution. T a k e the cotton s w a b solution and rub it into y o u r hand or arm or a n y part of y o u r b o d y . Stay a w a y from y o u r eyes or m o u t h . T a k e the knife that has been dipped into the other solution and d r a w it across the part of the b o d y y o u put the other solution o n . It will turn bright red and l o o k just like b l o o d . Other Uses for A + B Blood T a k e a white card or piece of cloth and saturate it w i t h the A solution. D i p y o u r finger into the B solution and y o u can write on the cloth. It will appear y o u are writing in b l o o d !

Safety Factors A s w i t h all chemical effects, take precautions. Keep chemicals a w a y from eyes and m o u t h .

Cold Fire • chemicals needed: carbon disulfide, c a r b o n tetrachloride • equipment needed: glass container or beaker, glass mixing rod, eye dropper

How to Achieve the Effect M i x 60 m l . of c a r b o n disulfide and 40 m l . of c a r b o n tetrachloride in a glass beaker. Stir rapidly several times. T a k e an eye dropper and put about 10 drops in the center of the p a l m of y o u r hand. Ignite w i t h match. C o o l i n g b y rapid e v a p o r a t i o n prevents hand burns. If you're afraid to burn the liquid in y o u r hand, pour some fluid onto a piece of cloth. After it is ignited the cloth will s h o w no signs of h a v i n g been burned.

Safety Factors T h e amount of liquid in the p a l m of y o u r hand should be kept small because it could seep around to the b a c k of y o u r hand and possibly burn y o u . N e v e r use this chemical in large quantities on a n y part of the b o d y . 35

Secrets of Hollywood Special Effects

T a k e standard precautions such as w e a r i n g safety glasses. T h e chemicals used in this effect are toxic and should not be taken internally. Use c o m m o n sense w h e n creating cold fire. Before y o u ignite y o u r flame, m a k e sure the containers holding the chemicals are closed and far a w a y from the flame. H a v e a fire extinguisher close b y .

Fire Writing • chemicals needed: potassium nitrate, water • equipment needed: Fairly h e a v y paper or c a r d b o a r d that is somewhat absorbent, glass beaker, paintbrush, match, torch, or cigarette

How to Achieve the Effect Put 10 grams of potassium nitrate in a glass beaker and mix w i t h 25 ml. of w a t e r . T h e n , write or print the w o r d s y o u w a n t on the cardboard paper w i t h a small paintbrush. M a k e sure all the letters are connected. G o o v e r the printed letters several times, saturating them w i t h the solution. M a k e sure the solution dries o n the paper before y o u light it. It then can be ignited w i t h a match, a torch, or a lit cigarette.

Safety Factors A s w i t h all fire effects, y o u should h a v e a fire extinguisher nearby and take the standard precautions w h e n using chemicals, such as wearing safety glasses and so o n . Chemicals should never be taken internally.

Invisible Ink 1: Making Letters A p p e a r by U s e of Flame • chemicals needed: concentrated sulphuric acid • equipment needed: glass beaker, candle or torch, glass rod, cardboard

white

How to Achieve the Effect Write y o u r message on the white c a r d b o a r d b y dipping the rod into the sulphuric acid solution. After a few moments, take a lit candle or flame and m o v e it b a c k and forth across the card. S l o w l y , the letters will appear in black.

Safety Factors Standard precautions should be taken using acids and chemicals, such as safety glasses, proper gloves, and protective clothing.

Invisible Ink 2: Making Letters A p p e a r by U s e of Heat • chemicals needed: copper sulphate, a m m o n i u m chloride • equipment needed: glass beaker, glass rod, white cardboard, light bulb

How to Achieve the Effect M i x equal parts of b o t h chemicals in a glass beaker. T h e n , write w i t h the glass rod on the white c a r d b o a r d . O n c e the chemicals h a v e dried 36

Chemical Effects

thoroughly, place o v e r a 100 to 150 w a t t light b u l b . T h e heat created will m a k e y o u r w o r d s appear y e l l o w in color.

Safety Factors A l l the standard safety features are applicable.

Red Invisible Ink • chemicals needed: 5 ml. cobalt nitrate • equipment needed: glass beaker, glass rod, w h i t e cardboard, light b u l b

How to Achieve the Effect D i p glass rod into the cobalt nitrate and write y o u r message on piece of white c a r d b o a r d . Let dry t h o r o u g h l y . T h e n pass it o v e r a 100 to 150 w a t t light b u l b . Y o u r message will appear in rose-colored tint o n the paper.

Safety Factors Standard precautions should be taken (glasses, g l o v e s , and clothes). C h e m i c a l s should never b e taken internally.

Brown Invisible Ink • chemicals needed: strong solution of ferric a m m o n i u m sulphate • equipment needed: glass beaker, glass rod, white cardboard, light bulb

How to Achieve the Effect D i p the rod into the solution and write y o u r message o n white c a r d b o a r d . A f t e r it dries, pass the paper o v e r a 100 to 150 w a t t light bulb. Message will appear in a b r o w n color.

Safety Factors Standard safety precautions a p p l y .

Invisible Ink from Fruit • chemicals needed: l e m o n or grapefruit juice • equipment needed: clean ink-writing pen, beaker, white cardboard, light bulb

How to Achieve the Effect D i p the clean pen into lemon or grapefruit juice (either one w o r k s well), and write y o u r message on a piece of paper. Heat o v e r a light bulb and letters will appear in light b r o w n i s h color.

Safety Factors None.

N o n c h e m i c a l Form of Invisible Ink • chemicals needed: v i n e g a r • equipment needed: clean ink-writing pen, beaker, white paper, light bulb 37

Secrets of Hollywood Special Effects

How to Achieve the Effect W r i t e message on piece of paper after dipping pen into vinegar. Pass paper across a 100 to 150 watt light b u l b . Message will appear in light b r o w n color.

Safety Factors None.

Appearing and Disappearing Invisible Ink • chemicals needed: solution of cobalt chloride • equipment needed: piece of w o o d shaped like writing pen, white paper, iron or light bulb

How to Achieve the Effect Fill the w o o d e n pen w i t h the cobalt solution just as y o u w o u l d fill a n y c o m m o n fountain pen. W r i t e y o u r message o n a piece of white paper. T h e writing will not be seen until a w a r m iron is passed over the paper or the paper is held o v e r a heated surface such as a light bulb. T h e letters c a n be m a d e to disappear simply b y breathing on them!

Safety Factors Standard safety precautions a p p l y .

Different Colored Fireworks • chemicals needed: different mixture of chemicals in p o w d e r f o r m for each color of fire in the f o l l o w i n g ratios: • equipment needed: m o r t a r and pestle, asbestos mat, filter paper, matches Blue fire:

8 ml. potassium chlorate, 2 m l . copper sulfide, 4 ml. sulfur, 2

m l . mercurous chloride, 1 m l . copper oxide, and 1 m l . charcoal Green fire:

12 m l . barium nitrate, 3 ml. potassium chlorate, 2 m l . sulfur

White fire:

7 m l . potassium nitrate, 1 m l . a n t i m o n y sulfide, 1 ml. sulfur

Red fire: 4 ml. strontium nitrate, 4 m l . potassium chlorate, 2 m l . charcoal, 1 ml. sulfur Yellow fire: 6 ml. potassium chlorate, 2 m l . sodium oxalate, 2 m l . charcoal, 1 ml. sulfur Purple fire:

1 ml. copper sulfate, 1 ml. sulfur, 1 ml. potassium chlorate

How to Achieve the Effect G r i n d each substance into a p o w d e r separately in a mortar. After it is dry, place it o n a large sheet of paper in the ratios indicated. A s y o u rock the paper b a c k and forth, the substances will b e c o m e mixed. Place a small pile of mixed p o w d e r on the asbestos mat along w i t h a thin piece of filter paper in the pile, and ignite it. (First s o a k the filter paper in a concentrated solution of potassium nitrate. Let it dry.)

Safety Factors Standard safety precautions a p p l y . 38

A

Chemical Effects

T h e Bottle of Many Colored Waters In this effect, one bottle p o u r s different colors of water into six different glasses. • chemicals needed: in the jug, 5 grams of ferric a m m o n i u m sulfate and 500 m l . of w a t e r . In each of six glasses, put half a gram of the following chemicals, then dissolve w i t h a few m l . of water: (1) potassium thiocyanate, (2) b a r i u m chloride, (3) potassium ferrocyanide, (4) tannic acid, (5) tartaric acid, and (6) sodium h y d r o g e n sulfite. • equipment needed: g o o d lighting for magic trick, attractive jug for ferric a m m o n i u m sulfate solution

How to Achieve the Effect See chemicals needed description.

Safety Factors Standard safety precautions a p p l y .

T h e Rod of Fire • chemicals needed: p o w d e r e d potassium chlorate, sugar, concentrated sulfuric acid • equipment needed: glass rod, large candle w i t h fluffy w i c k , mortar and pestle

How to Achieve the Effect M i x equal quantities of p o w d e r e d potassium chlorate and sugar and saturate the fluffy candle w i c k . Place the end of the glass rod into the concentrated sulfuric acid. T h e n touch it to the w i c k . It will flare immediately and continue to b u r n .

Safety Factors Be sure to grind the potassium chlorate crystals and sugar separately in y o u r mortar. Y o u m a y create an explosion if y o u mix and then grind them together. Standard safety precautions a p p l y .

Pitcher C h a n g i n g Colored Waters W h a t l o o k s like clear water is p o u r e d from an o p a q u e jug or pitcher into seven glasses. M a n y strange color changes result! • chemicals needed: 5 grams tannic acid, a few milliliters each of saturated solutions of ferric chloride and oxalic acid, concentrated a m m o n i a , concentrated sulfuric acid, distilled w a t e r • equipment needed: o p a q u e attractive jug or pitcher, seven water glasses

How to Achieve the Effect Put tannic acid into the jug. Fill it w i t h distilled w a t e r and stir well. Line up the e m p t y seven glasses. Proceed as f o l l o w s : Leave glasses 1 and 3 e m p t y . Put 5 drops of saturated ferric chloride solution into glasses 2 and 4. Put 1 5 drops of oxalic acid into glass 5. 39

Secrets of Hollywood Special Effects

Put 10 drops of a m m o n i a into glass 6. Put 5 drops of sulfuric acid into glass 7. W h e n y o u are ready to perform, p o u r water from the jug into the first glass. It will l o o k exactly like w a t e r . W h e n y o u pour water from y o u r jug into y o u r second glass, it l o o k s like ink is being p o u r e d . W h e n y o u p o u r from y o u r jug into the third glass, it will appear as though w a t e r is being poured. W h e n y o u p o u r into y o u r fourth glass, it l o o k s like ink is being poured. N o w , pour the liquid from all four glasses b a c k into the jug. P o u r some of this liquid into glass 1. It l o o k s like ink is being poured out. W h e n y o u p o u r this liquid into glass 2, it still l o o k s like ink is being p o u r e d out. But w h e n y o u pour this liquid into glass 5, it l o o k s like water! W h e n y o u p o u r this liquid into glass 6, it l o o k s like wine! W h e n y o u p o u r all the glasses b a c k into the jug, it l o o k s like y o u h a v e a jugful of w i n e . W h e n y o u p o u r this " w i n e " into glass 7, it l o o k s like water.

Safety Factors Standard safety precautions a p p l y .

Exploding S h o e s W h e n a person w a l k s into a r o o m and steps o n small pieces of paper, they are shocked b y sharp crackling sounds at their feet. This effect can also be created b y touching the treated paper w i t h a meter stick. • chemicals needed: 5 grams iodine, 3 grams potassium iodide, 20 ml. concentrated a m m o n i u m h y d r o x i d e • equipment needed: filter paper, funnel, beaker

How to Achieve the Effect Stir the potassium iodide and iodine together in a beaker w i t h 50 ml. of w a t e r . A d d the a m m o n i u m h y d r o x i d e as y o u stir until the precipitate stops forming. First filter and then spread a thin layer of the w e t solid on several filter papers. Y o u should then break the filter papers into m a n y small pieces and allow them to d r y for several hours. W h e n dry, the paper is extremely sensitive to touch and will explode violently w i t h the lightest touch, even from a feather.

Safety Factors Even though the nitrogen triiodide p r o d u c e d b y the effect can be handled safely w h e n w e t , y o u can lessen the violence of the explosions b y spreading a thin layer of the w e t material on several pieces of the filter paper. Never let a sizable quantity of the d r y material accumulate. Standard safety procedures apply. 40

Chemical Effects

S n a k e s from the S m o k e After y o u place some y e l l o w p o w d e r and a few drops of liquid into a small evaporating dish and heat it s l o w l y , a " s n a k e " springs out of the dish in a cloud of s m o k e . • chemicals needed: 3 grams paranitroacetanilide, 1 ml. concentrated sulfuric acid • equipment needed: e v a p o r a t i n g dish

How to Achieve the Effect Put the paranitroacetanilide in the e v a p o r a t i n g dish, then add the sulfuric acid. Heat for t w o or three minutes. A " s n a k e " o v e r a foot long and several inches in diameter will shoot u p w a r d .

Safety Factors T h e s m o k e that rises at the m o m e n t of reaction is irritating to the eyes and lungs. Therefore, ask spectators to leave the r o o m shortly after creating this effect if y o u are w o r k i n g in a place w i t h o u t high ceilings. Standard safety precautions a p p l y .

S m o k e from a T u b e W h e n e v e r y o u w a n t , white s m o k e will shoot out of a tube. • chemicals needed: concentrated hydrochloric acid, concentrated a m m o nium h y d r o x i d e • equipment needed: t w o bottles w i t h two-hole rubber stoppers, rubber b u l b , rubber tubing

How to Achieve the Effect Put a few milliliters of the h y d r o c h l o r i c acid in the first bottle. T h e n , place the same amount of a m m o n i a in the second bottle. Y o u should arrange the apparatus so that pressure on the bulb causes air to pass first to the bottle containing the acid. M a k e sure a glass tube extends from the acid bottle to the b o t t o m of the a m m o n i a bottle. Dense fumes generated in the second bottle will be conducted out of the a m m o n i a bottle in a rubber tube. T o create smoke, press on the rubber b u l b . For a steady stream of smoke, take off the rubber bulb and b l o w into the first bottle.

Safety Factors Standard safety precautions a p p l y .

S m o k e Rings W h i t e s m o k e rings rise from an on-and-off flame that bursts a b o v e water in a transparent dish. • chemicals needed: 200 ml. 4 0 % potassium h y d r o x i d e solution, three or four small pieces of p h o s p h o r u s • equipment needed: 500 ml. distilling flask or ordinary flask w i t h a t w o hole rubber stopper, large beaker, ring stand, rubber tube, one-hole stopper 41

Secrets of Hollywood Special Effects

How to Achieve the Effect A t t a c h the flask to a ring stand. A d d the phosphorus and the potassium h y d r o x i d e solution. C o n n e c t a rubber tube to the condensate tube of the flask. T o the end of this attach glass tubing. T h i s terminates under water in the beaker just b e l o w the surface. T h e open end extends upward. Fit a one-hole stopper in the flask. A glass tube extends through it into the solution; the other end of the tube is attached to a rubber hose connected to the gas supply. A l l o w the gas to bubble through the solution and then heat it to boiling. S m o k e rings will then begin to f o r m . T o stop the flow of gas, r e m o v e the flame under the flask and p o u r water into the beaker. Water will be d r a w n into the flask as the steam c o o l s . T h i s prevents fire in the flask w h e n disassembling the apparatus.

Safety Factors Phosphorus is v e r y flammable. It must be cut under water and handled w i t h forceps. Standard safety procedures a p p l y .

Violent F l a m e s Just a few drops of liquid on a m o u n d of p o w d e r and bam, a raging fire! • chemicals needed: granulated sugar, p o w d e r e d potassium chlorate, concentrated sulfuric acid • equipment needed: mortar and pestle, asbestos mat, medicine dropper

How to Achieve the Effect O n c e y o u h a v e ground the chemicals to a p o w d e r separately in y o u r mortar, place equal v o l u m e s of the mixed materials in a m o u n d o n an asbestos mat. T h e n , w h e n a few drops of sulfuric acid fall on the mixture, a fire is produced instantly.

Safety factors Fire extinguisher and standard safety procedures.

Blinding Flash • chemicals needed: p o w d e r e d aluminum, sodium peroxide • equipment needed: asbestos mat

How to Achieve the Effect Place a Vi-inch cone of aluminum on an asbestos mat. T h e n , place a small a m o u n t of sodium peroxide o n t o p .

Safety Factors T h e heat generated will cause the p o w d e r e d aluminum to burn w i t h such an intense flame that the flash is blinding. It will continue to g l o w for a l o n g time. C a r e should be taken to guard against burns. T h e reaction happens v e r y quickly, w i t h intense heat.

Brilliant S p a r k s • chemicals needed: 2 grams potassium nitrate, p o w d e r e d charcoal 42

,4

Chemical Effects

• equipment needed: e v a p o r a t i n g dish, m o r t a r and pestle

How to Achieve the Effect Heat the potassium nitrate until molten in the e v a p o r a t i n g dish. T h e n drop in the p o w d e r e d charcoal carefully.

Safety Factors W a t c h out for scattered burned c a r b o n . G r i n d ordinary charcoal in a mortar w h e n preparing material. Standard safety procedures a p p l y .

Sprinkles of Fire • chemicals needed: 5 grams ferrous oxalate, paraffin • equipment needed: test tube w i t h fitted c o r k , tongs, evaporating dish

How to Achieve the Effect Heat ferrous oxalate in the test tube until fumes stop. W h i l e test tube is heating u p , melt the paraffin in an e v a p o r a t i n g dish. Put the c o r k in the melted paraffin while the test tube is heating, pick up the w o r k w i t h tongs and seal the tube. W h e n c o o l , the melted paraffin m a k e s an airtight seal. T h e n , stand o n a chair w i t h sealed test tube and r e m o v e the c o r k . A s y o u sprinkle the contents in the air, they catch fire. T h e result is spectacular.

Safety Factors Standard safety procedures a p p l y .

Miniature V o l c a n o Red-hot particles erupt in a miniature v o l c a n o w h e n a conical pile of red p o w d e r is lit. • chemicals needed: 100 grams p o w d e r e d a m m o n i u m dichromate, alcohol • equipment needed: asbestos m a t , filter paper

How to Achieve the Effect M a k e a conical pile on the asbestos mat of the p o w d e r e d chemical. T h e n , s o a k a roll of filter paper 2 inches long in the a l c o h o l . Put the roll in the center of the cone. W h e n y o u light it, the w i c k burns and ignites the p o w d e r , w h i c h shoots sparks several feet in the air.

Safety Factors T h o u g h this piece of chemical magic is not dangerous, standard safety procedures still a p p l y .

B u b b l e s That Burn • chemicals needed: gasoline, soapsuds, glycerine • equipment needed: c l a y pipe, cotton, wire screen for m o u t h of pipe b o w l , candle, matches

How to Achieve the Effect Fill a c l a y pipe w i t h cotton, keeping the latter in place b y inserting a wire screen at the m o u t h of the b o w l . Saturate the cotton w i t h gasoline, then 43

Secrets of Hollywood Special Effects

dip the pipe in strong soapsuds that contain a little glycerine. B l o w easily in the stem as y o u hold the b o w l d o w n , as if y o u w e r e just blowing b u b bles. Sail the bubble into the air and touch it off w i t h a lighted candle or match; the bubble will explode and disappear in a brilliant flash.

Safety Factors Standard safety precautions a p p l y .

Exploding B u b b l e s • chemicals needed: gasoline, glycerine • equipment needed: cotton, clay pipe, matches

How to Achieve the Effect S o a k a small piece of absorbent cotton in gasoline and place it in the m o u t h of the pipe before b l o w i n g the bubbles. Proceed in the regular m a n ner b y dipping the pipe in soapsuds containing a little glycerine and b l o w ing. W h e n the bubble sails into the air, light it w i t h a match and it will disappear w i t h a report and flash.

Safety Factors Standard safety precautions a p p l y .

Spontaneous Combustion • chemicals needed: perchlorate of potash, granulated sugar, sulfuric acid

How to Achieve the Effect A mixture of perchlorate of potash and ordinary granulated sugar will take fire at once w h e n touched w i t h a drop of sulfuric acid.

Safety Factors Fire extinguisher and standard safety precautions apply.

Silver Fire • chemicals needed: silver nitrate, charcoal

How to Achieve the Effect W h e n y o u sprinkle a few grains of silver nitrate on a piece of glowing charcoal, beautiful stars will be t h r o w n off and the surface of the charcoal will be coated w i t h silver.

Safety Factors Standard safety precautions a p p l y .

Blue Stars • chemicals needed: potassium chlorate, copper sulphide, copper oxide, sulphur, mercurous chloride, charcoal 44

Chemical Effects

How to Achieve the Effect M i x together these chemicals in p o w d e r form in the following amounts for the best results: potassium chlorate, 8 parts; copper sulphide, 2 parts; copper oxide, 1 part; sulphur, 4 parts; mercurous chloride, 2 parts; and charcoal, 1 part.

Safety Factors Standard safety precautions a p p l y .

Red Fire • chemicals needed: strontium nitrate, potassium chlorate, mercurous chloride, sulphur, p o w d e r e d shellac, charcoal

How to Achieve the Effect M i x together the f o l l o w i n g chemicals: strontium nitrate, 4 parts; potassium chlorate, 12 parts; mercurous chloride, 4 parts; sulphur, 3 parts; p o w d e r e d shellac, 1 part; and charcoal, 1 part.

Safety Factors Standard safety precautions a p p l y .

Green Fire • chemicals needed: barium salt, potassium chlorate, sulphur, p o w d e r e d shellac, mercurous chloride, charcoal

How to Achieve the Effect If the b a r i u m salt used in the f o l l o w i n g experiment is pure and the ingredients well mixed, the resulting c o l o r will b e a beautiful emerald green. M i x barium nitrate, 12 parts; potassium chlorate, 6 parts; sulphur, 3 parts; p o w d e r e d shellac, 1 part; mercurous chloride, 2 parts; and charcoal, 1 part.

Safety Factors Standard safety precautions apply.

Yellow Fire • chemicals needed: potassium chlorate, sodium oxalate, sulphur, p o w dered shellac

How to Achieve the Effect N o list of colored fires is complete w i t h o u t this magical color flame. Yell o w fire can be produced b y mixing the following: potassium chlorate, 6 parts; sodium oxalate, 2 parts; sulphur, 2 parts; and p o w d e r e d shellac, 1 part. W h e n lit this fire burns w i t h a beautiful y e l l o w flame.

Safety Factors Fire extinguisher and standard safety procedures a p p l y .

Purple Vapor • chemicals needed: iodine flakes or iodine p o w d e r • equipment needed: hot glass flask or jar 45

Secrets of Hollywood Special Effects

How to Achieve the Effect If a few flakes of iodine are dropped into a hot glass flask or jar, the container instantly becomes filled w i t h a magnificent purple v a p o r .

Safety Factors Standard safety precautions a p p l y .

C h i n e s e Fire Eating N o w o r k on chemical magic w o u l d be complete without some reference to the age-old trick that startled our ancestors and set their minds guessing as to h o w it w a s done, namely fire eating. C a u t i o n : T h e following trick is dangerous, therefore take care in preparing, selecting the necessary chemicals and equipment, and in general carr y i n g out the experiments. A m a t e u r s or inexperienced performers should not attempt it. • chemicals needed: potassium nitrate, t o w (small ball of string, similar to clothesline) • equipment needed: soft cord, scissors or knife, matches

How to Achieve the Effect T a k e a length of soft cord about as thick as an ordinary clothesline and soak it for 10 or 12 hours in a v e r y strong (3 to 1) solution of potassium nitrate. R e m o v e the cord from the solution, d r y thoroughly, and then cut into 1-inch lengths. Light one of the pieces and place it in a ball of t o w , taking care that the t o w covers the smoking cord. This can safely be placed in y o u r m o u t h , and clouds of s m o k e and even sparks m a y c o m e out. O n c e the cord within the t o w is in y o u r m o u t h it is only necessary to b l o w to d o this. If the heat becomes uncomfortable, simply close y o u r m o u t h and breathe through y o u r nose. N e v e r inhale the breath through the m o u t h in a n y fire eating experiment or y o u will s w a l l o w smoke and h a v e a fit of coughing that will spoil the experiment.

Safety Factors Extreme caution is recommended as well as standard safety precautions.

Fireproofing • chemicals needed: alum • equipment needed: cloth (any kind), match

How to Achieve the Effect Materials soaked in alum will not burn, consequently a v e r y effective trick can be performed b y soaking a handkerchief in h y p o and, after drying it thoroughly, holding it in a flame. It will not burn.

Safety Factors Standard safety precautions apply. 46

Chemical Effects

D e m o n Fire (Fire Breath) • chemicals needed: white p h o s p o r o u s , bisulphide of carbon • equipment needed: w i d e - m o u t h e d bottle w i t h stopper, small piece of paper

How to Achieve the Effect Dissolve 1 part white p h o s p o r o u s in 6 parts of bisulphide of carbon, and keep in a tightly c o v e r e d w i d e - m o u t h e d bottle. A l w a y s keep the bottle well stoppered, as the c a r b o n disulfide evaporates v e r y easily. T o perform the trick, gently dip a small piece of paper in the mixture, take out, and replace the stopper. H o l d the paper a w a y f r o m y o u r face and b l o w on it. W h e n the c a r b o n has e v a p o r a t e d , the paper will b u r n .

Safety Factors Standard safety precautions a p p l y .

T h e Mystery of Malabar • chemicals needed: sodium salicylate, ferric a m m o n i u m sulphate • equipment needed: piece of muslin, 12-inch-square w o o d e n frame, clear glass pitcher

How to Achieve the Effect Prepare a piece of muslin b y soaking it in a solution of sodium salicylate. R e m o v e from the solution, and w h e n t h o r o u g h l y d r y stretch it over the w o o d e n frame. T h e n prepare a solution of ferric a m m o n i u m sulphate and put it in the clear glass pitcher. A f t e r y o u h a v e moistened the muslin on the frame, y o u are ready for the trick. Before doing it, address the spectators w i t h the f o l l o w i n g patter: " Y o u all h a v e heard of the fakirs of India, w h o can perform wonderful feats of magic; some of them can w a l k on hot coals w i t h their bare feet, others can m a k e b l o o d appear o n certain parts of their b o d y . I am going to reproduce for y o u a feat that w a s recently s h o w n in the M a l a b a r district. Here I h a v e a piece of w e t cloth stretched o v e r a w o o d e n f r a m e . " (Exhibit the frame, front and rear.) "Here I have a pitcher of clear w a t e r . " (Dip y o u r hand into the w a t e r and let the water drip b a c k into the pitcher. Repeat this procedure several times, so as to get y o u r hand thoroughly w e t . ) T h e n continue: "I am going to place my hand o n the w e t muslin." Place y o u r hand on the w e t muslin and keep it there a few seconds; w h e n raised an impression of the hand in red will be left on the cloth. W i n d up b y saying, "Lo and behold! I h a v e produced for y o u the hand of b l o o d as performed b y the fakirs of India."

Safety Factors Standard safety precautions a p p l y .

T h e Magic Wound • chemicals needed: iron chloride, sodium sulphocyanate • equipment needed: small rubber dagger (can be purchased at t o y store)

How to Achieve the Effect A p p l y a solution of iron chloride to the b a c k of y o u r hand. D i p the dagger in a solution of sodium sulphocyanate, and pass is over the surface to 47

Secrets of Hollywood Special Effects

w h i c h the iron chloride has been applied. It will seem as if y o u were cutting yourself; a crimson streak will appear in the path of the dagger. This is a v e r y effective trick. T h e effect can be heightened w i t h an appropriate story told as the trick is in progress.

Safety Factors Standard safety precautions a p p l y .

Anarchist B o m b s • chemicals needed: a m m o n i u m sulphide • equipment needed: glass tube, Bunsen burner

How to Achieve the Effect Anarchist, or stink b o m b s are familiar to nearly every child. Form a glass b u l b b y inserting the end of a glass tube in a Bunsen burner, rotating it until the end closes, and then keeping it in the flame, constantly turning until the end thickens; a b u l b is then formed b y quickly, but not forcefully, b l o w i n g into the open end. D r a w out the stem so that the end contains a hole about the size of a pencil point. A l l o w to cool and fill w i t h a solution of a m m o n i u m sulphide, leaving an air bubble at the tip. D o not fill too full. Seal the tip in the Bunsen burner. T h e " b o m b " is then ready for action.

Safety Factors Standard safety precautions a p p l y .

Telltale Cigarette • chemicals needed: sulfuric acid • equipment needed: cigarettes, gold-ink pen

How to Achieve the Effect Using the gold-ink pen, write a funny saying on each cigarette w i t h sulfuric acid in water. A l l o w them to d r y thoroughly. G i v e one to a friend; w h e n she lights it and starts smoking, the letters will appear black, one b y one, as the heat reaches them while the cigarette is being consumed.

Safety Factors Standard safety precautions a p p l y .

Permanent B u b b l e s • chemicals needed: resin • equipment needed: metal tube, scissors or knife

How to Achieve the Effect Melt a quantity of resin o v e r a l o w temperature flame. D i p a metal tube in it; b l o w quickly, and a bubble will f o r m . C u t off the bubble before it hardens. Close the opening w i t h resin. These bubbles are v e r y brittle w h e n dry and should be handled carefully. 48

Chemical Effects

Safety Factors Standard safety precautions a p p l y .

Rainbow B u b b l e s • chemicals needed: Castile soap, glycerine • equipment needed: bubble pipe, container for bubble solution

How to Achieve the Effect W h e n m a k i n g a solution to b l o w bubbles, use a g o o d grade of Castile soap; add a few drops of glycerine to the mixture w h e n completed. Blow bubbles w i t h this mixture. T h e y will appear in all the colors of the rainbow.

Safety Factors Standard safety precautions a p p l y .

Bouncing Bubbles • chemicals needed: Castile soap, glycerine • equipment needed: bubble pipe, container for bubble solution

How to Achieve the Effect M a k e a strong solution of Castile soap and add about a teaspoon of glycerine to a pint of the solution. B l o w bubbles w i t h this solution and y o u will be able to b o u n c e them on a stiff felt hat or on a piece of felt over y o u r head.

Safety Factors Standard safety precautions a p p l y .

Rubber B o n e s • chemicals needed: vinegar • equipment needed: chicken bones

How to Achieve the Effect C l e a n several small chicken bones t h o r o u g h l y , and place them in vinegar for about 24 h o u r s . T h e y will b e c o m e quite elastic, similar to rubber.

Safety Factors D o n ' t ingest chicken bones.

T h e Dry Hand • chemicals needed: l y c o p o d i u m p o w d e r • equipment needed: clear glass dish, ring or k e y

How to Achieve the Effect This is a v e r y old trick, used m a n y years a g o b y the old-time magicians. Place a n y bright object, such as a ring or k e y , in a clear glass dish filled 49

Secrets of Hollywood Special Effects

w i t h w a t e r . T h e n rub l y c o p o d i u m p o w d e r thoroughly all over y o u r hand and arm. T h e p o w d e r cannot be seen. Plunge y o u r hand into the b o w l of water and take the object from the b o t t o m . W h e n y o u r hand is removed from the w a t e r , it will be quite dry.

Safety Factors Standard safety precautions a p p l y .

Liquid to Solid • chemicals needed: Glauber's salts (sulphate of soda), sweet oil (available at drug stores, similar to eardrop oil)

How to Achieve the Effect Dissolve about half a p o u n d of Glauber's salts in a pint of boiling water; a l l o w it to stand for a minute, so that a n y impurities m a y settle, then p o u r off the clear liquor while still boiling hot into a clear glass vessel or jar. N o w put a few drops of sweet oil on the surface of the solution, and place it where it can cool and remain undisturbed. W h e n cold it will appear like w a t e r , but if a stick or a n y solid substance is put into it, so as to form a nucleus, it will immediately b e c o m e o p a q u e and change into a solid mass of crystals. T h e oil is used to prevent dust from settling on the surface, w h i c h w o u l d cause it to crystallize without apparent reason.

Safety Factors Standard safety precautions a p p l y .

S m o k e Mystery 1 • chemicals needed: muriatic acid, a m m o n i a water • equipment needed: t w o w a t e r glasses, piece of cloth or handkerchief, piece of newspaper, matches, fan

How to Achieve the Effect T w o ordinary w a t e r glasses are s h o w n to the spectators as empty. Place the glasses m o u t h to m o u t h and c o v e r them w i t h a piece of cloth or handkerchief. Light a piece of newspaper, or anything that will m a k e a lot of smoke, stand a few feet a w a y from the covered glasses, and w i t h a fan waft the s m o k e t o w a r d them. After a minute or so, remove the cloth from the glasses, w h e r e they will be seen to be full of smoke; w h e n taken apart, a great v o l u m e of s m o k e will rise. In one of the glasses place a few drops of muriatic acid and in the other a few drops of strong a m m o n i a water. D o not bring them together until y o u wish to produce the s m o k e effect.

Safety Factors Standard safety precautions apply

S m o k e Mystery 2 • chemicals needed: muriatic acid, liquid a m m o n i a • equipment needed: see S m o k e M y s t e r y 1 50

Chemical Effects

How to Achieve the Effect T a k e t w o ordinary clean w a t e r glasses or, if possible, glass b o w l s . Put a few drops of muriatic acid into one of them, and rotate the glass so the liquid c o v e r s the b o t t o m . Put a few drops of v e r y strong liquid a m m o n i a into the other glass and rotate so that the liquid c o v e r s the b o t t o m . Keep the glasses far apart until y o u are ready to perform the trick. T h e n , place them m o u t h to m o u t h and c o v e r f r o m the front. T h e y will begin to smoke immediately. Burning the paper is o n l y to add to the m y s t e r y and heighten the illusion of the s m o k e penetrating into the glasses. Be sure to s h o w the glasses one at a time, but d o not let them c o m e together until quite ready for the presentation of the trick.

Safety Factors Standard safety precautions a p p l y .

Luminous Paint How to Achieve the Effect Since o n l y a small amount of the material is required at a n y time, b u y it f r o m a theatrical supply house. S u p p l y houses manufacture the d r y ingredients in different colors and will give y o u directions for mixing them. T h i s is put up in m a n y colors and information is given as to the best and most economical w a y of using it. It comes ready mixed and is easily a p plied. W h e n these paints are brushed or sprayed on a n y article, object, or material, it should be exposed to sunlight or a strong electric lamp after w h i c h it will g l o w for some time in the dark.

Safety Factors Standard safety precautions a p p l y .

A Man W h o Walks A w a y from His S h a d o w : An Illusion • chemicals needed: luminous green paint • equipment needed: a screen that l o o k s like a white w i n d o w shade, strip of gelatin on a wheel painted red, green, and blue, a light, one assistant

How to Achieve the Illusion T h i s illusion is one of the best ones based on chemical preparation. A screen that l o o k s like an ordinary white w i n d o w shade is s h o w n . Stand behind the screen while the stage or r o o m lights are shut off; a strong light to y o u r rear causes y o u r s h a d o w to appear on the screen; while y o u m o v e freely a b o u t , the s h a d o w m o v e s accordingly. N o matter w h a t position y o u take, the s h a d o w still appears on the screen; if y o u w a l k a w a y from the screen, the s h a d o w remains fixed, visible to the audience. W h e n the stage lights are turned o n , the s h a d o w vanishes. This can be repeated several times, w i t h y o u assuming a different position each time. T h e explanation is this: T h e screen is coated or sprayed on the side a w a y from the spectators w i t h luminous green paint. T h e light used has a color attachment consisting of a film or strip of gelatin, preferably o n a wheel, painted red, green, and blue; it can be purchased from a n y theatrical or lighting supply house. T h e screen and light are placed d o w n stage. Y o u the performer should be behind the screen. Y o u r assistant turns the w h e e l , so as 51

Secrets of Hollywood Special Effects

to bring, first, the red portion of the gelatin strip before the light, which will m a k e the latter s h o w red. Y o u can m o v e freely a b o u t , as the red light does not affect the luminous material o n the screen. N e x t h a v e y o u r assistant turn the wheel for the green color, and assume the position the shad o w of w h i c h y o u w i s h to appear o n the screen. T h e n h a v e the wheel turned so that the light will s h o w blue and, after y o u h a v e kept y o u r position in the blue light for a few seconds, w a l k a w a y from y o u r shadow, coming in front of the screen. T h e best method of carrying out the trick is to first station y o u r assistant at the light; then tell the assemblage that y o u h a v e the p o w e r to separate yourself f r o m y o u r s h a d o w . Simply step behind the screen, between the light and the screen, and call out, "Red!" T h e assistant immediately turns the wheel to bring the red part of the gelatin strip before the light. A f t e r a f e w seconds, call out, " G r e e n ! " T h e assistant then turns on the green light. Stand a few seconds in the position y o u wish to cast o n the screen, the green light h a v i n g little effect on the luminous material. Still holding the same position call out, "Blue!" T h e assistant immediately turns the wheel to bring the blue portion of the strip on the light. Lastly, call out, " G r e e n ! " This time the assistant turns the wheel to bring before the light a part of the gelatin strip that has been rendered opaque; this shuts off the light. T h e n w a l k a w a y from the screen. T h e onlookers will get the impression that there is a green light o n , because the screen itself w a s sprayed luminous green before the exhibition. A g o o d piece to recite w h e n performing this illusion before children is Robert Louis Stevenson's p o e m " M y S h a d o w , " beginning "I h a v e a little s h a d o w that goes in and out w i t h me. W h a t can be the use of him is more than I can see."

Safety Factors None.

Mud I've been asked m a n y times to m a k e a m u d pit or pile for an actor to fall into, such as in the film The Return of the Living Dead. In this film w e had about 160 scenes of rain and m u d . I had to create everything from little drizzly rains to torrential rain and mud. I also had to m a k e rain that smoked and fried w h e n it hit the ground. In making m u d , y o u can't just take ordinary earth and add water. It's not sanitary. It m a y h a v e animal droppings or chemicals in it, impurities that could cause all sorts of problems for the actors. I w a s w o r k i n g on a s h o w d o w n in M e x i c o , for instance, where an actor jumped into a p o n d for a shot and a d a y later had a rash that prevented him from w o r k i n g for a w e e k . Y o u h a v e to m a k e sure everything is sanitary and disease free. So w h e n w e m a k e m u d in this business, w e use a chemical called methocellulose, w h i c h is a f o o d stiffening device, and fuller's earth, w h i c h is pure g r o u n d c l a y that comes in different colors and grades. Sometimes w e put peat moss o n the surface. A l l these materials are v e r y pure and clean. • materials needed: fuller's earth, vermiculite, methocellulose, peat moss, sand • equipment needed: large steel drums

52

C h e m i c a l Effects

How to Achieve the Effect T h e methocellulose has to be c o o k e d . O n the set of The Return of the Living Dead w e made about 100 gallons of this m u d and poured it over the actors just before they w e n t o n t o the set, and then they crawled up through the graves along the slimy rain-soaked roads. Y o u have to cook it first until it's a v e r y thick and slimy substance. It's clear w h e n you're c o o k i n g it. A d d the p o w d e r v e r y , v e r y s l o w l y to the water as you're cooking it, stirring continuously. N a t u r a l l y w h e n we're making 55-gallon drums of it, w e use big steel steam jennies to heat the water. S l o w l y add the material and keep spinning, until the consistency is nice and smooth, but thick e n o u g h to pick up b y hand. It should s l o w l y drip d o w n like a h e a v y g u m m y substance. After it is c o o k e d , while still w a r m , add fuller's earth to get the color and consistency of m u d . If y o u w a n t a light slimy m u d y o u add m o r e or less to it. A d d vermiculite to lend it some substance, w h i c h gives y o u little lumps and chunks resembling the consistency of m u d . Last, a d d the peat moss, w h i c h provides bigger lumps and stringy substances. M i x it v e r y well and then seal it. Material is safe from bacteria and biodegradable for 10 d a y s of storage. After that it d e c a y s and starts to smell because of the f o o d stiffener.

Safety Factors Stage m u d is actually safe enough to eat. I k n e w the actors were leery about going into the m u d at first because it l o o k e d so slimy and dirty, w h i c h it w a s supposed to b e , so to p r o v e to them that it w a s safe I just t o o k a handful and ate it.

Quicksand • chemicals needed: fuller's earth, vermiculite, peat moss

How to Achieve the Effect T h e hole the actor is going to fall into should be about waist deep and big e n o u g h so that he can s l o w l y a l l o w himself, under his o w n power, to s l o w l y sink under the m u d until his head is completely under. H o w well the effect l o o k s depends o n the actor and h o w b r a v e he is. Simply mix w a t e r , fuller's earth, vermiculite, and peat moss. O n the surface put a lot of h e a v y vermiculite so that it l o o k s solid and add enough peat moss so it resembles ordinary g r o u n d . W h e n the actor steps on it, he will go d o w n . T h e consistency has to be thick to l o o k g o o d , so be sure to add enough fuller's earth and mix well. Y o u can get a g o o d effect this w a y .

Safety Factors R e m e m b e r once again, the most important thing is the safety of the actor. If the actor goes d o w n b e l o w the surface and y o u need bubbles to appear o n the surface, use an air line. Simply take a Vi-inch rubber air line, attach a lead weight to it, and put it at the b o t t o m of the pit. T h e special effects person turns on the air, adjusts it to w h a t the director w a n t s , and then on cue uses a button on the air to release o n l y the desired amount of bubbles.

53

Wire Flying and Levitation

W i r e flying is m y favorite effect and one I've specialized in most of m y life. It is one of the oldest forms of mechanical illusions, dating back to the ancient Greek theatre w h e n mythic gods descended to the stage to decide the final outcome of the drama on clouds, w o o d e n horses, and elaborate chariots operated b y cranes in a theatrical convention called deus ex machina, or "a g o d from a m a c h i n e . " T h e goal then, as n o w , w a s to create the illusion of flying, and it has not changed in some t w o thousand years, though o b v i o u s l y the effect is more sophisticated t o d a y .

Figure 7 - 1 a A s c e n e from the o p e r a Hansel and Gretel at Wolftrap, Virginia, using the Peter Pan flying rig

Audiences h a v e seen it a thousand times in every form of the entertainment media, but they continue to be enthralled b y Peter Pan floating gracefully across the stage, Superman winging his w a y into outer space, a live elephant floating in midair, or even a simple coffee cup hovering, s w o o p i n g , or careening through an otherwise normal kitchen.

Figure 7 - 1 b Stunt professional flying through a d r a w b r i d g e in Miami. A 250-foot m e c h a n i c a l c r a n e w a s u s e d for this effect.

T h e Wire W i r e flying is based totally on the concept of suspension. Simply put, the object to be flown must be attached to the mechanism m o v i n g it. This is accomplished b y the use of w i r e .

Figure 7 - 1 c commercial

S e t u p for flying b i k e s in E.T.

I use the term wire nitely not referring to since the silent screen d a y . Piano wire is the 54

in a highly specific and n a r r o w context. I am defip i a n o wire, though it has been used b y F/X people era and continues to be used in H o l l y w o o d to this single greatest cause of injury to flyers. T h e number

Wire Flying and Levitation

of accidents directly related to a wire that has snapped in mid stunt is appalling. I w o u l d never risk a person's safety b y using a material that I consider dangerous in a n y w a y . In m y experience, airplane cable is the o n l y material that should ever be used on a flying rig. It is a multistrand wire designed for optimum strength and durability. T h e v a r i o u s alloys and specifications (tensile strengths, etc.) used in its manufacture are detailed in Tables 7-3 through 7 - 1 0 at the end of this chapter. T o increase the safety factor (which cannot be overemphasized), I strongly recommend a t w o - w i r e system at all times. This system must, of course, be sized based o n the requirements of the gag to the weight of the flyer. Each gag, of course, requires a harness determined b y the action required of the actor. It is important to note that there are no hard and fast rules (other than safety) that a p p l y , except t w o : 1. 2.

T h e harness must be properly and c o m f o r t a b l y fitted to the performer and designed to p r o v i d e m a x i m u m support while executing the gag. T h e h a r d w a r e mounted on the harness mounting points must be positioned at the perfect balance point (based on the weight, height, and physical axis, or pivot point) of the performer and that the hardware is of the type designed for the m a n e u v e r s .

Shock Cord S h o c k cord is a rubberized cord that comes in different sizes from / s to 2 inches thick. It stretches like a rubber b a n d and gives the actor a floating motion. Shock cord is not intended as a substitute for cable. Its purpose is to p r o v i d e a floating or springing effect. T h e rigging of shock cord is used w i t h cable and a spreader bar. 1

Invisible Cable A flight gag is totally ineffective if the audience is a w a r e of the cable. Various means h a v e to be devised to m a k e it invisible. Blue Screen Process This is basically a traveling matte preparation where the foreground action is p h o t o g r a p h e d against an evenly lit blue backg r o u n d using color negative film. T h e b a c k g r o u n d light exposes through a specific n a r r o w spectrum (cobalt blue) eliminating it from the film's blue spectrum while the foreground p h o t o g r a p h s n o r m a l l y . In printing from the negative through color filters and combining the images in silhouette (through a duplicate negative), mattes, or m a s k s , are prepared. In postproduction the foreground action is overlaid on a n y desired background. In this particular process, blue is "lost" as are the blue-painted cables. If a particular blue spectral b a n d is necessary in the scene, "green" can be substituted. In television, this is achieved electronically rather than chemically. T o use the blue screen process to hide the cable, take the blue paint (cobalt blue) and paint the cable and h a r d w a r e . A l l o w them to dry and the cables b e c o m e invisible. T h i s w a y y o u can use a much stronger, heavier cable and it w o n ' t s h o w . Y o u fly the person in all directions, under the supervision of y o u r director, and the technicians take that particular segment of film and matte a n y b a c k g r o u n d they w a n t — s k y , mountains, w a t e r , and so on. So it l o o k s like the actor is flying through all sorts of dangerous situations. It's one of the oldest tricks in the b o o k . In film this is called blue screen process; in videotape it's called chroma key. 55

S e c r e t s of Hollywood S p e c i a l Effects

Chemicals S p r a y paints, anodized plating, hair spray, Nestle's "Streak 'n T i p s " (used for hair streaking), magic markers, shoe polish, black oxide, copper sulphate w i t h vinegar, and gun bluers are all effective in eliminating reflections and light bounce on flying cables. Background Set b a c k g r o u n d s are invaluable for masking the cables if the actor is in m o t i o n . W h e n stationary, h o w e v e r , the cables are readily discernible. Backgrounds that are dark or h a v e trees or vertical lines make effective masking as does lighting, p r o v i d e d it is flat lighting, thus reducing depth perception (Figure 7-2). N e v e r backlight cable. T r y to "flag," that is, mask off the lights so they do not directly illuminate the cables. This is done to prevent highlighting or flare from being picked up b y the camera lens. A r e a s to a v o i d are shots against the sky and wires crossing in front of the actor's b o d y or costume.

Harnesses There are possibly as m a n y types of harnesses as there are special effects people, but all h a v e three things in c o m m o n : 1. T h e harness must safely secure the performer to the flying apparatus.

Figure 7 - 2 Leonard Nimoy s u s p e n d e d o v e r e s c a l a t o r . C a b l e s are hidden by b a c k g r o u n d .

2. It must fit the job requirements. T h e design for a ballerina is much different in size, weight, and overall appearance than for a fully costumed Santa C l a u s . 3. T h e comfort of the rig for the actor is essential, particularly if the harness must be w o r n for a considerable time. In such instances, customized fitting, although costly, is preferable to a standard harness. T h e materials used in the manufacture of a harness v a r y from belt w e b bing to leather, w h i c h is m y personal preference. Leather is strong, durable, stands up to abuse, and w h e n padded w i t h sheep's w o o l , is quite comfortable. W e b b i n g , h o w e v e r , is a virtual necessity for formfitting costumes. Figures 7-3 through 7 - 1 7 s h o w fifteen basic harness designs. A sixteenth harness not illustrated is the lap belt, similar to seat belts found in older cars.

Figure 7 - 3 W e b b i n g h a r n e s s : front v i e w (left), side view (right). U s e d for flying d a n c e r s s o h a r n e s s d o e s n ' t s h o w under leotards.

Figure 7 - 4 Belt h a r n e s s fits around the waist s o actor is s u s p e n d e d from that point. U s e d mostly a s a safety belt in d a n g e r o u s situations but is hidden b e n e a t h the c o s t u m e . 56

Figure 7 - 5 S a f e t y belt h a r n e s s , a twop i e c e top and b o t t o m , belt primarily u s e d a s a s a f e t y precaution with high rigging.

Wire Flying and Levitation

Figure 7 - 6 J e a n s h a r n e s s : front v i e w (left), s i d e v i e w (right). Made of ordinary j e a n s fitted t w o s i z e s t o o large, p a d d e d and equipped with hardware that b e a r s the w e i g h t .

Figure 7 - 7 T w o p i e c e top and bottom h a r n e s s . A full body rig that is most adaptable and n e c e s s a r y w h e n a variety of flying a n g l e s are required.

Figure 7-8 O n e - p i e c e c u s t o m b o d y suit: front v i e w (left), s i d e view (right). Cable c o n n e c t o r s of all kinds c a n b e p l a c e d w h e r e needed.

Figure 7 - 1 1 Adjustable spinning h a r n e s s : front v i e w (left), side view (right). A torso rig that e n a b l e s the actor to b e s p u n vertically.

57

Figure 7 - 9

Ankle h a r n e s s

Figure 7 - 1 0

Wrist h a r n e s s

Figure 7 - 1 2 Training h a r n e s s : front v i e w (left), side view (right). Used almost e x c l u s i v e l y a s a safety/training rig.

S e c r e t s of Hollywood S p e c i a l Effects

A. B. C. D. E. F. G. H. I.

Figure 7 - 1 3 a A c t o r o n h a n g i n g rig. S e e n in practically e v e r y w e s t e r n , a t w o - p i e c e rig d e s i g n e d to k e e p the a c t o r ' s b o d y straight w h e n h a n g i n g , p r e v e n t i n g injury to n e c k and back.

/8-inch main lifting cable Sliding hangman's noose Cable guide Hanging harness /8-inch cable through center of rope Cable guide O ring Buckles Two /8-inch cable attached to harness D ring and main lifting cables O ring D ring Leg straps

1

1

Figure 1 3 b

Figure 7 - 1 5 Five-point safety harness. Used solely for protection in g a g s of rolling c a r s , c r a s h e s , and similar situations to prevent s e r i o u s injury.

58

1

S c h e m a t i c of h a n g m a n ' s rig

Figure 7 - 1 6 Rappeling h a r n e s s : front view (left), s i d e v i e w (right). U s e d in s t u n t s and by F/X p e o p l e to quickly d e s c e n d a mountain f a c e or to reach a r e a s o t h e r w i s e i n a c c e s s i b l e ,

Wire Flying and Levitation

Cable Connections Both ends of the aircraft cable must, of course, be connected: one end to the harness and the other to the machinery flying the person.

Harness Preparation Built into the harness are relatively simple attachments or h o o k s to which the cable can be linked. These h o o k s are usually secured b y steel plate, copper rivets, bolts, w e b b i n g , and a h e a v y leather backing. T h e specific method used to secure the h a r d w a r e is determined b y weight, design, and safety requirements of the harness. Figure 7 - 1 8

C a b l e loop with Nicos

Cable Preparation Before the cable can be attached to the harness h o o k s , considerable preparation must be done on the cable end itself. T h e cable is formed into a l o o p . This l o o p is then secured w i t h t w o N i c o s , o v a l pieces of metal that are tightly compressed or crimped with a N i c o press. T h e l o o p is thus prevented from separating (Figure 7 - 1 8 ) . T h e attachment of the harness to the Nico'd l o o p is made (essentially) with seven pieces of hardware. 1. Shackle: This is a U bolt/threaded pin-type unit. T h e shackle is fitted to both the cable l o o p and harness, then the pin is slipped through the holes at the end of the U and securely tightened. 2. Nonadjustable bearing Gimballed spinner: This has the appearance of a shackle mounted on an axle to allow it to swivel 360 degrees. The cable is mounted directly to the spinner (Figure 7-20). Figure 7 - 1 9 S n a p s h a c k l e : o p e n (left), c l o s e d (right) u s e d for quick r e l e a s e of c a b l e

3. Adjustable spinner: T h e same as the nonadjustable gimballed spinner except it is mounted on a shaft that is adjustable on a metal plate mounted to the side of the harness (Figure 7 - 2 1 ) . 4. Gimballed swivel spinner: See Figure 7-22. 5. Adjustable Gimballed spinner: Its purpose is virtually identical to the nonadjustable gimballed spinner in that they both provide 360-degree mobility but here the cable is Nico-pressed to the swivel rather than the spinner. T h e choice of either of these devices is at the F/X person's discretion (Figure 7-23). 6. Pop-in swivel: This is used w h e n quick release or attachment to the harness is required (Figure 7-24). 7. Back plates: These are used to pick up the flying actor from the back only (Figure 7-25).

Figure 7-20 Nonadjustable bearing spinner

Figure 7 - 2 1 Adjustable spinner

Figure 7-22 Gimballed swivel spinner

Figure 7 - 2 3 Adjustable gimballed spinner

Figure 7 - 2 4

59

Pop-in swivel

Figure 7 - 2 5

B a c k plates

S e c r e t s of Hollywood S p e c i a l Effects

S p r e a d e r Bars A spreader bar is a square section of h e a v y steel tubing with welded eyebolts attached to it. T h e cables leading from the flying harness are then attached to these eyebolts using the Nico-press system or, if the Nicos are unavailable, cable clamps. T h e spreader bar serves three functions: 1. It keeps the several cables attached to the actor's harness from becoming entangled (or entangling the actor) as he or she executes the required movements. 2. It provides a balance point for the actor. In order to fly properly, the actor's b o d y must be stabilized, m u c h like neutral b u o y a n c y . W i t h o u t these balance points he or she w o u l d be out of control and unable to perform the directed action. 3. It controls the vertical, horizontal, and spinning m o v e m e n t s of the performer. Balance points are maintained b y t w o cables attached to either side of the performer at a n y w h e r e from belt level to approximately 7 inches d o w n the hip. O n c e these points are established on the individual, the pins can be adjusted on the harness for the greatest balance. T h e spreader bar is then attached to a spinner, the main flying cable, or directly to the flight mechanism itself. It is imperative that the closest attention be paid to all ning, rigging, and safety w h e n using these devices, as the tually no control o v e r their maneuvers. T h e responsibility of the offstage F/X people w h o manipulate the spreader

phases of planactors h a v e virlies in the hands bar b y rope.

If y o u h a v e t w o people on one spreader bar, they must either be the same weight or weights must be added to balance their weights. H o w m a n y individuals that can be flown on one spreader bar is determined b y the size and strength of the bar itself and of the flying crane. I've flown as m a n y as six people at one time from a single bar on a 40-foot flying crane, although this is not c o m m o n . A Vi-inch rope is attached to the I bolts at either end of the spreader bar in order to maintain direction and control of the person flying (Figure 7 - 2 6 a - d ) .

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Wire Flying and Levitation

Flying Rigs There are several basic systems used to create flying effects plus innumerable variations on these designs. For the most part, special effects people are limited only b y the requirements of the job and their o w n imaginations.

Figure 7 - 2 7

35-foot c r a n e u s e d in flying

Be that as it m a y , flying rigs are controlled either b y cranes or overhead track systems, except in the case of the pendulum or Peter Pan rig (see page 65 for discussion). O n e type is suspended and w o r k s off an I beam. T h e other, regardless of w h a t it hangs from, w o r k s from a traveler track. M o r e important than h o w the flying rigs are hung are the rig's different directional capabilities, different methods of operation, different methods of lifting (using sand bags, steel, or lead weights), and the different techniques of setting up the rig itself (using sheaves, hemp rope, pulleys, etc.). O v e r h e a d track systems, whether I-beam mounted or on traveler tracks, h a v e similar design characteristics in that they: 1. both use similar rigging on main support b e a m s 2. both are counterweighted b y steel, lead, or sand b a g weights 3. both h a v e traveler stops 4. both use essentially the same h a r d w a r e 5. both h a v e adjustable floor sheaves and braking systems

Figure 7-28a at one time

40-foot c r a n e flies four p e o p l e

Figure 7 - 2 8 b

Pivoting m e c h a n i s m for

65-foot crane

6. both use some form of traveling carriage 7. both use wheels to m o v e the carriage or to m o v e the rig along the lower inner lip of the I b e a m 8. both use a pipe as a connector between the main supporting member and the flying rig

Figure 7 - 2 8 c 65-foot flying c r a n e with 1000-pound c a p a c i t y

Figure 7 - 2 8 d rain bar

35-foot c r a n e rigged with

Flying Cranes Cranes are large, h e a v y , metal support systems consisting of a moveable arm extension, or b o o m , to w h i c h a spreader bar is mounted. The b o o m is fixed on a vertical pivoting axis and mounted on a wheeled base for mobility (Figure 7-27). T h e b o o m can be raised or lowered, spun 360 degrees on its axis, and rolled free wheel or on tracks across sound stages, around corners, and through streets. A l l these maneuvers can be performed individually, sequentially, or simultaneously.

Figure 7-28e or people

150-foot c r a n e for flying o b j e c t s

B o o m lengths v a r y from 35 to 250 feet or more as the shot (camera angles, flying height, etc.) requires. In m y experience, I've found 35- and 65-foot b o o m s to be fully versatile allowing me to execute complex flight w i t h t w o actors on the 35 footer, and w i t h as m a n y as six on the 65 footer. A l t h o u g h these machines are quite mobile, their size and weight require crews of three or more (Figure 7-28 a - e ) . 61

Secrets of Hollywood Special Effects

Cranes fall into categories defined b y their methods of operation. For simplicity, I've titled them counterbalance and mechanical. T h e counterbalance crane is used for silent operation (as on a sound stage). T h e crane is operated manually. S m o o t h , fluid, and precise control of the b o o m is achieved b y metal weights (lead or steel) mounted on the b o o m behind the pivot axis. These weights equal the combined weight of the b o o m and the flying load suspended from the end of the b o o m . This method of counterbalancing provides a load-lifting ratio of 2 to 1; for example: 100 pounds to be lifted requires 200 p o u n d s on counterweight to equal a balance. T h e mechanical crane is identical in most aspects to the counterbalance crane except that winches, d r a w n b y electric, gas, diesel, hydraulics, pneumatic, or hand p o w e r , control its m o v e m e n t . Its noisy operation makes it unsuitable where sound is a consideration.

Two Types of Flying Track In the simplest terms, a flying track is an overhead, mounted I-beam that guides the m o v e m e n t of a flying rig from one point to another. The Heavy-Duty Curtain Traveler Track This is illustrated in Figure 7 - 2 9 . It is used o n l y for flying one person at a time. It is used mainly in theatre. The I-Beam Extra Heavy Duty Flying Track This is illustrated in Figure 7-30 and is used for both people and h e a v y objects. Its primary use is in film and television. T h e t w o - and four-directional stationary flying traveler track can be rigged identically and made as long as needed. A l l the figures s h o w n in this section are rigged w i t h the I-beam track.

Overhead Directional Flying Track Systems There are t w o standard variations on one design, each h a v i n g a specialized function. T h e y are similar in that the units are maneuvered b y hand-pulled ropes or cables, assisted b y a series of b l o c k counterbalance weights. T h e system is attached to I b e a m s or traveler tracks. T h e major difference in the t w o designs is in the rigging of the track. T h e tracks can be raised or l o w e r e d , remain stationary, or be rigged directly to an overhead grid. From there, the carriage, w h i c h does the traveling, is attached to the track. Two-Directional Stationary Track This is exclusively a two-rope, t w o m o v e m e n t system. By pulling the onstage rope, the actor m o v e s on stage; b y pulling the offstage rope, the actor does the reverse (Figure 7 - 3 1 ) . Four-Directional Stationary Track This is a system that uses a carriage that m o v e s the actor. It has a f o u r - w a y capability: on- and offstage and higher or l o w e r . W h a t differentiates the stationary track is that the carriage m o v e s while the track remains fixed (Figure 7-32). It is used mainly in theatre, T V studios, and film studios.

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63

Secrets of Hollywood Special Effects

Four-Directional Flying Traveler Track

T h i s a g a i n uses a carriage. T w o

sets of t w o ropes e a c h are e m p l o y e d in this rig. In this instance, the track m o v e s u p a n d d o w n w h i l e the carriage m o v e s right or left (Figure 7 - 3 3 ) . T h i s is used m a i n l y in the theatre. Four-Way Flying Traveler Cable Rig

T h i s is used p r i m a r i l y o u t d o o r s for

flying extended lengths. T h i s rig c a n b e stretched b e t w e e n t w o m o u n t a i n s for 1000 feet or m o r e as l o n g as b o t h ends are in solid a n c h o r s . T h e on-offu p - d o w n capabilities are inherent in the rig. It is similar t o a track system b u t w i t h o u t the track, a n d necessitates a c a b l e carriage (Figure 7 - 3 4 ) . It is used in film, o u t d o o r s , a n d at r o c k a n d roll c o n c e r t s .

Drawings not to scale

A. B. C. D. E. F. G. H. 1. J. K. L. M. N. 0. P.

Beam Heavy-duty s h e a v e S h e a v e bolted through beam Vi-inch cable Heavy-duty double s h e a v e Heavy-duty hemp s h e a v e 2 inch hemp rope Pipe Welded connectors 1 beam Carriage stop Center s h e a v e Heavy-duty D. ring /64-inch flying cable D ring Shackle 3

Figure 7-33

Q. Ft. S. T. U. V. W. X. Y. Z. AA. BB. CC DD. EE.

D ring D ring Spreader bar cable Spreader bar Swivel Nico-pressed cable On/off rope D ring Flying Harness Counterweights Bolted to floor Adjustable s h e a v e Adjustable floor s h e Hemp brake Turnbuckle

A. B. C. D. E. F. G. H. 1. J. K.

Cable traveler carriage D ring Sheaves Turnbuckle Sheave /2-inch rope D ring Sheave Heavy duty s h e a v e Main s h e a v e (heavy duty) Double s h e a v e spreader bar 1

Figure 7-34

Four-directional flying traveler track

M. N. 0. P. Q. R. S. T. U. V. X.

Spreader bar /64-inch flying cables Harness Adjustable floor s h e a v e Welded D ring Counterweights Welded D rings Beam 1-inch cotton rope Pole V2 inch main cable 3

Four-directional flying traveler cable. As long as

both ends are in solid anchors, this rig can be stretched between two mountains for 1000 feet or more. 64

Wire Flying and Levitation

Two-Directional Flying Counterweight Rig This rig provides only u p and d o w n - m o v e m e n t and is a single cable system (Figure 7-35). This is used m o s t l y in film studios and for television. Two-Directional Flying Sandbag Rig T h e sandbag rig is identical to the counterweight rig except for the use of sandbags in place of metal weights (Figure 7-36). This too is used mainly in film studios and for television. Two-Directional Flying Block and Fall Rig It affords only u p - and d o w n m o v e m e n t , but it has the mechanical a d v a n t a g e of a 5 to 1 energy-to-load lift ratio (Figure 7-37). This is used in film and television. The Pendulum Rig (Peter Pan Rig) This rig is the most complicated of all flying devices and demands the most comprehensive rehearsal and coordination between the effects person and the performer (Figures 7-38, 7 - 3 9 , and 7-40). This rig is used almost exclusively in the theatre. T h e Peter Pan rig is controlled b y a single continuous rope manipulated from offstage. From the effects person's position, the rope is run u p to the fly gallery and through the Peter P a n mechanism. From there it is connected to a cable across the grid and o v e r a sheave located directly a b o v e center stage. T h e cable continues d o w n to a spreader bar from w h i c h t w o cables are strung d o w n , connecting it to the flight harness. Center stage is defined as the lowest point of the p e n d u l u m swing. O n c e b e g u n , almost e v e r y aspect of the flying (height, radius, and speed) is done b y the F/X person through rope manipulation. Pulling 65

Secrets of Hollywood Special Effects

66

Wire Flying and Levitation

d o w n on the rope raises the actor. C o n v e r s e l y , the actor is lowered b y feeding rope out. It is a simple process of increasing or decreasing the rope length. T h e three important elements of flight are height, radius, and particularly speed. A n ordinary fishing weight on a string will clarify the physics i n v o l v e d . Tie the loose end of a string to one finger. H o l d the weight in the other hand at shoulder height. W h e n y o u release the weight, it will swing s l o w l y like a pendulum in b r o a d arcs until it gradually stops. B y shortening the string, the weight will arc faster and stop sooner. Repeat b o t h experiments, but this time twirl the weight in a 360 degree circle and notice the relatively slow speed of the large radius of the long string versus the increased speed of the shorter radius. If y o u imagine the w e i g h t as the actor, strung w i t h rope and cable instead of string, it is o b v i ous that in order to fly from high to l o w , l o w to high, in tight circles, or in s w o o p i n g glides over the heads of the audience, the flight must be controlled b y the F/X person's manipulation of the rope. T h e complexity is readily apparent, just as the exacting coordination between the flying team should be. It demands intense concentration and rehearsal to land someone on a light bulb or c o m e to a smooth stop on the stage.

Slide for Life T h e slide for life is basically a circus rig but is often used in m o v i e stunts demanding a lengthy hand-held slide d o w n a rope. Either hemp or cable m a y be used and the height, length, and angle of descent varies but is usually approximately 45 degrees. A

thick piece of leather or rubber covered w i t h harness w e b b i n g is

w r a p p e d around the slide as a grip and is protection for the hands during the descent (see detail in Figure 7 - 4 1 ) . H a n d pressure is used to control speed. A safety catcher with a rope at the b o t t o m of the run protects the person if he or she loses control. T h e slide is used in film, television, and the circus. A sheave on the cable or rope is sometimes used as a variation of the slide (see top left of Figure 7 - 4 1 ) . A safety h o o k is attached to the rope Drawing not to scale

Figure 7-41 67

Slide for life

Secrets of Hollywood Special Effects

and to the flyer in case the flyer loses his or her grip. It is used in film and for television.

Hanging Rig T h e hanging rig is used w i t h the previously described hanging harness (see page 58). A cable located in the center of a hemp rope is fitted behind the actor's neck where the cable is attached to the harness through the cable to the waist. A hangman's noose, designed to slide up and d o w n , is knotted f r o m a second piece of hemp and fitted around the actor's neck and fitted w i t h false rope. It is not attached firmly, rather it's designed to slide w i t h the actor w h e n he or she drops.

Teeter Board (Teeter-Totter) T h e teeter b o a r d is as elementary as a seesaw. T h e actor stands on one end while sandbags counterweight the opposite side. T h e crew pushes d o w n on the b a g s , the actor rises, and vice versa to l o w e r him or her. Turns of 360 degrees can be done b y attaching a spinner to the teeter b o a r d . C a r e must be taken that the performer is balanced and able to adjust to changing angles and that the crew steadies the device as they m o v e it to prevent s i d e w a y s slippage (Figure 7-42). T h e scene is shot in three sequences. First, f r o m the waist up as the actor rises, then a cut to the actor's feet showing n o support as he or she is raised (off camera) from a bar-supported rope. T h e n w e cut to a master shot of the actor floating, w h i c h uses a flying rig and harness. C a u t i o n : A d v i s e the actor never to step off the teeter b o a r d until the weight at the other end has been removed. Rotating the teeter b o a r d w i t h a camera mounted o n it will give the appearance to the camera that the r o o m is spinning.

Flying Safety 1. Use this and the following checklists and constantly update and revise them. 2. D o u b l e - and triple-check everything: harnesses, fastenings, w e b b i n g , 68

Wire Flying and Levitation

leather bindings, cables, bolts, nuts, rivets, lacing, buckles, grommets, thread, padding, and glued seams. 3. N e v e r use a cable more than once. If it's been used all day, destroy it and replace it w i t h a n e w cable. 4. T h o r o u g h l y rehearse b o t h performers and crew in procedures. 5. For all effects, but most especially those dangerous or possibly dangerous effects such as flying or levitation, a v o i d distractions. W h e n a person is harnessed and attached to a rig, always keep y o u r total attention o n him or her. Never leave y o u r post at a n y time for any reason. 6. W h e n w o r k i n g w i t h counterweight systems, remember that the person being "lifted" has been balanced b y counterweights. If y o u r e m o v e the person from the rig, y o u must first r e m o v e the counterbalance weight or override it. 7. N e v e r use shock cord as the weight-bearing support. A l w a y s back it up w i t h cable. 8. H a r d w a r e strengths are detailed in the appendices, and y o u should be t h o r o u g h l y familiar w i t h them. N o t e that breaking strength and working load are not interchangeable terms. This is true of both rope and cable. For example, in flying a 200-pound m a n o n a cable rated at a breaking strength of 1000 p o u n d s , the actual w o r k i n g load is only one-fifth of 1000 p o u n d s or 200 p o u n d s . Since the proper rigging is w i t h t w o cables (not one) y o u h a v e n o w created a m o r e than acceptable 10 to 1 safety factor. Regarding h e m p , the w o r k i n g load in most cases is 10 to 1 on a single line. C h e c k y o u r specification charts for exact statistics (see the end of this chapter, T a b l e 7 - 1 2 for hemp specifications and Tables 7 - 1 3 through 7-20 for other rope specs). 9. A l w a y s use double N i c o s on all cable attachments. 1 0 . W h e n flying an actor, y o u must not o n l y be a w a r e of him or her but also the position of other actors, crew, scenery, production equipment, and so o n . This is w h y y o u rehearse. 11. W h e n w o r k i n g in proximity to electrical equipment, the gaffer must g r o u n d the flying rig. 1 2 . O n e of the most important things in flying is the chain of c o m m a n d . In films, it w o r k s like this: A t the top is the director, then the first assistant director, special effects director or lead special effects person , and then the special effects c r e w . T h e special effects crew never takes orders f r o m a n y o n e except the special effects director or the lead special effects person. This hierarchy a v o i d s a n y confusion and assures the safety of the person in the rig.

Flying Checklist O f all the million things to remember about flying, the safety of the person y o u ' r e flying is number one. C o n s e q u e n t l y , all y o u r equipment must be in first-rate condition and weighted for the person or actor you're flying. T h e f o l l o w i n g safety checklist should be observed w h e n e v e r you're flying anyone.

Condition of the Harness W h a t is the actual visual appearance and general condition of the harness? C h e c k for stains. C h e m i c a l and paint stains can affect the material and therefore the safety of the harness. 69

S e c r e t s of Hollywood S p e c i a l Effects

1. Rivets: C h e c k for w e a r , looseness, loose washers, or missing washers. 2. Bolts: C h e c k for loose bolts, d a m a g e d threads o n the bolts, loose washers, or a n y missing hardware of a n y t y p e — b o l t s , washers, or nuts. 3 . Grommets: L o o k for a n y loose, d a m a g e d , or missing grommets. 4. Webbing: C h e c k for fraying, cuts, b r o k e n or loose threads, w e a r or d a m a g e of a n y kind, especially at buckles, clips, clamps, and straps. 5. Leather: C h e c k for w e a r and for b r o k e n or frayed threads. Check for glue that is separating on the seams or from the padding. Check for brittleness, w e a r , or damage of a n y kind, especially at buckles, clips, clamps, straps, and mounting h a r d w a r e . 6. Padding: C h e c k to see that threads aren't b r o k e n or w o r n ; check seams for separation. 7. Seams: C h e c k all seams t h o r o u g h l y . In leather harnesses most seams are glued. A t this point, repeat this procedure once again!

Preparing the Flying Cables 1. C h e c k w i t h the cameraman or director to find out the headspace or distance between the spreader bar and the actor's head. O n some shots it's a v e r y short distance, just a couple of feet. O n long shots y o u m a y need as m u c h as 20 to 30 feet. 2. C u t cable 6 inches longer than the required length to m a k e loops on either end of the cable. These l o o p s p r o v i d e the linkup to the harness and spreader bars. 3 . L o o p each end of the cable to the required size, pressing t w o Nicos on each l o o p . Leave Vi inch of cable free, a b o v e the top N i c o . M a k e sure there is Vi to Vi inch between the t w o N i c o s . 4. C h e c k the N i c o s v e r y closely to m a k e sure they've been properly pressed. If y o u see any flat edges, replace the N i c o and size it. 5. A t t a c h one cable to each side of the spreader bar using a shackle. 6. A t t a c h the spreader bar to y o u r flying device b y means of a shackle, sized to the length y o u need. 7. Raise the cables approximately 3 feet off the floor and h a v e the art department paint them the color required for the scene, or h a v e them chemically treated for masking. A l l o w the proper time for the cable to dry. In some cases, the cables will be treated chemically to blacken them. A l s o a l l o w time for the chemicals to d r y before using. A l w a y s keep flying cables suspended in the air. N e v e r leave them on the floor where they can be stepped on or rolled o v e r b y scenery or props and be d a m a g e d . 8. Before each use of the cable, inspect the cable closely for w e a r , fraying, or d a m a g e . T h e slightest bit of damage means the cable should be replaced immediately. 9. T h e best w a y to inspect a cable for damage is to take y o u r thumb and forefinger and, starting at the top of the cable, squeeze gently on the cable and run y o u r fingers d o w n it v e r y s l o w l y . This procedure will reveal a n y nicks and burrs, no matter h o w slight, w h i c h means it should be replaced immediately.

Fitting the Person to the Harness 1. A t this stage, the most important thing is the comfort of the actor. H a v e the actor, w a r d r o b e mistress, or w h o e v e r is dressing the person 70

Wire Flying and Levitation

put the harness on the actor, leaving all buckles, straps, and ties loose, so y o u can check for a n y padding that m a y be required. 2. Tighten all straps, buckles, w e b b i n g , and ties. A t this time do not put in a n y extra padding. 3. Using the h o o k s on the side of the harness, raise the actor a few inches off the g r o u n d and check the fitting. If there are any spots in the harness that feel rough or tight or are creating a problem, put in sheep's w o o l padding until it is comfortable. 4. M o s t stock harnesses will not fit the person well, so you'll need padding. H o w e v e r , custom-fitted harnesses can be as comfortable as a pair of jeans. 5. O n harnesses that h a v e their lifting devices on either side, heavy-duty padding will keep the i n w a r d pressure off the person. This can be seen in the series of harness illustrations. 6. Gaffer's tape or black camera tape should be w r a p p e d over and around the N i c o presses. This w a y , the actor w o n ' t get nicked from the Nico presses or the cable sticking out of the end of the N i c o press. 7. H o o k the cable to the predetermined device o n the harness. 8. Put the required amount of counterweight to balance the actor in the weight carriage and s l o w l y lift the actor a few inches off the ground. G i v e the flyer all the time needed to feel comfortable and safe. Assure them of the safety of the rig. M o s t actors h a v e never f l o w n before and w a n t to l o o k natural while they're flying, so they need all the confidence y o u can give them regarding the safety of the procedure.

Actor's Instructions For harnesses of the spinning type (Superman), the actor needs certain specialized instructions. O n c e the actor's balance point has been found b y positioning the m o v a b l e pins in the harness, he or she can control certain m o v e m e n t s w i t h the b o d y . T o lay o v e r and fly like Superman, they can change the position of their arms to affect their balance point. 1. T o g o from flying to a vertical landing position, the arms are pulled close to the chest. 2. T o dive, the arms are stretched out horizontally while the legs are pulled into the b o d y . 3. T o m o v e from a dive into a spin, duplicate the previous movement until upside d o w n , then straighten the legs keeping the arms out, which results in a 360-degree vertical circle. 4. If the person is on a spinner attached to a spreader bar, he or she will be able to execute 360-degree horizontal circles. A l l other m o v e m e n t s up and d o w n , right or left, in and out, are controlled b y the F/X person o n the flying rig.

Levitation Levitation, unlike flying that e m p l o y s cable, uses steel lifting bars, strategically mounted extensions, or "fingers" projecting at 45-degree angles and a lifting mechanism. T h e person rests on padded fingers that are masked. Offstage the free end of the lifting bar is connected to a lifting machine that controls the speed, height, turns, and spins according to the choreography 71

S e c r e t s of Hollywood S p e c i a l Effects

Figure 7 - 4 3

Rhythm and b l u e s , Gemini and t h e P l a n e t s

(Figure 7-43). T h e following are just a few of the effects that are possible using levitation.

Floating Piano T h i s rig is similar in theory to other such rigs except for the addition of counterbalancing weights. T h e lifting bar is attached to the piano and counterbalanced at its other end offstage (Figure 7-44). It has been used on television b y Steve Allen, Roger Williams, Liberace, rock groups, E . L . P . , and Earth, W i n d & Fire. A s an example of h o w elaborate this can levitated Steve Allen and his piano as he stage while the entire unit spun in circles. parted s h o w i n g nothing supporting the operation.

become, I once (and only once) p l a y e d . He floated on and off A s a topper, the b a c k curtains rig, a difficult and expensive

Floating Drums T h e same rigging as just described except drums replace the piano. It has been used on television b y B u d d y Rich and Earth, W i n d & Fire. In some instances tributary bars and fingers m a y be required on the central bar for m o r e complex maneuvers (Figure 7-45). 72

Wire Flying and Levitation

Drawings not to scale

A. B. C. D. E. F. G. H. 1. J. K. L.

One-ton chain lift Chain 1-inch hemp s h e a v e Heavy-duty D rings Shackle Heavy-duty bearing Steel bearing frame Steel supports Hemp brake Steel braces Steel and wood b a s e Coupler

M. N. 0. P. Q. R. S. T.

U. V. W. X

Handle joints Steel bars Counterweight carriage bearings End bolts Counterweights Curtain Piano coupler Lifting frame Carriage Spinning handles One-way casters Actor Figure 7-44

A. B. C. D. E. F. G. H. I. J. K. L.

One-ton chain lift Chain 1-inch hemp sheave Heavy-duty D rings Shackle Heavy-duty bearing Steel bearing frame Steel supports Hemp brake Steel braces Steel and wood b a s e Coupler

Floating piano

M. Handle joints N. Steel bars 0 . Counterweight carriage bearings P. End bolt Q. Counterweights R. Curtain S. Piano coupler T. Lifting frame U. Carriage v. Spinning handles W. One-way casters X. Magician's assistant

Figure 7-45 73

Floating drum set

Secrets of Hollywood Special Effects

Air Cylinder Levitation T h i s device is comprised of a cylinder of compressed air that drives a telescoping tube u p and through a d u m p v a l v e that releases the air to l o w e r the telescope. It must be used in conjunction w i t h counterweights, a lifting bar, and an air cylinder unit. G u i d e wires control s w a y i n g from side to side (Figure 7-46). T h e air cylinder, or pneumatic, levitation machine has several a d v a n tages o v e r other systems in specific situations. A few cases in w h i c h they c o m e into their o w n are w h e n electrical p o w e r is limited, if there are space constraints where large rigs cannot be used, and instances w h e n flying sequences are limited to close-ups, making it unreasonable and unnecessary to set up large cranes.

Flying Inanimate O b j e c t s Earlier I spoke of the dangers of using piano w i r e for flying. T o clarify, I should state that I w a s referring specifically to the flying of people. M o n o f i l a m e n t and piano wire are necessary to fly props or heavier objects, such as cups, dishes, candles, and so o n , w h e r e invisibility takes precedence o v e r strength. 74

Wire Flying and Levitation

Monofilament I M o n o f i l a m e n t is fishing line, manufactured from plastic-based materials. It is lightweight, strong, and simple to w o r k w i t h . Unlike cable, monofilament connections are tied. A ten-wrap Fisherman's tie is the most suitable knot (Figure 7-48). T h e major disadvantage of monofilament is its limited weight-bearing abilities and its intolerance to lacquer, acetone, thinners, paint sprays, and the like. These chemicals tend to q u i c k l y dissolve the bonding structure, m a k i n g the monofilament useless. Specs for monofilament are c o m m o n l y referred to as test strength, such as " 1 0 - p o u n d test line." It's a guaranteed stress limit, w h i c h is a l w a y s m a r k e d on the b o x or spool of line purchased. O n e thing to remember a b o u t monofilament is that it is affected b y heat. So be v e r y careful that y o u don't put it: near lamps or heaters of any t y p e . W h e n monofilament c o m e s close to h^at, it stretches and eventually breaks. By stretching, it t h r o w s everything off balance. Be sure to keep it a w a y from the hot spots of lights. M o n o f i l a m e n t is easy to mask w i t h black magic marker or Nestle's Streaks 'n T i p s , m a k i n g it ideal for projects requiring invisibility. In addition, a b r o w n monofilament is manufactured that often solves the masking problem quite satisfactorily. \ O n e - or 2-pound b r o w n monofilament is^ virtually invisible, both to the eye and to the camera. So w h a t can y o u d o if y o u h a v e a product that weighs 5 p o u n d s and y o u need that invisible l o o k that c o m e s from 1- or 2-pound m o n o ? V e r y simply, keep adding additional lines and balancing the item until y o u h a v e enough lines to at least double the weight of the object. For example, if y o u h a v e a 1-pound line and y o u h a v e 5 pounds to lift, put eight or ten lines o n the p r o d u c t . T h e y ' l l never be seen. T h e important thing w h e n adding lines is to keep an even tension on each line w h e n lifting. T h i s can be accomplished b y using small turnbuckles on each line (Figure 7-49). It's extremely important to keep identical tension between the rig that y o u ' r e attached to and the object that's being f l o w n . Lift it evenly to ensure even weight distribution. This will allow a v e r y s m o o t h , floating l o o k . T h e m e t h o d b y w h i c h y o u secure the line is also important. Use certain types of glue such as K r a z y G l u e or some of the t w o part (A-B) glues that are in spray bottles. If y o u cannot glue the product for some reason, drill a hole through the product and use a long sewing needle to thread the monofilament through these holes, out the other side, and b a c k up to y o u r rig, giving y o u one continuous line through the p r o d u c t . These holes should be drilled about three-quarters of the w a y up the height of the product.

Flying a Bottle W h e n flying a bottle, drill holes about three-quarters up the side of the bottle. T h i s keeps it in g o o d balance. By making the line continuous, y o u can easily adjust the bottle or angle the bottle from side to side. A third line enables y o u to tip the bottle and pour out a small amount of liquid. R u n this line to the b o t t o m center of the bottle and glue it. Then run the line up to the rig. B y lifting o n this line, the bottle will tip. D o not overtip the bottle, or the bottle will flip. T h e same method can be used on cups and glasses. A g o o d example of flying small objects can be seen in the films Zapped and Zapped Again.

75

Secrets of Hollywood Special Effects

Piano Wire W h e n greater strength is important, p i a n o w i r e can be employed. Piano w i r e is a l w a y s made from metal, either steel or a tin a l l o y . It can withstand considerable chemical abuse and therefore is easy to conceal. T w o choices for piano w i r e are high carbon metallic tinned wire and Wilstabrite, a stainless steel w i r e . T a b l e 7 - 1 , High C a r b o n Metallic Tinned Piano Wire, and T a b l e 7 - 2 , Wilstabrite W i r e , s h o w specs p r o v i d e d b y the manufacturers that are estimates o n l y and though not guaranteed are as close to accurate as possible. O f the t w o p i a n o wires, Wilstabrite resists painting and therefore is used o n l y in limited situations. Wilstabrite does h a v e the f o l l o w i n g characteristics: full hard temper, bright polished finish, true to gauge, absolutely round and s m o o t h , diameters f r o m .003 to .102 inclusive, t o b a c c o b r o w n finish, nonglare and invisible in w a t e r , stainless steel w i t h a small amount of silver to give it softness and still retain a high strength. Connections w i t h piano w i r e are also made w i t h knots as f o l l o w s : Figure 7-50

Tight-wrap tie using piano wire

1. T h e tight or close w r a p p e d knot is best w h e n the point of attachment must be concealed. T h e knot can q u i c k l y and easily be made w i t h the help of a w r a p p i n g tool (Figure 7-50).

TABLE 7 - 1 HIGH CARBON METALLIC TINNED PIANO WIRE

TABLE 7 - 2

Wilstabrite Hard Wire Leaders and Lures

Estimated Breaking Number

Diameter

WILSTABRITE WIRE AND LINES

Stress Breaking

(pounds) Number 2

3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

.011 .012 .013 .014 .016 .018 .020 .022 .024 .026 .029 .031 .033 .035 .037 .039 .041 .043 .045 .047 .049 .051 .055 .059 .063 .071

Wilstabrite Soft Wire M o n e l - T r o l l i n g Lines, etc.

28 34 39 46 60 76 93 114 136 159 198 226 256 288 322 358 396 435 477 520 565 612 712 820 935 1188

2

3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

Diameter

.011 .012 .013 .014 .016 .018 .020 .022 .024 .026 .029 .031 .033 .035 .037 .039 .041 .043 .045 .047 .049 .051 .055 .059 .063 .071

Stress

(pounds)

27 32 38 44 58 69 86 104 119 140 174 188 213 240 267 297 330 362 397 432 470 479 556 641 730 846

Breaking Number

4/0 3/0 2/0 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

ONLY USE THIS WIRE FOR FLYING O B J E C T S , NEVER T O FLY PEOPLE 76

Diameter

.006 .007 .008 .009 .010 .011 .012 .013 .014 .016 .018 .020 .022 .024 .026 .029 .031 .033 .035

Stress

(pounds)

3 4 5 1/2 6 1/2 8 1/2 10 12 14 16 20 25 31 38 45 53 65 74 84 95

Wire Flying and Levitation

2. If m a s k i n g the point of attachment is not a concern, a butterfly tie w o r k s ideally (Figure 7 - 5 1 ) . W h e n e v e r p i a n o wire is tied, m a k e a special effort to prevent it from kinking, w h i c h w o u l d cause the wire to break. A s w e mentioned before in our discussion o n monofilament, y o u can use m o r e than one line to obtain an effect w h e r e y o u can only use a 1- or 2-pound monofilament. T h e same principle applies to piano wire. If y o u need that invisible l o o k , use as m a n y wires as needed to m a k e up the weight specification of the object. You'll achieve the same results. A l w a y s use turnbuckles between y o u r w i r e and y o u r rig, w h i c h will allow for a perfect adjustment.

Object-Flying Crane Since a 60-foot crane w o u l d be inappropriate to fly an 8-ounce glass of orange juice, the object-flying crane is a v i a b l e substitute. T h e b o o m from w h i c h the object is f l o w n can be either fixed or telescoping as m a y the vertical p i v o t a l axis on w h i c h it is m o u n t e d . Both the b o o m and the vertical axis ride on a dolly platform. T h e controlling (back) end of the b o o m must be counterbalanced to afford the greatest sense of maneuverability. A series of sheaves and pulleys on the side of the b o o m enhances the unit's versatility b y allowing in- and o u t - m o v e m e n t . In appearance, the objectflying crane is similar to a mike b o o m (Figure 7-52).

77

S e c r e t s of Hollywood S p e c i a l Effects

Trip R e l e a s e s In big action scenes such as an earthquake, buildings are shown being b l o w n up. There are images of ceilings and b e a m s falling, walls collapsing, trees being hit b y lightning and dropping to the ground, tons of dust and debris swirling onto the set and onto the actors. A l l these effects use a device called a trip release. Figures 7-53 through 7-58 illustrate 12 different types of mechanical trip releases. O f course, there are m a n y others. T h e y c o m e in different sizes and shapes, but all h a v e one thing in c o m m o n : Trip releases are mechanical devices that secure objects suspended or restrained until they are disengaged b y a m a n u a l , electrical, or pyrotechnic trigger. O t h e r types of trip releases that use a p y r o device to trip them will be discussed in Chapter 10, P y r o technics.

78

Wire Flying and Levitation

Drop Boxes and Drop Bags D r o p boxes h a v e a release d o o r that is also tripped b y pulling a rope or cable. W h e n the d o o r opens, it releases all the debris inside the b o x onto the actor or scene all at one time (Figure 7-59). D r o p , or trip, bags are the same in principle as drop boxes, the difference being that instead of all the debris dropping at one time, it can be dropped at v a r i o u s intervals, depending on h o w fast or slow the bag is raised or lowered (Figure 7-60).

79

Secrets of Hollywood Special Effects

Cable Slings C a b l e slings are often used as rigging tools. T h e various configurations of cable slings are designed to d o one thing: lift. Whether doing stage, television, or m o t i o n picture rigging, it is absolutely imperative that y o u be familiar w i t h all of the different cable slings in order to m o v e materials of virtually a n y weight from one place to another (Figure 7 - 6 1 ) . These slings h a v e often been used in logging films, such as Sometimes A Great Notion, in the lifting and m o v i n g of logs but more often they are used behind the scenes to handle h e a v y , a w k w a r d , and b u l k y objects. In the television commercial that s h o w s a car being l o w e r e d onto a high mesa in the desert, a cable sling w a s used to attach the car to the helicopter.

The rated capacity of any sling d e c r e a s e s a s the leg angle from the vertical increases. Tension increases in each leg of a multiple-leg sling (or bride hitch) at the angles of 0, 30, 45, and 60 degrees.

Multiple-leg cable slings Figure 7-61 80

Cable slings

Wire Flying and Levitation

T h e Dead Man Rig T h e term dead man rig, like so m a n y other names given to special effects riggings, tools, and h a r d w a r e , is more an image than a definition of form or function. If y o u ask w h y the rig is called that, y o u will most likely get a strange l o o k and the answer, ' " C a u s e it's a l w a y s been called that. Can't y o u see it's buried?" W e l l , sometimes it is and sometimes it's not, which is w h y there are b e l o w g r o u n d and a b o v e g r o u n d dead man rigs, identical in e v e r y respect—except w h e n they're different, w h i c h they are! Special effects people see nothing contradictory or confusing in this, which probably explains h o w they came to be special effects people in the first place. If you're confused, that's because y o u ' r e thinking logically and in F/X that's a big m i s t a k e — u n l e s s of course it w o r k s , w h i c h it w o n ' t , except w h e n it does! W h e n y o u hear "dead m a n r i g , " think generic anchor. If y o u can do that, you'll h a v e a head start in understanding the device and h o w , when, where, and w h y it's used. A dead m a n rig serves to restrain any heavy object through a combination of steel cable and a sheave. In special effects, a railroad tie (in some instances a length of telephone pole) becomes a dead man rig once a steel cable(s) is attached to it and the unit is buried b e l o w ground. This is the b e l o w g r o u n d dead m a n rig (Figure 7-62a). W h e n e v e r possible, b u r y the rig because the weight of the earth serves to greatly increase its stability and enhances its ability to resist forces pulling against it. W h e n y o u are prevented f r o m digging because the shooting is being done on concrete or o n asphalt, y o u will h a v e to resort to the a b o v e ground dead m a n rig. T h e tie or pole is then secured to the ground w i t h turnbuckles held in place b y bullpricks driven directly into and through the artificial surface (Figure 7-62b).

Figure 7-62 Below-the-ground dead man (a); above-the-ground dead man (b)

A stunt that I've done dozens of times and w h i c h y o u ' v e seen in hundreds of films is the slingshot car {slingshot here refers to a maneuver in auto racing in w h i c h a drafting car accelerates past the car in front b y taking a d v a n t a g e of reserve p o w e r ) . Here the dead m a n rig comes into its o w n . In a m o v i e called Choke Canyon I rigged t w o Ford Broncos and launched them simultaneously from a cliff. W h e n they hit the canyon floor, they exploded in balls of flame. T h e stunt professionals were both excellent drivers and felt comfortable w i t h the high speed run toward the cliff's edge. N o r did they feel a n y particular qualms about flying a vehicle off a mountain. T h e y did, h o w e v e r , express some concern as to what w o u l d happen w h e n they and the cars hit b o t t o m and b l e w up. A s this didn't seem unreasonable, w e decided to launch the Fords without the drivers in them and instead rely on dual dead m a n rigs to get the cars up to speed. T h e details of h o w the cars w e r e rigged is covered in Chapter 1 2 , Special Effects and Stunts. A s a final note o n dead m a n rigs, y o u should be a w a r e that y o u can't b u y bull pricks. Y o u h a v e to m a k e them yourself from old car axles unless y o u find a store that sells them (in w h i c h case, they p r o b a b l y won't k n o w w h a t y o u ' r e asking for a n y w a y because they'll call them something else, so m a k e them yourself).

81

Secrets of Hollywood Special Effects

C a b l e (Preformed Aircraft Cables and Strands) 7 X 19 Class T h i s is made of 6 strands of 1 9 wires each around a wire strand core. In larger sizes a 7 X 7 independent wire rope core is used. 7X7 Class This is similar to 6 X 7 except for its wire strand core in place of a fiber core, also comparable in flexibility and abrasion resistance. W o r k i n g l o a d is one-fifth of breaking strength w h e n flying people, onequarter of breaking strength w h e n flying objects. 1 X 19 Class T h e 1 X 1 9 construction consists of a nonflexible strand of 1 9 wires. It is generally used for y a c h t rigging and other g u y i n g purposes.

82

Wire Flying and Levitation

Nonjacketed Cable In T a b l e 7 - 6 , C o m p o s i t i o n A refers to carbon steel, zinc coated, and C o m position B refers to corrosion-resistant steel (302/304SS). T h e working load is one-fifth of breaking strength w h e n flying people. T h e working load is one-quarter of breaking strength w h e n flying objects.

TABLE 7 - 6

MIL S P E C AIRCRAFT C A B L E TO MIL-W-83420

Nominal Diameter of Wire Rope

Construction

Minimum Breaking Strength Composition A

Minimum Breaking Strength Composition B

1/32

3 X 7

110

110

3/64

7 X 7

270

270

1/16

7 X 7

480

480

1/16

7 X 19

480

480

3/32

7 X 7

920

920

3/32

7 X 19

1,000

920

1/8

7 X 19

2,000

1,760

5/32

7 X 19

2,800

2,400

3/16

7 X 19

4,200

3,700

7/32

7 X 19

5,600

5,000

1/4

7 X 19

7,000

6,400

9/32

7 X 19

8,000

7,800

5/16

7 X 19

9,800

9,800

3/8

7 X 19

14,400

12,000

Plastic-Jacketed Cable V a r i o u s types of material are available to extrude onto wire rope. T h e two most c o m m o n are P V C (polyvinyl chloride) and n y l o n . P V C is the most c o m m o n plastic coating because of its flexibility and l o w cost, but nylon is more durable and abrasion resistant for pulleys. A w i d e variety of custom colors as well as numerous diameters of coatings are available. W o r k i n g load is one-fifth of breaking strength w h e n flying people. W o r k i n g load is one-quarter of breaking strength w h e n flying objects.

TABLE 7 - 7 Cable Diameter (inches)

SAFETY W A R N I N G : When using PLASTIC COATED CABLE of anv kind. the coating must be removed before using nicos or any type of cable clamp, or the cable can slip through the nicos or cable clamps. The coating only needs to be removed in the area that comes in contact with nicos or cable clamps.

1 X 1 9 CONSTRUCTION, PLASTIC—JACKETED CABLE Cable Diameter (inches)

Stainless Steel Breaking Strength (pounds)

Galvanized Breaking Strength (pounds)

3/64

1/16 or 3/32

300

1/16

3/32 or 1/8

500

500

3/32

1/8 or 5/32

1,200

1,200 2,100

375

1/8

5/32 or 3/16

2,100

5/32

3/16 or 7/32

3,300

3,300

3/16

7/32, 1/4, or 5/16

4,700

4,700

1/4

5/16 or 3/8

8,200

8,200

5/16

3/8 or 7/16

12,500

12,500

3/8

7/16 or 1/2

18,000

18,000

83

Secrets of Hollywood Special Effects

TABLE 7-8

SAFETY WARNING: When using PLASTIC COATED CABLE of any kind, the coating must be removed before using nicos or any type of cable clamp, or the cable can slip through the nicos or cable clamps. The coating only needs to be removed in the area that comes in contact with nicos or cable clamps.

Cable Diameter (inches)

Cable Diameter (inches)

3/64

1/16 or 3/32

270

270

1/16

3/32 or 1/8

480

480

3/32

1/8 or 5/32

920

920

1/8

5/32 or 3/16

1,700

1,700

5/32

3/16 or 7/32

2,600

2,600

3/16

7/32, 1/4, or 5/16

3,700

3,700

1/4

5/16 or 3/8

6,100

6,100

5/16

3/8 or 7/16

9,200

9,200

3/8

7/16 or 1/2

13,100

13,100

TABLE 7 - 9 Cable Diameter (inches)

SAFETY WARNING: When using PLASTIC COATED CABLE of any kind, the coating must be removed before using nicos or any type of cable clamp, or the cable can slip through the nicos or cable clamps. The coating only needs to be removed in the area that comes in contact with nicos or cable clamps.

7 X 7 CONSTRUCTION, PLASTIC—JACKETED CABLE Stainless Steel Breaking Strength (pounds)

Galvanized Breaking Strength (pounds)

7 X 19 CONSTRUCTION, PLASTIC—JACKETED CABLE Cable Diameter (inches)

Stainless Steel Breaking Strength (pounds)

Galvanized Breaking Strength (pounds)

—

3/64

1/16 or 3/32

270

1/16

3/32 or 1/8

480

480

3/32

1/8 or 5/32

920

1,000

1/8

5/32 or 3/16

1,760

2,000

5/32

3/16 or 7/32

2,400

2,800

3/16

7/32, 1/4, or 5/16

3,700

4,200

1/4

5/16 or 3/8

6,400

7,000

5/16

3/8 or 7/16

9,000

9,800

3/8

7/16 or 1/2

12,000

14,000

TABLE 7 - 1 0

Fabrication

SEVEN-STRAND C A B L E Breaking Strength (pounds per square inch test)

Major Cable Diameter

Wire Size (inches)

1 X 3

8

.008

.004

1 X 3

12

.010

.006

1 X 7

18

.011

.004

1 X 7

27

.012

.0045

1 X 7

40

.015

.005

1 X 7

60

.018

.006

1 X 7

90

.024

.008

1 X 7

135

.027

.009

1 X 7

170

.033

.011

1 X 7

250

.039

.013

1 X 7

600

.062

.020

Seven-strand is made from stainless steel w i r e . W h e n flying people, the w o r k i n g load is one-fifth of the breaking strength; w h e n flying objects, the w o r k i n g load is one-quarter of the breaking strength. 84

Wire Flying and Levitation

Rope T a b l e 7 - 1 1 lists the characteristics of v a r i o u s fibers used in cordage.

85

Secrets of Hollywood Special Effects

Hemp Rope New Rope Tensile Strengths N e w rope tensile strengths are based o n tests of n e w and unused rope of standard construction in accordance w i t h C o r d a g e Institute standard test methods. Working Loads W o r k i n g loads are for rope in g o o d condition w i t h appropriate splices, in noncritical applications, and under normal service conditions. W o r k i n g loads should be exceeded o n l y w i t h expert k n o w l edge of conditions and professional estimates of risk. W o r k i n g loads should be reduced where life, limb, or v a l u a b l e property are i n v o l v e d or for exceptional service conditions such as shock loads, sustained loads, and so o n . W o r k i n g load is one-tenth of breaking strength w h e n flying people. W o r k i n g load is one-eighth of b r e a k i n g strength w h e n flying objects.

86

Wire Flying and Levitation

TABLE 7 - 1 2

MANILA TWISTED ROPE: THREE-STRAND MEDIUM LAY

Diameter (in inches)

Approximate Tensile (or Breaking) Strength

Working Load (pounds)

1/4

540

5/16

900

90

3/8

1,200

122

54

1/2

2,380

264

5/8

3,960

495

3/4

4,860

694

7/8

6,950

992

8,100

1157

1 1/8

10,800

1542

1 1/4

12,200

1742

1 1/2

16,700

2385

1 3/4

23,800

3400

2

28,000

4000

1

Synthetic Rope Polypropylene Twisted Rope Lightweight, strong, and l o w stretch, polypropylene floats and will not mildew, decay, or rot. It has g o o d resistance to acids, solvents, alkalies, and abrasion. P o l y p r o p y l e n e is excellent for m o o r i n g lines, pulling lines, and general utility ropes. It is opaque yellow in color. N e w Rope Tensile Strengths N e w rope tensile strengths are based on tests of n e w and unused rope of standard construction in accordance with C o r d a g e Institute standard test methods. Working Loads W o r k i n g loads are for rope in g o o d condition with appropriate splices, in noncritical applications, and under normal service conditions. W o r k i n g loads should be exceeded o n l y with expert k n o w l e d g e of conditions and professional estimates of risk. W o r k i n g loads should be reduced where life, limb, or valuable property are involved or for exceptional service conditions such as shock loads, sustained loads, and so on. W o r k i n g load is one-tenth of breaking strength w h e n flying people.

TABLE 7 - 1 3

Diameter (inches)

POLYPROPYLENE TWISTED ROPE

Approximate Tensile Strength

Working Load (pounds)

1/4

1,130

113

5/16

1,700

3/8

2,400

170 235

7/16

3,100

352

1/2

3,600

420

5/8

5,600

700

3/4

7,600

1000

7/8

10,000 12,500

1400 1760

1 1/4

18,000

2600

1 1/2

26,000

3770

1 3/4

38,000

5400

2

46,000

6600

1

87

S e c r e t s of Hollywood S p e c i a l Effects

Truck Rope Polypropylene Monofilament p o l y p r o p y l e n e , a black rope w i t h orange tracer, is exceptionally p o p u l a r for tie d o w n s and load holding. It possesses high strength w i t h l o w stretch. New Rope Tensile Strengths N e w rope tensile strengths are based on tests of n e w and unused rope of standard construction in accordance w i t h C o r d a g e Institute standard test methods. Working Loads W o r k i n g loads are for rope in g o o d condition w i t h appropriate splices, in noncritical applications, and under normal service conditions. W o r k i n g loads should be exceeded only w i t h expert k n o w l edge of conditions and professional estimates of risk. W o r k i n g loads should be reduced where life, limb, or v a l u a b l e property are i n v o l v e d or for exceptional service conditions such as shock loads, sustained loads, and so on. W o r k i n g load is one-tenth of breaking strength w h e n flying people, one-eighth of breaking strength w h e n flying objects.

TABLE 7 - 1 4 Diameter (inches)

TRUCK ROPE POLYPROPYLENE Length (feet)

Approximate Tensile Strength

Working Load (pounds)

3/8

600

2400

360

7/16

600

3100

465

1/2

600

3600

540

5/8

600

5600

840

3/4

600

7600

1140

Hollow-Braided Polypropylene T h i s rope is highly versatile, economical, easy to splice, and v e r y strong. New Rope Tensile Strength N e w rope tensile strengths are based on tests of n e w and unused rope of standard construction in accordance w i t h C o r dage Institute standard test m e t h o d s . Working Loads W o r k i n g loads are for rope in g o o d condition w i t h appropriate splices, in noncritical applications, and under normal service conditions. W o r k i n g loads should be exceeded only with expert k n o w l edge of conditions and professional estimates of risk. W o r k i n g loads should be reduced where life, limb, or valuable property are i n v o l v e d or for exceptional service conditions such as shock loads, sustained loads, and so o n . W o r k i n g load is one-tenth of breaking strength w i t h flying people. W o r k i n g load is one-eighth of breaking strength w h e n flying objects. TABLE 7 - 1 5

Diameter (inches)

HOLLOW-BRAIDED POLYPROPYLENE

(millimeters)

Approximate New Rope Tensile Strength (pounds)

Maximum Recommended Working Load (pounds)

1/8

3.17

250

50

3/16

4.76

750

160

1/4

6.35

1150

250

5/16

7.94

1800

325

3/8

9.53

2100

440

1/2

12.70

3500

945

88

Wire Flying and Levitation

Double-Braid Polyester Stage Rope Both the jacket and core of this rope are 1 0 0 % polyester. Polyester fiber combines v e r y l o w stretch or elasticity w i t h high strength. Its resistance to ultraviolet degradation is superior to that of a n y other synthetic fiber. It's specifications are: specific gravity is 1.38; critical temperature is 350°F, 1 7 6 ° C ; w a t e r absorption is less than 1 % ; and d r y w e a r is v e r y g o o d . C o m p l i a n c e to strengths and weights in table is based on testing according to the C o r d a g e Institute standard test methods for fiber rope and/or A S T M D-4268 standard methods of testing fiber ropes. Linear densities are average within m a x i m u m 5 % m o r e than listed. T o estimate the m i n i m u m tensile strength of n e w rope, reduce the approximate average b y 2 0 % . T h e C o r d a g e Institute defines m i n i m u m tensile strength as t w o standard deviations b e l o w the average tensile strength of the rope. TABLE 7 - 1 6 Diameter (inches)

DOUBLE-BRAID POLYESTER S T A G E ROPE Circumference (inches)

1/4

3/4

Recommended Working Load (pounds) 390

5/16

1

3/8

1 1/8

780

7/16

1 1/4

1,241

585

1/2

1 1/2

1,598

9/16

1 3/4

2,232

5/8

2

2,754

3/4

2 1/4

7/8

2 3/4

3,438 5,560

1

3

7,260

1 1/8

3 1/2

8,940

1 1/4

3 3/4

10,600

1 5/16

4

11,720

1 1/2

4 1/2

13,840

1 5/8

5

16,800

1 3/4

5 1/2

20,200

2

6

23,600

2 1/8

6 1/2

28,000

2 1/4

7

32,200

2 1/2

7 1/2

36,400

2 5/8

8

40,600

2 3/4

8 1/2

44,800

3

9

53,200

TABLE 7- 1 7

STA-SET/SOFT (POLYESTER BRAIDED STAGE ROPE) Normal Size

Diameter (inches)

Circumference (inches)

1/4

3/4

Average Tensile Strength (pounds) 2,000

5/16

1

2,900

3/8

1 1/8

4,400

7/16

1 1/4

6,200

1/2

1 1/2

8,000

5/8

2

3/4

2 1/4

15,000

7/8

2 3/4

21,400

3

24,600

1

89

12,300

Secrets of Hollywood Special Effects

TABLE 7 - 1 8

STA-SET X-SOFT Normal Size

Diameter (inches)

Circumference (inches)

1/4

Average Tensile Strength (pounds)

3/4

2,000

5/16

1

3/8

1 1/8

3,100 4,500 6,300

7/16

1 1/14

1/2

1 1/2

5/8

2

3/4

2 1/4

17,600

7/8

2 3/4

26,300

3

31,600

1

Double-Braided Nylon Rope n y l o n core.

TABLE 7 - 1 9

Diameter (inches)

7,900 14,000

This rope has b o t h a n y l o n jacket and

DOUBLE-BRAIDED NYLON ROPE

Circumference (inches)

1/4

3/4

Recommended Working Load (pounds) 345

5/16

1

3/8

1 1/8

735

7/16

1 1/4

1,122

1/2

1 1/2

1,445

9/16

1 3/4

2,106

5/8

2

2,736

3/4

2 1/4

7/8

2 3/4

3,438 5,660

1

3

6,720

1 1/8

3 1/2

9,000

1 1/4

3 3/4

10,400

1 5/16

4

11,800

1 1/2

4 1/2

14,800

1 5/8

5

18,200

1 3/4.

5 1/2

22,000

2

6

26,200

2 1/8

6 1/2

30,600

2 1/4

7

35,400

2 1/2

7 1/2

2 5/8

8

40,400 46,000

2 3/4

8 1/2

51,400

3

9

57,000

510

Solid-Braided Nylon Rope Solid-braided n y l o n is the strongest fiber cord manufactured! It is w i d e l y used in marine, industrial, h o m e , and farm applications. T h e superior performance of n y l o n m o r e than offsets its higher initial cost. N y l o n is characterized b y its high tensile strength and light weight, even w h e n w e t . It has excellent resistance to abrasion, m o l d , 90

Wire Flying and Levitation

mildew, and most chemicals. It is rot proof and not damaged b y oil or gasoline. N y l o n is an elastic cord w i t h excellent recovery, a quality that gives it a shock absorbing action and a l l o w s it to absorb shock loads that w o u l d break other cords of equal size. It is natural white in color. New Rope Tensile Strengths N e w rope tensile strengths are based on tests of n e w and unused rope of standard construction in accordance with C o r d a g e Institute standard test m e t h o d s . Working Loads W o r k i n g loads are for rope in g o o d condition with appropriate splices, in noncritical applications, and under normal service conditions. W o r k i n g loads should be exceeded only with expert k n o w l e d g e of conditions and professional estimates of risk. W o r k i n g loads should be reduced where life, limb, or valuable property are involved or for exceptional service conditions such as shock loads, sustained loads, and so o n .

TABLE 7--20 SOLID-BRAIDED NYLON ROPE Diameter (millimeters) (inches)

Approximate New Rope Tensile Strength (pounds)

Maximum Recommended Working Load (pounds)

1/8

3.17

475

110

3/16

4.76

860

175

1/4

6.35

1400

275

5/16

7.94

1800

550

3/8

9.53

2700

725

1/2

12.70

5200

1000

Knots Figures 7-64 through 7-70 illustrate knots and some of their most c o m m o n uses. T a k e time to practice each knot before y o u h a v e to use it. A s with everything in this business, safety and planning are the k e y s to a successful effect.

Figure 7-64 Two ways to lock a block and fall 91

Secrets of Hollywood Special Effects

Wire Flying and Levitation

Assorted Hook Ties

7. Racking hitch

Assorted D-Ring Ties

9. Slipped half hitch

10. Slipped half hitch with tucked end

Figure 7 - 7 0 93

Simple knots

1 1 . Double half hitch

S e c r e t s of Hollywood S p e c i a l Effects

Pipe Hitches

24. Sheepshank with cut

23. Sheepshank Figure 7 - 7 0 S i m p l e k n o t s (continued)

94

25. Trucker's knot

Wire Flying and Levitation

Chain Grip Chain We'll begin our discussion of chain w i t h grip chain since it is used differently than all other chain in this business. G r i p chain is not used for lifting or pulling as w i t h other chains, but as a counterbalance chain for double-hung w i n d o w sashes, arc l a m p chain, animal chain, and for applications requiring a flat metal chain operating o v e r pulleys. It is made of l o w carbon steel or b r o n z e . It is also available in stainless steel, brass, and aluminum o n special order. T h e links are flat and stamped. Standard finishes are bright, Blu-Krome (zinc plated), copper plated, and hot galvanized. G r i p chain comes in 100-foot cartons (order unit is feet). G r i p chain is used extensively in film w o r k . N e v e r use this chain over its w o r k i n g load limit. A l w a y s use several bolt d o w n s at each end of the chain for safety.

TABLE 7 - 2 1

GRIP CHAIN

Trade Size

Stock Thickness (inches)

Inside Length of Link (inches)

Working Load Limit (pounds)

Steel

Bronze

Trade Size

8

.035

.55

75

68

8

25

.042

.55

94

80

25

30

.028

.59

81

75

30

35

.035

.59

106

100

35

40

.042

.59

131

125

40

45

.050

.56

175

163

45

50

.060

.56

225

210

50

Chain F a c t s Materials Grades 1. Low-Carbon Steel: Basic open hearth, 1005-1010 carbon steel grades, w h i c h meet the requirements for average nonheat-treated generalpurpose chain products. 2. High-Carbon Steels: Basic open hearth, 1020-1030 carbon steel grades, w h i c h m a y be heat treated, thus p r o v i d i n g higher impact strength, abrasion resistance, and tensile strengths than those afforded b y l o w c a r b o n steel. 3. High-Carbon Boron-Treated Modified Steel: Basic open hearth carbon steel modified w i t h b o r o n that is heat treated to provide even higher impact strengths, abrasion resistance, and tensile strengths than highc a r b o n steels, w h i c h are necessary for transport chain applications. 4. Alloy Steel: Basic o x y g e n , electric furnace, or open hearth product that contains at least one of the following elements in an alloying a m o u n t : nickel, c h r o m i u m , m o l y b d e n u m , or their equivalents. 95

Secrets of Hollywood Special Effects

B o r o n , manganese, or silicon are not considered acceptable substitute elements in this context. T h e m a x i m u m percentage of impurities in the steel are phosphorus, . 0 4 5 % and sulphur, . 0 4 5 % . These materials m a k e it possible to produce the product in accordance w i t h the minimal requirements of the A m e r i c a n Society for Testing Materials ( A S T M ) , N a t i o n a l Association of C h a i n Manufacturers ( N A C M ) , and U . S . government specifications. C h a i n can be manufactured from special materials u p o n request.

Material Sizes and Dimensions T h e material sizes of the chain v a r y w i t h the grade of product. M o s t c o m mercial welded chain, w i t h the exception of systems 7^ and 8, is produced in wire diameters V32 inch larger than nominal size. Consult the applicable product charts for these variances. C h a i n is generally identified b y the trade size and the system or grade. Assemblies or cut lengths of chain are sometimes identified b y reach. This is simply the measurement from the inside surfaces of the end components, be it a link or a h o o k . N o m i n a l weights and dimensions are subject to plus or minute 4 % tolerances. W h e r e the product is manufactured to the metric system, the foll o w i n g conversion method m a y be used: millimeters to inches, divide millimeters b y 25.4; inches to millimeters, multiply inches b y 25.4; base v a l u e : 25.4 m m = 1 inch.

Attachments Be absolutely sure that a n y attachments y o u use w i t h chain are of suitable material and strength to p r o v i d e adequate safety protection, that is, a minimum of matching the strengths. This is equally important for the devices or methods used to connect the attachments to the chain. In addition to standard chain attachments such as h o o k s , rings, and swivels, W i z a r d s , Inc., can furnish eyebolts, grab links, snaps, fastening devices, and m a n y types of special fittings. A sketch or print s h o w i n g dimensions of a n y special chain attachments that m a y be required should a c c o m p a n y the inquiry or order along w i t h the load rating that will be required of that c o m p o n e n t . W a r n i n g : D o not use weldless chain and attachments made of l o w - and high-carbon steel for overhead lifting purposes.

Proof Coil Chain System 3 (Proof Coil Chain) T h i s is an excellent general-purpose chain of standard commercial quality for all ordinary applications not requiring high strength-to-weight ratios. It is frequently used for fabricating t o w chains, binding or tie-down chain, and logging chains. Do not use for overhead lifting. Elongation minimum is 1 5 % and it is proof tested. T h e chain is made of l o w - c a r b o n steel and is electrically welded. Standard finishes are self-colored (SC) or hot galvanized ( H G ) . It is also available in Blu-Krome (BK) / i 6 i n c h through / 8 inch and p o l y c o a t e d (Vz-inch refill reel). Sizes 1 inch and a b o v e are hallmarked approximately 1 1 links apart (hallmark: C 3 ) . T h e chain comes in drums and half drums (order unit is feet); 100-pounds pails and refill reels are available to fit C a m p b e l l merchandisers (order unit is each). This chain is available in 1 inch and 1 Vt inch on request. T h e last digit of the stock number changes to a 1 if a nonstandard quantity is ordered. 3

3

96

I |

Wire Flying and Levitation

TABLE 7 - 2 2

PROOF COIL CHAIN

Inside Trade Size (inches)

Inside Length (inches)

Links Width. Per Foot (foot) (inches)

1/8

.89

.29

13 1/2

3/16

.95

.40

12 1/2

1/4

1.00

.50

12

Working Load Limit (pounds) 375 750 1,250

5/16

1.10

.50

11

1,900

3/8

1.23

.62

10

2,650

7/16

1.37

.75

8 3/4

3,500

1/2

1.54

.79

8

4,500

5/8

1.87

1.00

6 1/2

6,900

3/4

2.12

1.12

5 1/2

7/8

2.34

1.37

5

Trade Size (inches)

9,750 11,375

Working Load Limit (pounds)

3/16

750

1/4

1,250

5/16

1,900

3/8

2,650

1/2

4,500

High-Test Chain System 4 (High-Test Chain) High-test chain is designed for use in load binding, t o w i n g , logging, and other applications requiring higher strength-to-weight ratios than system 3. D o not use it for overhead lifting. Its elongation minimum is 1 5 % (proof tested). T h e chain is made of high-carbon steel and m a y b e heat treated. It is electrically w e l d e d . Standard finishes are shot peened (SP) and hot galvanized ( H G ) . Blu-Krome (BK) is available in Cam-pails and reels only. Sizes Vi inch through Vi inch are "Measure M a r k " and "Hallmark" chains (hallmark: C H - C 4 ) . T h e chain comes in drums and half drums (order unit is feet). Pails and refill reels are available to fit C a m p b e l l merchandisers (order unit is each). TABLE 7 - 2 3

HIGH-TEST CHAIN

Trade Size Material (inches) Diameter

Inside Length Inside Width Links Working Load Limit (inches) (inches) Per Foot (pounds)

1/4

.281

79

.40

15

5/16

.343

1.01

.48

12

3,900

3/8

.406

1.15

.58

10 1/2

5,400

7/16

.468

1.29

.67

9 1/4

7,200

1/2

.531

1.43

.76

8 1/2

9,200

5/8

.656

1.79

.90

3/4

.781

2.21

1.10

2.600

6

11,500

5 1/2

16,200

Alloy Chain System 8 (Cam-Alloy Chain) A l l o y chain is specifically recommended for overhead lifting and applications that demand a combination of minimum weights and high w o r k i n g load limits. It elongates in excess of the 1 5 % minimum requirement and 97

Wire Flying and Levitation

TABLE 7 - 2 2

PROOF COIL CHAIN

Inside Trade Size (inches)

Inside Length (inches)

Links Width (inches)

Per Foot (foot)

Working Load Limit (pounds)

1/8

.89

.29

13 1/2

3/16

.95

.40

12 1/2

1.00

.50

12

1,250

5/16

1.10

.50

11

1,900

3/8

1.23

.62

10

2,650

7/16

1.37

.75

8 3/4

1/2

1.54

.79

8

4,500

5/8

1.87

1.00

6 1/2

6,900

3/4

2.12

1.12

5 1/2

7/8

2.34

1.37

5

1/4

Trade Size (inches)

375 750

3,500

9,750 11,375

Working Load Limit (pounds)

3/16

750

1/4

1,250

5/16

1,900

3/8

2,650

1/2

4,500

High-Test Chain System 4 (High-Test Chain) High-test chain is designed for use in load binding, towing, logging, and other applications requiring higher strength-to-weight ratios than system 3. D o not use it for overhead lifting. Its elongation minimum is 1 5 % (proof tested). T h e chain is made of high-carbon steel and m a y be heat treated. It is electrically welded. Standard finishes are shot peened (SP) and hot g a l v a n i z e d ( H G ) . Blu-Krome (BK) is available in Cam-pails and reels only. Sizes Vi inch through Vi inch are "Measure M a r k " and "Hallmark" chains (hallmark: C H - C 4 ) . T h e chain comes in drums and half drums (order unit is feet). Pails and refill reels are available to fit C a m p b e l l merchandisers (order unit is each). TABLE 7 - 2 3

HIGH-TEST CHAIN

Trade Size Material Inside Length Inside Width Links Working Load Limit (inches) Per Foot Diameter (inches) (inches) (pounds) 1/4

.281

79

.40

15

2.600

5/16

.343

1.01

.48

12

3,900

3/8

.406

1.15

.58

10 1/2

5,400

7/16

.468

1.29

.67

9 1/4

7,200

1/2

.531

1.43

.76

8 1/2

9,200

5/8

.656

1.79

.90

6

11,500

3/4

.781

2.21

1.10

5 1/2

16,200

Alloy Chain System 8 (Cam-Alloy Chain) A l l o y chain is specifically recommended for overhead lifting and applications that demand a c o m b i n a t i o n of minimum weights and high w o r k i n g load limits. It elongates in excess of the 1 5 % minimum requirement and 97

Secrets of Hollywood Special Effects

is proof tested. A l l o y chain is made of heat-treated alloy steel and is electrically w e l d e d . It comes in shot peened and is packaged in continuous lengths in drums (order unit is feet). Note: A l l o y chain is not to be used in the manufacture of chain slings. C a m p b e l l does not manufacture compatible attachments. TABLE 7 - 2 4 Trade Size (inches)

CAM-ALLOY CHAIN Material Diameter

Inside Length (inches)

Links Inside Width (inches) Per Foot

Working Load Load Limit (pounds)

7/32

.218

.69

.30

17 1/2

2,500

9/32

.281

.86

.45

14

4,100

15/16 +

.315

.94

.46

12 1/2

5,100

3/8

.394

1.10

.55

11

1/2

.512

1.55

.72

7 3/4

5/8

.630

1.84

.92

6 1/2

20,300

3/4

.787

2.20

1.09

5 1/2

29,300

7,300 13,000

.881

2.45

1.22

5

39,900

1

1.000

2.80

1.40

4 1/4

52,100

1 1/4

1.250

3.50

1.75

3 1/2

81,400

7/8

P a s s i n g Link Chain Passing link chain has general utility and farming applications. Its link are electric w e l d e d and are sufficiently w i d e to pass each other easily, thereby minimizing tangling and kinking. It's made of mild steel in a bright finish and is also available in a Hi-Sheen alternate finish. Passing link chain is p a c k a g e d 100 feet per carton. TABLE 7 - 2 5 Trade Size (inches)

PASSING LINK CHAIN Links Inside Width (inches) Per Foot

Working Load Load Limit (pounds)

Material Diameter

Inside Length (inches)

2/0

192

.87

.46

14

450

4/0

218

.87

.50

14

600

Straight Link Machine Chain T h i s chain has general utility uses. It has electric welded, straight links, is made of l o w - c a r b o n steel, and standard finish is bright. Alternate finishes available are Hi-Sheen and hot galvanized. It is packaged 100 feet per carton. TABLE 7 - 2 6

Trade Size

STRAIGHT LINK MACHINE CHAIN

Approx. Material Size (inches)

Inside Link

Width

Links Per Foot

Working Load Limit (pounds)

Dimensions (inches)

Length

4

.120

.53

.21

22.6

215

2

.148

.61

.26

19.6

325

1/0

.177

.74

.31

16.2

465

2/0

.192

.79

.34

15.2

545

4/0

.218

1.03

.42

11.6

700

5/0

.250

1.08

.45

11.1

925

98

Wire Flying and Levitation

Binder C h a i n s W i z a r d s offers a complete line of tie-down chains. A l l chains listed here meet the n e w D O T regulations. S y s t e m 3 (proof coil) has a self-colored finish and is used as a general utility chain. System 4 (high test) comes in a bright finish and is e m p l o y e d in h e a v y - d u t y trucking. System 7 (transport quality) is plated for higher strength and reliability. These chains are p a c k e d in bulk; order unit is each. W a r n i n g : Binder chains should never be used a b o v e the w o r k i n g load limit. TABLE 7-27

BINDER CHAINS

System 3 (Proof Coil)

Size (inches by feet)

Pounds Each

Working Load Limit (pounds)

3/8 X 12

21

2,650

3/8 X 14

24

2,650

3/8 X 16

26

2,650

3/8 X 18

29

2,650

3/8 X 20

32

2,650

3/8 X 25

40

2,650

Pounds Each

Working Load Limit (pounds)

5/16 X 12

15

3,900

5/16 X 14

17

3,900

5/16 X 16

19

3,900

5/16 X 18

21

3,900

5/16 X 20

23

3,900

5/16 X 25

28

3,900

3/8 X 12

22

5,400

3/8 X 14

25

5,400

3/8 X 16

28

5,400

3/8 X 18

31

5,400

3/8 X 20

34

5,400

3/8 X 25

40

5,400

Pounds Each

Working Load Limit (pounds)

5/16 X 12

15

4,700

5/16 X 14

17

4,700

5/16 X 16

19

4,700

5/16 X 18

21

4,700

5/16 X 20

23

4,700

5/16 X 25

28

4,700

3/8 X 12

22

6,600

3/8 X 14

25

3/8 X 16

28

6,600 6,600

3/8 X 18

31

6,600

3/8 X 20

34

6,600

3/8 X 25

41

6,600

System 4 (High Test)

Size (inches by feet)

System 7 (Transport Quality)

Size (inches by feet)

Transport Chain System 7 (Transport Chain) Transport chain is designed for use in load binding, towing, logging, and m a n y applications requiring higher strength-to-weight ratios than system 99

Secrets of Hollywood Special Effects

4. System 7 meets stringent D O T regulations w i t h smaller chain that is lighter in weight and easier to handle. D o not use it for overhead lifting. M i n i m u m elongation is 1 5 % (proof tested). Transport chain is made of special high-hardenability boron-treated steel and is heat treated and electrically welded. It is plated w i t h y e l l o w chromate. TABLE 7 - 2 8

TRANSPORT CHAIN

Working Load Limit Trade Size Material Inside Length Inside Width Links (inches) Diameter (inches) (inches) Per Foot (pounds) 1/4

.281

.86

.45

14

3,150

5/16

.343

1.01

.46

4,700

3/8

.394

1.10

.55

1 1 1/2 11

7/16

.468

1.29

.67

9

1/2

.512

1.55

.72

7 3/4

6,600 8,750 11,300

Straight Link Coil Chain This chain has general utility uses. It has electric welded, straight links, is m a d e of l o w - c a r b o n steel, and standard finish is bright. Alternate finishes available are Hi-Sheen and hot galvanized. It is p a c k a g e d 100 foot per carton. TABLE 7 - 2 9

Trade Size

STRAIGHT LINK COIL CHAIN

Approx. Material Size (inches)

Inside Link Dimensions (inches)

Length

Width

Links Per Foot

Working Load Limit (pounds)

4

.120

1.09

.21

11.0

205

2

.148

1.16

.26

10.3

310

1/0

.177

1.24

.32

9.7

440

2/0

.192

1.29

.33

9.3

520

4/0

.218

1.40

.39

8.6

670

5/0

.250

1.49

.45

8.0

880

Chain C o n n e c t o r s T h e double clevis comes in self-colored or hot galvanized finish. It is p a c k a g e d in bulk or individually as specified. TABLE 7-30

CHAIN CONNECTORS Max. Working Load Limit (pounds)

Pieces Per Carton

1/4 or 5/16

4,700

10

3/8

6,600

10

11,300

5

Chain Size (inches)

7/16 or 1/2

100

Approximate Weight (pounds) .33 .46 1.1

8

Weapons

G u n s h a v e been a part of m o t i o n pictures since The Great Train Robbery in 1903. It almost seems as though more guns h a v e been shot in movies than film footage. In most cases, p r o p masters handle these w e a p o n s , but in certain cases, the special effects people d o . I usually take care of all w e a p o n s on any shoot that I'm w o r k i n g and for g o o d reason. I'm a fully licensed dealer, licensed b y federal, state, and local authorities to handle pistols, revolvers, machine guns, shotguns, h e a v y w e a p o n s , and assault rifles. M o s t firearms used in film are standard operating w e a p o n s . T h e sole difference is that blanks are used instead of real bullets. Blanks range in p o w e r from one-quarter up to full charged loads. Regardless, all blanks are dangerous within 15 feet. Full-charge blanks create as much thrust as real bullets and the w a x e d cardboard w a d d i n g that seats the p o w d e r in place can penetrate the skin and injure or kill. Consider the tragic death of a y o u n g up-and-coming T V star w h o shot himself in the head while playing Russian roulette on the set between takes w i t h a blank gun, and y o u will understand these are not t o y s . Figure 8-2 Example of hole m a d e in a Celtex board at point-blank r a n g e by blank 1 2 - g a u g e shotgun shell

Y o u must be v e r y careful of people's eyes and faces w h e n firing blanks since injury can be caused b y specks of paper and debris. N e v e r leave blanks unattended and never leave a gun loaded. A l w a y s treat every prop w e a p o n that y o u handle, even if y o u " k n o w " it is unloaded, as if it were loaded. There is an old saying that unloaded guns h a v e killed as m a n y people as loaded ones (Figures 8 - 1 , 8-2, and 8-3).

Semiautomatic and Automatic W e a p o n s

Figure 8-3 Example of hole m a d e in a C e l t e x board at point-blank r a n g e by 9 millimeter shell

W i t h semiautomatic and automatic w e a p o n s , certain modifications are necessary in order to fire blanks. T h e muzzle of the w e a p o n must be threaded so that y o u can insert a cylinder into it. O n c e it is locked in, drill it to a much smaller diameter than the cartridge for w h i c h it w a s designed. W h e n fired, the blank causes the w e a p o n to react in much the same w a y as if a real cartridge had been fired. Basically, propellant gases are tapped off from a point along the barrel and diverted even while the bullet is being propelled through the barrel. This is safe because the diverted gases h a v e to o v e r c o m e the inertia of a gas piston, w h i c h eventually m o v e s to the rear of the w e a p o n , taking w i t h it the breechblock from the fixed barrel. This gas pressure usually provides all the propulsion required until a point is reached where the breech is far enough to the rear for the gases to be vented through open ports in the receiver. Springs then return the piston and the breechblock to the start position, loading a new round in the process.

Figure 8-4 T h o m s o n .45 caliber m a c h n e g u n held by Sid Stembridge of S t e m b r i d g e Rental

Needless to say there are several variations of this principle, but they all operate along the same general lines. T h e blank acts v e r y similarly to the bullet, providing the gases and therefore the back pressure to m o v e the breechblock (Figures 8-4 through 8-10). 101

S e c r e t s of Hollywood S p e c i a l Effects

Figure 8-5

Uzi mini and Uzi 9 mm

Figure 8-8 9 mm H&K MP 5 A 3 (top) and H&K MP5A2 (bottom)

Figure 8-6 Mac 11 (top) and Mac 10 (bottom), .45 caliber or 9 mm with silencer

Figure 8 - 7

Figure 8 - 9

Figure 8 - 1 0 5.56 mm M-16 (top) and C A R - 1 6 (bottom)

7.62 mm AKM-47

S t e y r 5.56 mm-Aug

Machine Guns Using Belt-Fed Ammo W e a p o n s such as .50 caliber machine guns are v e r y expensive to fire. A m m u n i t i o n costs approximately $2 per round. In addition, y o u h a v e to plug the muzzle of the w e a p o n and install a "blank breech" in the gun to enable the shells to feed properly and fire correctly. These w e a p o n s , especially the .30 caliber machine gun and the .50 caliber machine guns s h o w n in Figure 8 - 1 1 , should never be fired continuously because they will heat up and jam. Firing is done in short bursts, usually no more than four or five rounds at a time. T h e M-60 machine gun (a belt-fed .308 caliber w e a p o n ) should also be fired only in short bursts (Figure 8-12).

Mortars

Figure 8 - 1 2

7.62-mm M-60 Machine g u n

M o r t a r s (Figure 8-13) are a different breed altogether. Blanks of .44 caliber are mounted on the b o t t o m of the shells. W h e n dropped d o w n the tube, the shell strikes a firing pin, exploding the blank and b l o w i n g smoke from the muzzle, making it appear that the mortar has fired.

B a z o o k a s and R o c k e t L a u n c h e r s There are m a n y different types of rocket guns such as the Soviet built rocket grenade and the A m e r i c a n b a z o o k a . These w e a p o n s require a different technique because they are essentially tubes open at both ends (Figures 8-14 and 8-15a and b). 102

Weapons

Figure 8 - 1 3

40 mm Mortar

Figure 8 - 1 6 1 2 - G a u g e Ithaca U n d e r c o v e r pump shotgun

Figure 8 - 1 4 launcher

S o v i e t built RPG g r e n a d e

Figure 8 - 1 7 1 2 - G a u g e double-barrel sawed-off s h o t g u n . Note: A Federal l i c e n s e is required to u s e this e q u i p m e n t .

Figure 8 - 1 5 (a) 4.7 mm B a z o o k a (American); (b) L a w s rocket launcher

Figure 8 - 1 8 S e m i a u t o m a t i c MM1 multiround projectile launcher fires tear g a s and r o c k e t s . This e q u i p m e n t w a s u s e d in The Dogs of War.

C o m m o n l y one small black p o w d e r charge is placed in the muzzle of the b a z o o k a and another in the rear. A flash charge can be added to give a m o r e dramatic look to the b a c k flash. Esty rockets are wire guided. A wire is run through the barrel of the w e a p o n and the shell, usually made of balsa w o o d or lightweight cardb o a r d , is attached to it. T h e Esty is mounted on the tail of the rocket. W h e n fired, the rocket runs d o w n the wire to the target, which has been previously rigged with explosives. W h e n it hits, the explosives are ignited, completing the effect. Figure 8 - 1 9 Street s w e e p e r 1 2 - g a u g e semiautomatic s h o t g u n

S h o t g u n s and S e m i a u t o m a t i c S h o t g u n s Shotguns are b y far the most dangerous w e a p o n s to use in a scene (Figures 8-16 and 8 - 1 7 ) . T h e 12-gauge shell comes in one-quarter loads, one-half loads, full loads, in black p o w d e r loads for d a y shots and flash p o w d e r loads for night shots. Because of the size of the shell, there is a great deal m o r e p o w d e r than in most shells, creating a potentially dangerous situation w h e n an actor must fire the w e a p o n at another nearby actor. T h e w e a p o n should never be fired at a n y o n e closer than 20 feet. Semiautomatic shotguns hold up to 12 rounds of 12-gauge shells and can be fired as fast as the trigger can be pulled (Figures 8-18 and 8-19). 103

9

Nonpyrotechnic Projectiles

Projectile effects h a v e been a staple of m o t i o n pictures since their earliest beginnings. In 1903, Edwin S. Porter of the Edison C o m p a n y directed the first creative film drama ever made in A m e r i c a . Called The Great Train Robbery, it w a s based on the story of Butch C a s s i d y and the Sundance K i d . It ran barely ten minutes, but in that brief time established a blueprint for countless westerns to f o l l o w . Considering h o w primitive the industry w a s in that era, it w a s a truly remarkable film, e m p l o y i n g innovative editing and cinematic techniques. B y far the most startling and exciting m o ment contained in those few feet of film w a s that brief image at the end w h e n the chief villain, p l a y e d b y G e o r g e Barns, pointed his six-shooter out at the audience and fired. In the nearly ten decades since those first silent gunshots, millions of bullets, spears, knives, and a r r o w s h a v e punctured thousands of actors in hundreds of films, unfortunately not a l w a y s safely. A s late as the 1930s, danger to the performer w a s still an e v e r y d a y reality. In the 1930 film Little Caesar starring E d w a r d G . R o b i n s o n , a scene takes place where Robinson as Little R o c c o leans against a brick w a l l , his head inches a w a y from where live rounds from a .45 caliber machine gun are being fired b y an expert m a r k s m a n . Needless to say, no one t o d a y w o u l d subject a performer to that kind of danger.

Bullet Hit Effects Bullet hit effects fall into t w o categories: nonpyrotechnic and pyrotechnic. Pyrotechnic deals w i t h projectiles launched or exploded b y electrical or chemical charges. O u r concern here is w i t h n o n p y r o or "soft" bullet hits.

Skin Hits There are four kinds of soft bullet hits used on the skin of an actor: 1. 2. 3. 4.

cotton w a d s soaked in stage b l o o d stearic acid skin hits c o o k e d canned peas (dyed red) pop-off hits

T h e cotton w a d , stearic acid, and pea hits share a certain c o m m o n a l i t y . Each is soaked in a red d y e and then delivered b y means of a b l o w t u b e not dissimilar in design and use from that used b y aboriginal natives in the A m a z o n . Insert the projectile into the tube and b l o w a puff of air, thus launching it. T h e pop-off, or snap-off effect is s o m e w h a t m o r e difficult. A small piece of latex rubber designed to match the actor's skin tone is attached to a v e r y fine (approximately 1-pound test) monofilament line. N e x t , the area of the actor's skin designated as the target point is made u p to simulate a w o u n d .

104

Nonpyrotechnic Projectiles

T h e latex is attached o v e r the w o u n d and covered w i t h the appropriate m a k e u p . O n cue the operator pulls the monofilament, yanking off the latex covering and thus giving the appearance of a hit. By far the best bullet effect is the stearic acid. First y o u must make the mold. Constructing the Stearic Acid Blood Hit Mold M a k i n g the stearic acid hit is a w a x - f o r m e d mold process. Construct the mold from a piece of l V i - i n c h round aluminum stock approximately 3 inches long. Drill a hole the size of the bullet y o u are using through the center of the round stock corresponding to the caliber of the simulated bullet. Form a rod on a lathe and turn it d o w n to fit it snugly in the hole. T h e rod must slide freely (Figure 9 - l a ) . N e x t , drill a Vi-inch hole in the side of the b l o c k and thread it for a Vi-inch bolt that serves to hold the rod at a n y desired position. By sliding the rod up or d o w n y o u can m a k e the projectile a n y length y o u need (Figure 9 - l b ) . O n c e the r o d is constructed, use it to extract the bullet from the mold. A bullet A inch to I V i inches l o n g is usually sufficient. Lubricate the inside of the mold w i t h a drop or t w o of kerosene and then allow it to drain. This will ease the extraction of the finished bullet. 3

Constructing the mold is a delicate, tedious, and time-consuming process and thus a single bullet m o l d has little useful application. A six-bullet m o l d can be used if more than one hit is used at the same time (Figure 9-lc). Making the Stearic Acid Mold Hit Stearic acid is basically a white, crystalline, fatty acide that can be obtained at a n y chemical supply com-

105

Secrets of Hollywood Special Effects

party. It remains soft for approximately 30 minutes, so be sure y o u d o not m a k e up the hits until they are needed for the take. First, spray the inside of the m o l d w i t h a m o l d release such as kerosene. T h e n heat the stearic acid in a metal container until it melts. P o u r it into the m o l d and leave it standing for approximately five seconds. P o u r a w a y the excess material. O n c e the mold sets, check the thickness of the wall of the projectile to ensure that it remains about V32 inch. Using an eye dropper, drip a b l o o d mixture into the m o l d , keeping the b l o d level a r o u n d Vi6 inch from the t o p . T o p it off w i t h an additional droplet of stearic acid and w a i t until it's hard. T h e n trim all the excess f r o m the bullet tip. Loosen the screw at the side of the mold and gently tap until the hit is free. M a k e sure y o u d o this carefully, as the slightest pressure will crack it. These delicate bullets should be protected in a cotton-lined b o x until y o u need them.

Delivery S y s t e m s for Nonpyrotechnic

Projectiles

There are three basic delivery systems: b l o w t u b e or air bellows, c o m pressed air, and gun.

Blowtube W h e n using a b l o w t u b e , it is important that the diameters of both the projectile and the aluminum tube correspond to the caliber of the projectile. T o deliver the hit, slip it into the tube, attach the tube to a grip stand, and clamp it d o w n (Figure 9-2). A i m i n g at the target is done b y barrel sighting, that is, through the barrel itself. For o p t i m u m accuracy place the tube about 6 to 8 feet from the target. Put a small dot on the target and sight that mark through the firing barrel. First lock the b l o w t u b e d o w n and then find that same dot through the sighting barrel b y adjusting the k n o b on the front of the barrel. W h e n they match, y o u are ready to l o a d the bullet hit. O n c e it is loaded recheck through the sighting barrel just before shooting. A g o o d - l o o k i n g shot can be achieved w h e n the camera is in closeup on the target and then cuts a w a y a split second after impact. Y o u can d o b l o w t u b e hits while the target is m o v i n g but accuracy suffers. A i r b e l l o w s rather than lung p o w e r can be used to propel the bullet, but it is rarely used (Figure 9-3). C a u t i o n : Under no condition should c o m pressed air, gas, or an air hose be used w i t h the air bellows. T h e velocity is m u c h too high and can be extremely dangerous.

Compressed Air Delivery A l t h o u g h compressed air cannot be used w i t h an air bellows, it can be used w i t h a low-range air regulator if 4 to 7 p o u n d s pressure is used (Figure 9-4). Remember to test the shot on y o u r hand first as a safety precaution. N e v e r h a v e m o r e than 4 to 7 pounds of pressure w h e n firing. This pressure level can be achieved w i t h a g o o d l o w pressure regulator. A s a l w a y s , be sure to test y o u r setup prior to the shot on a piece of c a r d b o a r d as a safety precaution. Since a w i n d or breeze often affects the a c c u r a c y of the light stearic acid hits, it is o b v i o u s l y important to compensate for w i n d conditions during rehearsals to a v o i d time consuming, and therefore expensive, reshoots caused b y misses. 106

N o n p y r o t e c h n i c Projectiles

Gun Delivery A s i d e from b l o w g u n s , air bellows, and compressed air delivery systems, there are several gun delivery methods for nonpyrotechnic bullet hits, such as compressed air guns, carbon dioxide, or nitrogen guns. Three of the most w i d e l y used are discussed b e l o w .

Figure 9 - 5 The S w e e n e y g u n , the m o s t accurate and e x p e n s i v e gun m a d e , is fully automatic and .68 caliber.

Sweeney Gun A S w e e n e y gun is used to shoot dust hits, spark hits, glass hits, or steel balls (Figure 9-5). T h e difference between a Sweeney gun and a capsule gun (discussed below) is that the S w e e n e y gun fires .60 or .68 caliber steel or two-piece plastic ball bullets while the capsule gun fires steel balls and n o . 13 gelatin capsules. Capsule Guns and Ball Hit Guns These w e a p o n s are used to propel no. 13 gelatin capsules and steel balls fired b y compressed air or nitrogen supplied from a separate tank. T h e gas pressure is delivered to the gun through a high-pressure hose and controlled with an adjustable regulator. These w e a p o n s are manufactured in semiautomatic, automatic, and pump action models (Figure 9-6a and b). For optimum accuracy, the gas pressure needed for glass hits and blood hit capsules is between 40 to 60 psi (pounds per square inch). Dust hits require 65 psi, while 90 to 100 psi is needed to break glass with steel balls.

Capsule and Round Ball Hits Figure 9-6a .60 caliber m a c h i n e g u n for round hits. Fires 20 air- or n i t r o g e n - p o w e r e d rounds.

T h e following projectiles are those most c o m m o n l y used and are adaptable to countless situations. Whether y o u use a capsule or a round ball depends on the delivery system y o u are using and w h a t it requires (see Figures 9 - 7 and 9-8 for a comparison of capsule versus round ball hits).

Figure 9 - 6 b Ball hit g u n . .68 caliber p u m p rifle fires 20 air- or n i t r o g e n - p o w e r e d r o u n d s .

107

S e c r e t s of Hollywood S p e c i a l Effects

Dust Hits A dust hit is a round ball fired from a compressed air, carbon dioxide, or nitrogen rifle. O n impact w i t h the target, the ball explodes in a puff of dust that looks amazingly like a bullet ricochet. This is very effective w h e n targeted on rocks, asphalt or dirt roads, sand, brick, and stone. T h e dust in the hit must approximate the color of the target but not match it exactly. Rather, it should be several shades lighter for contrast and definition. A i r - p o w e r e d automatic and semiautomatic capsule guns are often used to fire dust hits, particularly in strafing, trailing, or "running bullet" camera shots (Figure 9-9a and b ) . For a more detailed discussion of h o w to achieve the l o o k of "running bullets," see Box 9 - 1 on the next page. Zirconium Spark Hits These are manufactured w i t h a product called Zirconium (Zirk). Spark hits or Zirks are used to simulate a bullet ricocheting off metal, only in the rarest instance off any other surface. Y o u ' v e seen the effect in thousands of movies such as Die Hard, Lethal Weapon, and so on. T h e round ball is made in either .60 or .68 caliber depending on the w e a p o n used. A small amount of Zirk (approximately the size of a match head) is mixed w i t h enough fine fish tank gravel to fill the t w o halves of the plastic ball. T h e t w o halves are then glued together (Figure 9-8). It is important to a l w a y s fire a Zirk so that it strikes the target at an angle. If it hits the target straight on, it will stick to the surface and continue to burn w i t h sputtering sparks for several seconds, ruining the effect. C a u t i o n : Exercise extreme care w h e n handling Z i r c o n i u m . N e v e r use or m a k e these hits unless y o u h a v e been thoroughly trained. T h e y are v e r y dangerous. Never aim the w e a p o n or fire a spark hit at actors or animals. Steel Balls Steel balls are often used in Sweeney guns to break glass, pottery, lamps, and various breakable props. Y o u must be particularly careful to clear the set of unnecessary personnel before using steel balls. N o t only do they cause shrapnel, but they also c o m m o n l y ricochet around a set as if it were a pinball machine. Glass Hits Glass hits or gel caps simulate bullets punching through glass. In reality, no penetration or damage is caused b y the gelatin capsule. T h e residue of gelatin and petroleum jelly can be wiped from the windshield or glass, and the shot can be redone in seconds. These hits are simple to m a k e . Fill the b o t t o m of a gelatin capsule w i t h a quarter inch of petroleum jelly. Next insert a pre-sized piece of black felt on top of the jelly. T h e n add another layer of jelly until nearly full. A d d a sprinkle of fine silver or gold glitter (see Figure 9-7). W h e n fired, the "bullet" hits the glass, and the glitter and jelly fan out into a large circle, leaving the black felt in the center. This gives the look of bullet shattered glass. It is important to fire a glass hit straight at the target. O t h e r w i s e it will slide on impact and l o o k more like a splattered b u g than a bullet hole.

Knives, Arrows, and S p e a r s Launching Methods H o w y o u launch the knives, a r r o w s , or spears called for in a scene depends upon the needs of the film, w h o ' s doing the shooting, and the 108

Nonpyrotechnic Projectiles

Box 9-1

Running Bullets

On an esthetic note, it is interesting that logic is often thrown away when it comes to "trailing" or "strafing" a target, known as the "running bullet" shot. When possible, the director should consider the nature of ballistic trajectory when laying out a shot. A commonly seen motion picture convention is a profile shot wherein either a stationary or moving target is trailed by hits along the ground and then is hit in the body or upper torso. Common sense dictates that a weapon firing at a target parallel to itself will produce a flat trajectory and therefore is constant, unless there is relative aim or target compensation. If no change in aim or position (i.e., upright or prone) of the target occurs, the target would have to be struck in the ankles. A possible solution is to indicate multiple weapons being fired with some bullets falling short (hitting ground) and others aimed high and striking the target. This strategy was effectively demonstrated in Platoon during Willem Dafoe's death scene. When a single weapon is used, an imaginative way of indicating a compensation in aim is to have the hits strike in back and front of the target and then traverse back at a raised elevation. The raised elevation can be shown by wall or tree, hits at the actor's chest, or by judicious editing. There are two types of guns used for trailing a target, the .60 or .68 caliber automatic or semiautomatic ball weapons. The bullets themselves are the two-piece plastic balls, filled with fuller's earth and sealed with glue. Occasionally, the glue prevents the balls from fitting in the weapon's barrel. In these c a s e s , the ball can be fired with a slingshot. Always size these projectiles before loading them in the gun as even a relatively slight deviation will c a u s e a stoppage. These balls can also be filled with stage blood and used for body shots. But be aware that they are hard, more so since they are being fired from a gas-pressured weapon. An inaccurate shot can c a u s e serious injury. Instruct the actor or stunt professional to wear body armor of metal with leather padding for protection. Various pieces of armor are designed to protect the chest, back, arms, and legs, depending on what is needed for safety (Figure 9-10a and b).

range to the target. A r r o w s , knives, and spears can be launched b y slingshots, bungee cords, mouse traps, surgical tubing, knife guns (air or nitrogen p o w e r e d , wireless arrow guns (also air or nitrogen powered), wirecontrolled a r r o w guns, or wire-controlled knives and spears. We'll discuss the last three devices. Wireless Arrow Gun T h e wireless a r r o w gun operates on compressed air and fires a free-flying (that is, unguided) projectile. T h e arrow contains a small piston at the rear that is depressed b y the compressed air, thus launching it (Figure 9 - 1 2 ) . It should only be used b y people w h o are excellent shots. Recently I w o r k e d w i t h M a r t i n M u l l on a shoot that required that he be hit with an a r r o w . I elected to use the wireless arrow gun. T h e scene called for Martin to be hit and fall into a pond. W h e n he w a s shot with the arrow he fell into the p o n d , but w e had to redo the shot several minutes later. Naturally, Martin w a s wearing a steel chest and back plate with the regulation l V i - i n c h hard w o o d lined with leather and sheep's w o o l padding so that he w a s well protected. 109

Secrets of Hollywood Special Effects

I w a s about 12 feet a w a y from him w h e n I fired the first a r r o w . W h e n it came time to redo the shot, I fired again, the director called for a print, and w e a v o i d e d another retake. A few minutes later Martin bounded out of his dressing r o o m and strode o v e r to me thrusting his protective b o d y armor at me. " T a k e a l o o k at this!" he demanded, jabbing his finger at the plate. "What's w r o n g w i t h it?" I asked somewhat surprised. " L o o k , " he said, "there's o n l y one hole in this plate! Y o u shot t w o a r r o w s , didn't y o u ? " " Y e a h , " I said, "but I'm an excellent shot!" T h e second a r r o w had gone into the exact same hole as the first. Pure luck, but I didn't tell him that. Wire-Controlled Arrow Gun Simply stated, wire a r r o w guns shoot a r r o w s along a w i r e . T h e y are v e r y similar in construction to a crossbow without the b o w . Using a shock cord or surgical rubber to provide the thrust, an a r r o w (most often h o l l o w in construction) is fired t o w a r d its target. T h e arrow c a n also h a v e a solid shaft. T h e w i r e is inserted through the center of the a r r o w and allowed to slide easily in order to enable the a r r o w to slide s m o o t h l y . T h e fittings on either end of the a r r o w enhance its s m o o t h flight (Figure 9 - 1 1 ) . 110

Nonpyrotechnic Projectiles

Figure 9-13

Protective armor for wire arrow and knife or air-fired arrow

O n e end of the w i r e is attached to the b o w and the other to a hole in a steel plate that is w o r n b y the actor. Fronting that steel plate is a l V i - i n c h section of h a r d w o o d (Figure 9 - 1 3 ) . It is into this that the a r r o w will stick. T h e end of the a r r o w itself has t w o steel prongs at the tip. W h e n the a r r o w is shot d o w n the w i r e , the operator must m a k e sure that the w i r e is as taut as possible. If the actor is m o v i n g , the operator must m o v e along w i t h him or her keeping the proper tension. A n excellent example of this technique can be found in the film Red River. D u r i n g the Indian attack on the w a g o n train, Joanne D r u is hit in the shoulder w i t h an a r r o w . T h e effect w a s both startling and subtle, and heightened the impact of the sequence. This effect can be set up so that as the a r r o w hits its target, the guide w i r e is cut and the actor or object can fall naturally. Even during a closeup shot, the wire is almost entirely invisible. T h e w i r e can be darkened using gun blueing if greater masking is necessary.

Box 9-2

Making Arrow and Spear Projectiles

There are several different types of arrows utilized in special effects. Two of the most common are hollow arrows and solid shaft arrows. Either arrow shaft, hollow or solid, can be used virtually interchangeably except in one particular instance. When an arrow is guided by an interior wire, the hollow shaft must be used. Both require different preparations. To prepare the solid shaft arrow or spear to shoot down a wire, install small eyelets on the front and back of the shaft and affix those to the wire. For the hollow shaft arrow, replace the tip with small brass fittings. Have the holes drilled in the center and put the wire through. Both arrow types are launched the same way.

111

Secrets of Hollywood Special Effects

PIANO WIRE

Wire-Controlled Spears and Knives W h e n w o r k i n g w i t h spears and k n i v e s , a similar wire construction is attached to the plate w o r n b y the actor. A wire is run from the plate through mountings on the projectile and attached to a holding device or stand. A w i r e knife gun, wire a r r o w gun, of w i r e spear can also be used (Figures 9 - 1 4 through 9 - 1 7 ) w i t h a slingshot. T h e slingshot can then be used to propel the knife d o w n the w i r e into the plate. T h e point of the knife should be cut off about 3 inches from the tip so that w h e n it hits it l o o k s as if it has penetrated the target.

Variety of Knives, Arrows, Spears, and Guns N o n p y r o t e c h n i c projectiles c o m e in v a r i o u s shapes, sizes, and designs, all of w h i c h are used extensively in the business. 1. pop-out knives and arrows: These spring-loaded devices are designed to p o p out from beneath a costume. T h e y are m a s k e d from the camera and activated b y the actor o n cue. Split-second timing is crucial so that it appears that the actor has actually been struck b y the a r r o w or knife. Often, h o w e v e r , there is some crossover w i t h regard to timing. This is not especially crucial since m u c h of it can be picked up in the editing r o o m . A d d i t i o n a l l y , the sequence happens so quickly it is impossible to see the actual action of the a r r o w or knife in the spring-loaded device (Figure 9 - 1 8 ) . 112

Nonpyrotechnic Projectiles

Figure 9-18

Pop-up device (top), pop-up arrow (middle), pop-up knife (bottom)

2. rubber knife: A most familiar p r o p , a rubber knife is made out of pliable rubber (Figure 9-20a). 3. telescoping knife: T h e blade (in some cases o n l y the tip) of the knife retracts into the handle (or blade) to simulate penetration (Figure 9-20b). 4. preplaced knives, arrows, and spears: These devices are permanently mounted onto a plate and strapped to the actor's b o d y . Some of them h a v e a release mechanism that holds the knife to the plate with two small prongs and are released b y the actor. O n c e stage b l o o d is added, y o u h a v e a victim w i t h a knife sticking into him or her (Figures 9-20c and d). 5. knife gun: A knife is positioned into the firing mechanism and fired free hand (i.e., without a wire assist) at a person wearing a chest or back plate of steel, leather, padding, and h a r d w o o d ( l V i - i n c h thickness). 6. wire-controlled knives, arrows, and spears: A s previously discussed, these devices are w i r e guided (Figures 9 - 1 4 and 9 - 1 5 ) . 7. reverse pull: A knife is shot into a w o o d e n plate and attached to a wire. O n cue, the knife is y a n k e d out b y the operator. In editing, the shot is reversed, m a k i n g it l o o k as if the knife is going into the actor instead of coming out. 113

Secrets of Hollywood Special Effects

Figure 9-20 (a) Rubber knife (b) Telescoping knives (c) Preplaced wire knife (d) Preplaced or wire arrow (e) Blood knife

8. knife throwing: This is not recommended unless you are an excellent knife thrower. The dangers are obvious! The same methods of padding and protection for the actor are used as previously explained. C a u t i o n : Whenever using any of these devices, it is imperative that body armor and protective plates always be used on your actors and stunt professionals. Safety must be a prime consideration. 9. b l o o d knife: A perforated tube is attached to the knife's blade. It emits blood when the special effects person activates a release button on the blood pump. The pump pressure can be preset either to trickle or gush (Figure 9-20e).

114

10

Pyrotechnics

Pyrotechnics are undoubtedly the most dangerous effects to preform safely in the business. It is the nature of explosives that they are always, to a degree, volatile and unpredictable. T h o u g h I've done countless p y r o technic effects, I a l w a y s approach the gag w i t h the same care, preparation, and respect for the explosive materials as w h e n I did m y first pyrotechnic special effect. During the shooting of Kill Me Again, starring V a l Kilmer, I did several pyrotechnic effects. Each presented a different set of demands on safety and preparation and each w a s in its o w n w a y extremely dangerous. I remember in particular one of the final gags in w h i c h a speeding car crashed into a storage tank and exploded into rolling balls of flame. N o fewer than 200 separate steps in rigging, explosive preparation, safety checks, and split second timing had to be taken to guarantee that the shot w o u l d c o m e off in one take. Preparation for The Fisher King w a s if anything even more demanding. T h e specific techniques used in that film will be discussed later in Chapter 1 4 , but the important point here is that no one should ever attempt such complex effects without a thorough knowledge of all aspects of explosives and intensive training in their use. In this chapter, w e will examine the types, methods, and uses of pyrotechnic devices and the creation of explosions and fires for everything from bodies to buildings (Figure 1 0 - l a - e ) . Don't assume, however, that this will prepare y o u to execute these gags. N o t h i n g , especially with pyrotechnics, substitutes for training and experience.

Figure 1 0 - 1 d

115

Lacapodium explosion

Figure 1 0 - 1 e

Car explosion

Secrets of Hollywood Special Effects

Licensing DOT Regulations T r a n s p o r t of p y r o t e c h n i c s is c o n t r o l l e d b y the U . S . D e p a r t m e n t of T r a n s p o r t a t i o n ( D O T ) . It publishes a h a n d b o o k o n m e t h o d s of transportation and procedures for p y r o t e c h n i c s , plus rules and regulations for safety factors a n d the l a w s i n v o l v e d . Y o u are required to h a v e a federal license to use p y r o t e c h n i c s . Be a w a r e of the regulations and c o m p l y w i t h the l a w s . T h e regulations and specifications v a r y f r o m state to state and f r o m c o u n t r y to c o u n t r y . In C a l i fornia, they are set forth in C h a p t e r 2 - 6 2 , Part 2, of the 24 C a l i f o r n i a C o d e of Regulations and in the U n i f o r m Fire C o d e 77.203 and title 1 9 , C a l i f o r n i a C o d e of R e g u l a t i o n s .

BATF Regulations Explosives and p y r o t e c h n i c s are controlled b y the U . S . Bureau of A l c o h o l , T o b a c c o , and Firearms ( B A T F ) . Y o u need a federal license to use e x p l o sives. T h e b u r e a u can send y o u all the necessary information y o u require.

TABLE 10-1 BATF AND DOT RATINGS FOR SPECIAL EFFECTS BATF

DOT

Common photoflash composition

Low

B: Special fireworks

Smoke flash composition

Low

B: Special fireworks

Illumination composition

Low

B: Special fireworks

Atomized flash composition

Low

B: Special fireworks

Common photoflash

packaged for passenger

Atomized flash

aircraft shipment: 2 ounces

Two-component

Illuminating composition Simulated phosphorus

Low

B: Special fireworks

D-2 sparking granules

Low

B: Special fireworks

Black match

Low

C: Instantaneous fuse

Silver match

Low

C: Instantaneous fuse

Arching match: Light

Low

C: Instantaneous fuse

Low

C: Instantaneous fuse

Low

C: Instantaneous fuse

Safety fuse

Low

C: Safety fuse

Thermalite fuse

Low

C: Igniter cord

Medium Heavy

TABLE 10-2 BATF AND DOT RATINGS FOR DET CORD*

TABLE 10-3 BULLET HITS Ignition Squibs

BATF

DOT

D-80 series (flat)

Low

C: Electric squib

D-60 series

Low

C: Electric squib

Microhits

Low

C: Electric squib

SD-70 series

Low

C: Detonators,

SD-100

Low

C: Detonators,

MD-1

Low

Det Cord

BATF

DOT

4 grain

High

C: Cord, Detonating

7 1/2 grain

High

C: Cord, Detonating

15 grain

High

C: Cord, Detonating

18 grain

High

C: Cord, Detonating

25 grain

High

C: Cord, Detonating

30 grain

High

C: Cord, Detonating

50 grain

High

C: Cord, Detonating

100 grain

High

150 grain

High

C: Cord, Detonating C: Cord, Detonating

Z-16

Low

C: Electric squib

200 grain

High

C: Cord, Detonating

Low

C: Electric squib

400 grain

Z-16A

High

C: Cord, Detonating

Z-17

Low

C: Electric squib

Z-17A

Low

C: Electric squib

A-5

Low

C: Electric squib

*Note that det cord is an explosive. See discussion of det cord that follows later in this chapter on page 121. 116

class C, Explosive class C, explosive C: Detonators, class C, explosive

Pyrotechnics

TABLE 1 0 - 4

1 X 9

gray,

SMOKE P O T S

black,

TABLE 1 0 - 5 BATF

DOT

Low

C: Smoke pot

Low

C : S m o k e pot

white (squibbed) Chem

orange/yellow

SMOKE COMPOSITION BATF

DOT

1 - p o u n d cartons

Low

B: Special fireworks

4 - o u n c e cartons

Low

C : S m o k e pot

C h e m o r a n g e or

NA

NA

Low

C: S m o k e pot

D 105 W h i t e D 1 2 5 Black D 103 Light g r a y D 113 Medium gray D 1 1 1 Dark gray

chem yellow Colored smoke

S t o r a g e of P y r o t e c h n i c s V e r y few people in the business store pyrotechnics. T h e y b u y them the d a y before. H o w e v e r , y o u should h a v e y o u r o w n storage safe, or magazine, and a d a y b o x for transporting the small quantities to be used at a specific time on the set (Figure 1 0 - 2 ) . Storage magazines come in different sizes and shapes and are built to different specifications that are determined b y local, state, and federal authorities. Requirements for magazine dimensions v a r y widely. Check with the authorities in the state in w h i c h y o u are w o r k i n g for their specific rules and regulations.

Nonpyrotechnic Materials Used with Explosions V a r i o u s materials such as fuller's earth, cork, peat moss, vermiculite, sand, plaster of paris, cement, flour, balsa w o o d , plastics, Styrofoam, polyesterene, and rigid foam for rocks are used to simulate debris caused b y explosions. T h e y present no storage problems. Figure 1 0 - 2 on set

Day b o x for p y r o t e c h n i c s t o r a g e

P y r o t e c h n i c s and Weather Weather o b v i o u s l y affects pyrotechnics. Naturally, during a lightning storm you're not going to be setting charges or w o r k i n g with pyrotechnics. It is much too dangerous. T h e static electricity in the air alone could prove deadly. High w i n d s or rain don't necessarily prevent the use of pyrotechnics, but additional prep is necessary to m a k e sure y o u achieve the desired effect. For these reasons, it is not generally advisable to execute pyrotechnics in foul weather unless the script specifically calls for it. For the most part, general air humidity does not greatly effect the appearance of a p y r o nor decrease the safety factor for the F/X person. If, h o w e v e r , there is some doubt in y o u r mind, use a little extra caution and waterproof the explosives or detonators about which y o u m a y feel insecure. Flash p a c k s and black p o w d e r b o m b s (see page 119) can be waterproofed b y dipping them in lacquer. 117

S e c r e t s of Hollywood S p e c i a l Effects

Mortars M o r t a r s are tubes or potlike devices that are used to direct the explosion and debris (Figure 1 0 - 3 ) . There are several varieties of mortars and their use depends on the limitations of the location and the requirements of the shot. Usually a mortar is loaded with a black p o w d e r b o m b , fuller's earth, cork, vermiculite, and peat moss. A d d i t i o n a l materials m a y be necessary depending on the effect y o u wish to achieve. W h e n using gasoline and diesel fuel, or gasoline and liquid tar for black smoke, the weight of the b o m b ' s black p o w d e r charge varies from 2 to 16 ounces. It m a y be either "soft" or "hard" w r a p p e d depending on the effect. T h e difference between the t w o forms of w r a p p i n g is that the harder or tighter the w r a p , the greater the pressure built up, and thus the larger the explosion. Place the b o m b at the b o t t o m of the mortar and a plastic b a g filled w i t h the desired amounts of gasoline and diesel fuel, plus a bit of liquid tar for dense black s m o k e on top of the charge. A flash pack is placed either on top or near the top of the mortar. A flash p a c k is made of flash p o w d e r , or c o m m o n p h o t o g r a p h y flash, w h i c h comes in four burning speeds: A - B , slow, medium, and universal. A - B is the safest, while the slow speed enables the gasoline to ignite more efficiently. O n e ounce of p o w d e r and a match squib inserted in a plastic b a g are all that is needed. T h e flash pack is then taped to the top of the mortar. T h e flash pack is necessary because gasoline has the tendency not to ignite w h e n b l o w n b y black p o w d e r alone. T h e flash pack ensures ignition of the gasoline following the explosion.

Shotgun and Straight Mortars Shotgun mortars range up to 3 inches in diameter while straight mortars v a r y up to 48 inches (Figure 1 0 - 4 ) . Both are constructed w i t h very h e a v y nonferrous-metal walls from Vi-inch up to /4-inch thick depending on the amount of p o w d e r used and the type of charge. Each type of mortar is built accordingly for strength. These mortars direct the charge straight up, so an actor can be fairly close to them w i t h little or no danger. 3

V-Pan Mortars T h e V - p a n mortars (either round or square) are e m p l o y e d according to the size and shape of the explosion (Figure 1 0 - 5 ) . T h e y are used primarily to spread the explosion up and out and are never used near actors or other personnel because of the w i d e area covered b y their range.

Flat or Pan Mortars T h e flat, or pan, mortars (which l o o k like the end of a boiler) are used to spread debris, smoke, or explosives o v e r a wide area and are also used occasionally to hold burning tires used for black smoke (Figure 1 0 - 6 ) .

Figure 1 0 - 5 b mortar

118

S q u a r e V-pan

Figure 1 0 - 6

Flat or pan mortar

Pyrotechnics

Angled Shotgun Mortars Shotgun and V - p a n mortars can be angled a w a y from the actor in a specific direction. Both can be custom made for specific angles (Figure 1 0 - 7 ) .

Flash Pots

Figure 1 0 - 7

A n g l e d s h o t g u n mortar

Flash pots are v e r y small mortars, often used b y magicians and b y rock and roll groups on stage. Flash pots create a cloud of smoke and a small b a n g . A squib is put into a small b a g along with a teaspoonful of flash or black p o w d e r is poured on top of it. T h e n it is set off using a 12-volt battery (Figure 10-8). C a u t i o n : N e v e r use 110-volt p o w e r to set off explosives. T h e wires inside the flash pot can short on the metal mortar (Figure 1 0 - 8 ) .

Black P o w d e r B o m b s

Figure 1 0 - 8 a

Flash pot

T h e most c o m m o n black p o w d e r b o m b s v a r y in size from 1 to 16 ounces and can be either soft or hard w r a p p e d . T h e y can be made bigger if needed. T h e different size b o m b s and techniques for wrapping both soft and hard-wrapped b o m b s are s h o w n in Figure 1 0 - 9 . W h e n making black p o w d e r b o m b s , a l w a y s insert a double squib so if one should fail, you're not sitting there w i t h an unexploded b o m b . A black p o w d e r b o m b can be single or double w r a p p e d . Likewise the b o m b s can be either single- or doubledipped in lacquer to assure complete waterproofing.

Figure 1 0 - 8 b S m o k e pot firing b o x for six shots. It h a s a 12-volt DC external battery.

Figure 1 0 - 9 b

Wrapping a black p o w d e r b o m b

Creating a Napalm Explosion T h e best technique for simulating the l o o k of napalm is with a compound made from a mixture of gasoline and I v o r y soap flakes. Pour them together and stir until the gasoline and soap flakes have a jellylike consistency.

Figure 1 0 - 9 a 6-ounce, 8-ounce, and 1 2 - o u n c e black powder b o m b s

N a p a l m explosions can be created using lightweight plastic tubing 6 inches in diameter b y 12 feet or m o r e in length, 100-grain det cord (see discussion of det cord that follows on page 1 2 1 ) , gasoline, Ivory soap flakes, and flash p a c k s . T h e plastic tubing is slotted with a 2-inch wide cut along its entire length, and then capped on both ends. T h e gasoline and soap 119

Secrets of Hollywood Special Effects

flake gel is then poured into the plastic tubing through the cut. T h e plastic tube is then w r a p p e d w i t h 100-grain det cord, leaving a 3-inch interval between each w i n d of the det c o r d . Several flash p a c k s are then secured along the top of this pipe. W h e n ignited, it produces a tremendous flaming explosion accompanied b y v o l u m i n o u s black s m o k e . T h e effect is v e r y realistic and the burning gel will even adhere to and burn anything it lands o n . A 12-foot b y 6-inch pyrotechnic of this kind will produce a fireball 75 to 100 feet high and 30 to 50 feet w i d e . W a r film battle scenes showing an aerial napalm carpet b o m b i n g can be made to saturate virtually a n y size area, from 100 feet to 1000 y a r d s , using o n l y 12-foot tubes. In c o m b a t , b o m b s dropped f r o m aircraft are usually toggled (i.e., dropped) in a staggered sequence rather than simultaneously to create a broader saturation pattern. In motion pictures, the 12-foot n a p a l m b o m b s help the F/X person duplicate this pattern in that he controls the individual detonations w i t h a nail b o a r d (see page 124 for discussion).

Naphthalene Naphthalene is nothing more than mothball flakes. These emit a high level of ether fumes, w h i c h are, of course, extremely volatile. M a n y F/X people use it for explosions, but personally I don't care for it. It creates too quick an explosion w i t h no residual effect, that is, afterburn. A firebomb m a d e w i t h gasoline and diesel fuel burns longer and blacker. Naphthalene creates one huge blast, and then burns out. This m a y be the effect the director is l o o k i n g for, h o w e v e r , so it does h a v e its place. T h e manufacture of naphthalene b o m b s is relatively simple. Insert 25 p o u n d s of naphthalene into a large plastic b a g mixed w i t h 8 to 10 ounces of black or flash p o w d e r . Next, wire and seal the b a g w i t h four to five w r a p p i n g s of h e a v y (cloth-based gaffer) tape. Place the b o m b in position and detonate. Variables in this mixture and in the size of the charge can only be properly determined through experimentation.

Tear G a s

Effects

I w a s asked once to d o a tear gas effect involving a tear gas shell shot into a field. T o get a g o o d - l o o k i n g effect, w e used a product called titanium tetrachloride, c o m m o n l y referred to as liquid s m o k e . This product can o n l y be used outdoors. Keep it a w a y from personnel and a l w a y s u p w i n d . It is a wicked-smelling chemical and not at all safe. It is a corrosive acid so y o u must be v e r y careful handling it. In fact, I cannot overemphasize its toxicity. Place the titanium tetrachloride in a plastic b a g , being careful to protect y o u r face, eyes, and hands. Use a breathing apparatus because w h e n mixed w i t h air this chemical turns into a tremendous cloud of toxic s m o k e . Place a 2-ounce black p o w d e r lifting pack on the g r o u n d o v e r the plastic b a g of titanium. Get v e r y far a w a y from it before y o u detonate, and m a k e sure e v e r y one is u p w i n d of it. W h e n it fires, there will be a different looking s m o k e then y o u normally associate w i t h a s m o k e effect. It l o o k s much m o r e like real tear gas. After using this chemical, soak d o w n the entire area with water. Be careful to a l w a y s stay out of the c l o u d . T h i s chemical reacts v e r y violently w i t h w a t e r , so water it from a g o o d distance. 120

Pyrotechnics

Blowing G a s Drums into the Air T h e method used to b l o w gas drums is illustrated in Figure 1 0 - 1 0 . Remove the b o t t o m from a 55-gallon drum and reinforce the other end with /4-inch p l y w o o d . Place the drum w i t h the open end on the ground. A t t a c h a 1-gallon b a g of gas to a w i r e d single-wrapped p o w d e r b o m b and suspend it inside in the center of the d r u m . Suspend t w o flash packs as well to p r o v i d e a d y n a m i c explosion. T h e d r u m , w h i c h will attain a great deal of height, must be triggered from a safe distance. 3

Lifting Mortars Lifting mortars are small 3-inch diameter b y 12-inch-long shotgun mortars w i t h a 2-ounce lifting p a c k of h a r d - w r a p p e d black p o w d e r placed at the b o t t o m (Figure 1 0 - 1 1 ) . T h e rest of the mortar is filled with sand and the sand is then soaked w i t h gas. W h e n the mortar is detonated, the sand acts like a battering ram, pushing anything up and out of its w a y with tremendous force. It is used to lift b o x e s , barrels, and h o o d s , trunks, and doors of cars.

Det Cord Det c o r d is a simple, v e r y strong, flexible cord containing an explosive core. W h e n ignited, it detonates along its entire length at approximately 21,000 feet (4 miles) per second. W h e n detonated, det cord approximates the energy of a blasting cap along its entire length. A s a trunk line it can initiate a n y number of extensions or branch lines through simple knot connections. A s a branch or d o w n line, it can detonate all connections or all connected cap-sensitive explosives. In addition, it is possible to load and prime individual charges to ensure an efficient and dependable use of explosives, and any number of charges can be h o o k e d into an in-line sequence. Det c o r d is relatively insensitive to premature or accidental ignition. It is less sensitive to involuntary detonation than the main charge of standard explosives. It is both simple in design and use. T h e high-explosive core is encased in v a r i o u s protective coverings to withstand most on-site conditions. The difference b e t w e e n the several standard types is essentially one of degree of protection afforded b y the coverings. Its ease of use is enhanced b y its light weight and flexibility, and record of being nearly foolproof. The construction of the cord has t w o c o m p o n e n t s : the central (explosive) core and the core encasement. T h e center of the cord is k n o w n as the r a w core, which is encased in a textile braid. Stock det c o r d contains standard core loads of 25 to 60 grains of explosive per foot, or 3.5 to 8.6 p o u n d s of explosives per 1000 feet. T h e explosive core in standard det cord grades is pentaerythritol tetranitrate ( P E T N ) , a high-velocity explosive. P E T N is a nonhygroscopic, crystalline solid. It is difficult to ignite and will not fire from the end split of a safety fuse or from a flame. P E T N is relatively benign but is sensitive to ignition b y detonators or detonating energies of other high explosives. W h e n properly activated, P E T N explodes violently. It has a high degree of brisance (shock or shattering effect) and is capable of detonating a n y cap-sensitive explosive. 121

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T h e r a w P E T N is w r a p p e d w i t h a v a r i e t y of combinations of materials such as textiles, waterproofing c o m p o u n d s , plastics, and so on. These p r o tect the tensile strength, flexibility, abrasion resistance, extremes of hot and cold, and w a t e r and oil penetration. Each of these factors require special qualities to afford protection. Det cord should be stored w i t h the same regard for safety as all explosives and in accordance w i t h federal, state, and local l a w s . T h e recommended practice is storage in a magazine that meets the requirements for dynamite. T h i s material is normally unaffected b y seasonal temperature variations and suffers no deterioration; the melting point of P E T N is 284 °F. There are a l w a y s small pieces of c o r d left o v e r from trimming. These should be destroyed b y either detonation or burning. A l w a y s conduct burning o n the assumption that the explosive m a y detonate accidentally. O n l y perform this procedure at a safe distance from personnel and buildings. String the cord in parallel lines Vi inch or m o r e apart on top of paper or d r y straw. Use kerosene or fuel oil to assist combustion if necessary. A r r a n g e kindling material so that the fire will h a v e to burn several feet before reaching the explosives, thus permitting personnel time to reach safety. Det cord is designed for ignition b y blasting caps w i t h a safety fuse, an electric blasting c a p , or an SD-100, or an M D - 1 mini det. T h e simplest w a y to attach the cap is to place it alongside the cord and w r a p the t w o securely together w i t h electrician's tape. T h e loaded end of the cap must b e pointed in the direction of detonation. This is of utmost importance because the directional effect of the detonation w a v e m a y not ignite the c o r d in the reverse direction (Figure 1 0 - 1 2 ) . Equally important is that the explosive core be dry at the point of connection. T h o u g h the blasting caps are dependable, there are instances, particularly w h e n delay caps are used for surface initiation of multiple blasts, w h e n it is g o o d insurance to use t w o caps at each ignition point. For safety, attach these to short lengths of det c o r d and then tie them into the main system just prior to blast time. T w o SD-lOOs can also be used, one at each end of the cord (Figure 1 0 - 1 3 ) . Det cord connections are essential for dependable performance. Improvisations or variations m a y result in a misfire. T h e connections can be made w i t h k n o t s , plastic connectors, or tape. K n o t s are generally used and recommended for all but special uses because they are simple, dependable, and convenient (Figures 1 0 - 1 4 through 10-19). T h e square knot is recommended for connecting extended lengths of det cord, as in a trunk line system. O t h e r k n o t s , such as the double-wraphitch, are satisfactory for connecting d o w n lines to trunk lines. W h e n the d o w n line is Scufflex or a c o m p a r a t i v e l y stiff type, the most dependable connection is a c l o v e hitch. This knot is m a d e in the trunk line, slipped o v e r the end of the d o w n line, distanced b y at least 8 to 10 inches, and d r a w n tightly around it. A simple o v e r h a n d knot is then tied in the end of the d o w n line. A special loo-lock or d o u b l e - w r a p c l o v e hitch in the trunk line is advisable w h e n using a Scufflex d o w n line. T h i s knot prevents it from slipping out of the c l o v e hitch in the trunk line due to l o a d subsidence or other tension from the d o w n line. Pull all det c o r d knot connections tight to assure positive contact. K e e p each connection at a right angle (or as close to a right angle as possible) 122

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to ensure that failures from angle cutoff will not occur. These result if the d o w n line slants b a c k t o w a r d the point of ignition at an acute angle. Angle failure is caused b y the explosive force or fragment of the detonating trunk line severing the branch line before the detonation signal has been transmitted to the connection. W h e n b o t h the branch line and trunk lines are difficult to tie into dependable k n o t s , use a plastic connector, w h i c h is both convenient and reliable. If plastic connectors are not available, use a combination knot and tape connection. T i e the d o w n line to the trunk line with a doublew r a p half-hitch k n o t , pull it tight, and tape the connection securely. W e t det c o r d is m u c h less sensitive than dry. H o w e v e r , once initiated, straight lengths of standard det cord will continue to detonate dependably, w e t or dry. If det cord gets w e t because of d a m a g e to the waterproofing coat or from end penetration of w a t e r , it cannot dependably ignite b y a cap laid alongside (side priming). M o r e o v e r , w e t det cord cannot be ignited b y knot connections, nor can ignition be assured through a wet trunk line. Side prime w i t h one or m o r e caps; all knots and connections must be at d r y points. C u t ends of det cord lying in w a t e r will pick u p moisture through capillary action. This generally is n o p r o b l e m if the knot is made or caps are attached 8 to 12 inches from the exposed open end. If the extent of moisture penetration is u n k n o w n , cut several short pieces f r o m the exposed end and explosive core and examine them. A d r y core at the fresh cuts w o u l d indicate that side priming or knot connections can be used. If the core is w e t 6 to 8 inches from the exposed end, h o w e v e r , assume that water has penetrated b y other than capillary action and that the cord is wet throughout. W e t end ignition is o n l y dependable b y end priming (Figure 10-20).

Figure 10-20

Det cord: end priming

C u t the w e t det cord square and end butt the "business" end of the initiating c a p to the exposed P E T N . T a p e the cap and cord securely in this position. Booster-type connections are m a d e b y placing the d o w n line and trunk line through the booster. T h e trunk line initiates the booster, which in turn fires the w e t d o w n line. Booster initiation of det c o r d d o w n lines is seldom necessary except for preloaded or "sleeper" charges, where the d o w n lines h a v e been exposed to w a t e r for extended periods of time. W h e n they are required to stand loaded for periods of time, support the upper end of the d o w n line well off the g r o u n d where it cannot be submerged in standing w a t e r . For p r o l o n g e d exposure to wet conditions and where no amount of end penetration can be tolerated, det cord with plastic end seals can be applied o n site. In instances where the cord got wet and then froze, it will perform in the same manner as wet det cord and is treated accordingly. Essentially, the effect of oil on the P E T N det cord is the same as water. Side ignition w i t h a blasting c a p , k n o t s , and all other connections must be at d r y points. If the entire core is w e t w i t h oil, use end priming or boosters. O n c e fired, straight (i.e., unknotted) cord will continue detonation regardless of the degree of oil penetration. 123

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D o ' s and D o n ' t s 1. Transport det cord in accordance w i t h all federal, state, and local laws. 2. Separate other explosives (cord, blasting caps, electrical blasting caps). 3. O n l y store det cord in clean, dry, well-ventilated, reasonably cool, properly located, substantially constructed, bullet and fire resistant, and securely locked magazines. 4. Handle and use det cord w i t h the same respect and care given any other explosives. 5. M a k e up positive primers in accordance with established parameters. 6. Exercise care to a v o i d d a m a g i n g or severing the cord during and after loading and h o o k i n g u p . 7. M a k e positive and tight connections in accordance w i t h standard p r o cedures. K n o t tying or other cord-to-cord connections should o n l y be made w h e n the cord is dry. W e t detonating fuse (explosive) core can be dependably detonated o n l y b y means of special boosters or end priming techniques. 8. A v o i d loops and sharp kinks or angles that direct the cord b a c k t o w a r d the o n c o m i n g line of detonation. 9. C o n n e c t blasting caps or electrical blasting caps to assure they are pointed in the direction of the line of detonation. 10. D e s t r o y detonating cords in strict accordance with a p p r o v e d methods. D O N ' T leave detonating cord or pieces of detonating fuse lying about where unauthorized persons m a y handle them. D O N ' T store any explosive devices w i t h a n y other explosive devices at a n y time. D e t o n a t o r cord is manufactured b y m a n y different companies all o v e r the w o r l d . T h e color code m a y differ from c o m p a n y to c o m p a n y so a l w a y s check w i t h the distributor.

Detonating D e v i c e s Wiring Harnesses Production time can be saved b y manufacturing wiring harnesses prior to the shooting date. Fifty-bullet hit harnesses, or 50-bomb hit harnesses, that is w i t h 50 t w o - c o n d u c t o r w i r e , is recommended. Each one has t w o leads and is numbered individually and sequentially from 1 to 50. This numbering is done on both ends so that the numbers on the charges can b e connected to the corresponding numbers on the hit b o a r d . C o l o r - c o d e d w i r i n g is also a viable alternative if y o u w i s h . For bullet hits, use a lightweight wire such as speaker wire. For long runs over 50 feet, use heavier wire like a number 1 4 , 16, or 18 gauge zip cord. W i r i n g of b o m b s and other h e a v y devices on one w i r e is determined b y h o w m a n y charges h a v e to be activated on a single line and h o w long a run y o u need. M a k e a careful study of the number of amps for each charge and the length of the run in comparison to the amperage the wire can hold.

Nail Board O n e of the devices used to detonate explosives is called a nail b o a r d , a name w h i c h denotes the simplicity of the mechanism. T w o wires are 124

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attached to separate nails. T h e hot line of each b o m b is connected to one, while the negative lines from all the grounds are attached to a c o m m o n ground, usually another single nail on the b o a r d . T h e hot lead is connected to a battery and from there to a metal conductor such as an ice pick or a screwdriver, or a large nail. By touching these to any nail on the b o a r d , the charge is detonated (Figures 1 0 - 2 1 a - e ) . Other more elaborate devices can be used depending on the budget (Figure 1 0 - 2 1 f ) .

Clunker Box

Figure 1 0 - 2 1 a 25-shot bullet hit board with 12-volt DC battery, a l s o called a nail board

This box is a 25- to 100-bullet hit b o a r d w i t h auto speed control and key lock w i t h a 12-volt D C external p o w e r supply. This device should never be used to detonate high explosives. It should be used only for bullet hits (Figure 1 0 - 2 2 ) .

Galvanometer A v e r y important piece of equipment that should be taken on all pyrotechnic shoots is a G a l v a n o m e t e r . This meter is used to test squibs, bullet hits, blasting caps, and similar electrically fired devices prior to use and without the danger of a detonation. W i t h it, y o u r wiring and blasting devices can be checked thoroughly to insure that all explosives will be activated and protect against duds. This piece of equipment is used only for explosives (Figure 10-23).

Fuses There are numerous types of fuses that can be used in pyrotechnics: thermal, fast burn, slow burn, and black p o w d e r fuses. I rarely use a fireworks Figure 1 0 - 2 1 b 6-hit board with externalpowered 12-volt DC battery

Figure 1 0 - 2 1 d

Figure 1 0 - 2 1 c

Figure 1 0 - 2 1 e

Single-hit board 125

6-hit board with internal 9-volt battery

12-hit board fired by actor for blood hits

Secrets of Hollywood Special Effects

fuse, although I've sometimes found it necessary. It is a black p o w d e r fuse w r a p p e d in a paper envelope that burns superfast. T h e s e fuses can be connected to either plunger- or turnkey-type blasting machines (Figures 10-24, 1 0 - 2 5 ) . T h e decision w h e n and where to use fast b u r n , s l o w burn, black p o w d e r fuses, and so forth, depends o n k n o w l e d g e and experience. A v e r y b r o a d general rule of t h u m b is: "Use the fuse that does the j o b and doesn't burn so fast y o u b e c o m e a b l o b . "

Flares Figure 10-21f Ten-stepper firing box used on Red Knight in The Fisher King

Flares are helpful in explosives to ignite a fuse, to create a chain reaction, or for v a r i o u s pyrotechnic effects. In addition, flares are often used to illuminate sets. Flares are e m p l o y e d in fire scenes as b a c k g r o u n d , w i t h h e a v y d u t y models t h r o w i n g a light behind the fire scene. By using them y o u can a v o i d bringing in a w k w a r d h e a v y lighting equipment to get the same effect.

Exploding V e h i c l e s T o b l o w up a n y type of vehicle whether aircraft, b u s , truck, or a u t o m o bile, f o l l o w the basic procedures outlined here. R e m o v e the gas tank and carburetor. R e m o v i n g the engine is usually not required unless y o u need more r o o m under the h o o d for setting the charges.

Figure 10-22

Clunker 50-bullet hit board

S o m e additional w o r k on the automobile is necessary before y o u p r o ceed. First, if the h o o d is to be b l o w n into the air, the door b l o w n off, the trunk lid b l o w n open, and w i n d o w s exploded out, y o u will h a v e to use shotgun mortars. Begin w i t h the h o o d of the car. Unbolt it so it's loose and can be taken off or b l o w n off b y the charge. In order to get the force to b l o w the h o o d , use a shotgun mortar number 1. T h i s is a mortar approximately 1 foot

Pyrotechnics

long b y 3 or 4 inches across w i t h an extremely h e a v y w a l l . Insert a 2-ounce lifting pack of 2 ounces of hard-wrapped electrically squibbed black p o w der at the b o t t o m of the mortar and top it off with sand. Soak the sand w i t h gasoline. A flash pack, taped to the mortar and electrically detonated, ignites the gasoline. T h e physics behind the effect is relatively simple. T h e black powder and the flash p a c k are ignited simultaneously. This creates a pressure that forces the sand up through the mortar against the engine hood. A t this point, the flash pack ignites the gasoline in the sand creating a highintensity explosion.

Figure l u - 2 6 a S e t - u p for e x p l o d i n g car: V i e w of the front car s e a t . A 5-gallon drum is d r e s s e d and w r a p p e d in 100-grain det c o r d . An identical s e t up is in t h e b a c k s e a t .

T o augment the effect w i t h a ball of fire, use a 1-gallon plastic jug of gasoline, w r a p p e d three or four times w i t h 25-grain det cord, making sure that the det cord is taped to the container and each w r a p does not cross o v e r any other w r a p . A t t a c h a blasting cap or an S D 100 to the det cord and mount an additional flash p a c k to the side of the container. A t this point, y o u h a v e one electrical line running to y o u r shotgun mortar and another to its flash p a c k . Similarly, a single line runs from the SD-100 detonator onto the gasoline container and a second to its flash pack, all of w h i c h are positioned under the engine h o o d . It is important that the engine h o o d , trunk h o o d , and car doors be attached to the b o d y and frame of the car to prevent them from flying uncontrollable distances. A 50-foot length of Vi-inch steel cable must be attached to the h o o d , trunk, and d o o r s . N e v e r use less than a Vi-inch diameter cable. If y o u are in an area where y o u are some distance from the shot, y o u need't w o r r y about cabling the h o o d . In tight areas, however, where a flying h o o d could shatter w i n d o w s , cars, or injure people, y o u should cable accordingly (Figure 1 0 - 2 6 a - c ) .

The Cockpit of the Car

Figure 1 0 - 2 6 b S h o t g u n mortar p a c k e d with black p o w d e r c h a r g e , s a n d and g a s , flash pack, and 1 gallon of g a s w r a p p e d with 25-grain det c o r d .

Unless there are extreme personality conflicts with an actor, the director will substitute a mannequin for the actor in an exploding car. The wiring of the interior of a car requires a certain delicacy. W r a p 100-grain det cord around the outside of a five-gallon plastic water jug (plastic milk containers are also fine) filled w i t h gasoline. D o not use a glass container. T w o squibs are inserted through the mouth of the container, which is then sealed, leaving the electrical contact wires protruding. T w o flash packs are then taped to either side of the jug to produce the explosive concussion needed to b l o w the doors off. Position in the front seat of the car. Use shotgun mortars; cable or chain the doors to tie them d o w n so that they are not launched b y the explosion. Place a shotgun mortar with a 2-ounce lifter aimed at the door. Once secured, fill it w i t h sand and soak the contents with gasoline. Place one of these on each door, making sure that there are enough flash packs for ignition. A s s u m i n g it's a four-door car, shotgun mortars are also used to blow the back doors off. T o hold the doors in proper position, use a section of 100-grain det cord to secure the opposing doors together. When the car b l o w s , so will the det cord, freeing the d o o r s . Follow the same procedure for the trunk lid. R e m o v e the bolts so that the trunk lid is free, and tie it w i t h cable to both the frame and the body of the automobile.

Figure 1 0 - 2 6 C S h o t g u n mortar u n d e r h o o d of car. This s e t u p is the s a m e a s the o n e in ! 0 - 2 6 b .

T o b l o w the doors open, instead of off, simply remove the latches, pull the doors closed with a piece of monofilament, and tie the doors closed. A t the moment of detonation, the monofilament will melt and the doors 127

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will open. M a k e sure the d o o r latches are completely off. If y o u w a n t the d o o r s to b l o w completely off, y o u must r e m o v e b o t h latches and all hinged bolts. Use m o r e monofilament or a piece of polyurethane or det cord to tie the doors closed. D o not use cable because it might not break. T h e same applies to the trunk lid. A gallon of gas in the trunk w r a p p e d in det cord, a flash charge, and a shotgun mortar will complete the effect. C a u t i o n : Be a w a r e of the volatility of gasoline. O n e gallon of gasoline has the same explosive p o w e r as three sticks of dynamite.

Wiring the Charges This wiring is next h o o k e d into y o u r b o a r d . Be sure to use h e a v y - g a u g e wire from the car to the firing device. A l l charges are connected to one or t w o lines unless you're going to b l o w individually. If y o u r sequence of explosions runs from front, to middle to b a c k , for instance, y o u will need three h e a v y lines, as y o u will be firing five or six ignitors at once. A l w a y s use h e a v y wire from y o u r battery to the b o a r d so y o u can fire them either sequentially or in unison. In most cases w h e n a car explodes, it fires in one shot, unless the director specifies otherwise. W h e n b l o w i n g up cars, trucks, buses, or other vehicles, the procedure is basically the same. Explosions can be made larger b y putting a jug of gasoline under the car so that a blast of flame comes from beneath at the same time that the other charges are ignited. W h e n b l o w i n g an airplane, be sure y o u purchase it inexpensively! Use the same basic technique as previously discussed. It is important to remember to shunt all the lines before y o u fix the charges. Shunting means taking the t w o wires (one positive and one negative) coming from an explosive device and twisting them into one single strand. This procedure shorts out the charge rendering it harmless. T h e following is not only the proper procedure, but in m y opinion, the only procedure for h o o k i n g up the explosion to the main firing board. 1. Run the wire from y o u r ignition position to the object being b l o w n . 2. Shunt y o u r ignition wires until y o u are ready to m a k e a final h o o k u p . 3 . Shunt all individual sets of wires and keep them that w a y until you're ready to m a k e y o u r final h o o k u p . 4. C o n n e c t the individual sets of wire to y o u r main ignition wire. 5. Unshunt the main ignition w i r e and attach it to y o u r firing device. 6. H o o k up y o u r battery, but only w h e n y o u are ready to fire. A l w a y s keep the firing device and the battery ignitor off the set until y o u are ready to detonate. If y o u r b o a r d has a locking device, such as a k e y (which inactivates the system), keep that k e y in y o u r pocket until y o u are done loading y o u r devices. N e v e r a l l o w a n y o n e on the set to s m o k e or use radio devices of a n y kind w h e n w o r k i n g w i t h pyrotechnics because they m a y cause premature detonation.

Exploding Buildings Building explosions require a specialized technique. Structures prebuilt specifically for explosions are constructed of a much lighter material, such as balsa w o o d , plastic, S t y r o f o a m , or c a r d b o a r d , than real housing, but the procedures for b l o w i n g them are identical. T h e step-by-step procedure is as f o l l o w s : 128

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1. D r a p e the walls with 200-grain det cord in a serpentine fashion and affix it w i t h gaffer's tape. Staple the tape as well. If beams are present, drill through them and string the det cord accordingly. Roofs, doors, or anything y o u wish to explode w i t h det cord should be laced also. 2. For the building interior, you'll naturally w a n t a tremendous fire w i t h billowing s m o k e . T h e size of the structure will determine the amount of gasoline used. This can v a r y from 5-gallon jugs to 55-gallon plastic barrels. T e n to 1 5 w r a p s of 100-grain det cord are w r a p p e d around the containers along w i t h t w o flash p a c k s for each gas container rigged to explode simultaneously or sequentially. T h e wiring procedure and safety rules are identical to the previously described m e t h o d s . T h e effect, however, is different because the building will be completely b l o w n apart, and the explosion will be accompanied b y a tremendous fireball and smoke. There will also be residual burning. 3. A d d i n g diesel fuel to y o u r gasoline or liquid tar creates huge clouds of black s m o k e . If electrical short circuiting is needed, add in spark hits in v a r i o u s sizes and shapes depending on w h a t is required in a specific building area. M a k e sure y o u are well a w a y from the building because the debris will scatter in all directions. In addition, m a k e sure there are no vehicles, equipment, or people in proximity to the explosion. A good rule of thumb is to keep people at least 300 to 400 feet from the site, depending on the size of the explosion. T h e shot can a l w a y s be tightened in camera w i t h the lens and needn't be close b y . O c c a s i o n a l l y a high-speed camera is used in close proximity to explosions thus creating slow motion. Ironically, because of m o t i o n picture stylization, this technique actually makes the effect appear more realistic. H a v e y o u ever noticed that nothing ever b l o w s up only once? It is a l w a y s several explosions. In reality, it is usually one explosion shot from m a n y different directions or angles. 4. It is important to a l w a y s get a minimum of three or four angles the shot, with as w i d e a framing as possible. A tight shot will print nothing but a large whiteout or redout in film. It is better to have five six angles of the same explosion. T h e editor will cut this w a y in order create visual impact (Figure 1 0 - 2 7 ) .

of as or to

T h e basic products used for pyrotechnics are gasoline, diesel fuel, liquid tar, black p o w d e r b o m b s , flash p o w d e r packs, lifting packs, naphthalene, and squibs, w h i c h serve as detonators. O n l y occasionally are classic explosives such as dynamite e m p l o y e d .

Kickers Kickers d o exactly w h a t they say: kick things around. T h e y thrust a 4 X 4 ram, w h i c h is driven b y a mortar charge. T h e 4 X 4 is positioned against a wall or platform, and w h e n detonated, the platform, which is loaded with debris, is kicked d o w n , scattering the debris. Kickers are also used w h e n abutted to a w a l l , forcing it to collapse (Figure 10-28).

Blowing Out Doors and W i n d o w s These explosions require a s o m e w h a t different setup, which can be done in several w a y s . N o n p y r o t e c h n i c s can be accomplished with air mortars with debris in the mortars. Using 300 pounds of air in the air mortar with a mortar of debris and firing it at a d o o r will definitely b l o w it d o w n . 129

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T h e same principle applies to a wall or b r e a k a w a y w i n d o w , either going in or out. If you're going to b l o w a w i n d o w in, naturally y o u put the mortar on the outside of the house. If y o u need a column of fire shooting straight out of a d o o r or a w i n d o w or a long column of fire straight into a building, 100- to 150-pound pressure m a p p gas or propane can be used in the air mortar instead of air and in conjunction w i t h another air mortar fired at the same time. Place a high-volume flame directly in front of the mortar w i t h the gas in it to ignite the gas (Figure 10-29).

Strafing Bullet Hits Y o u ' v e p r o b a b l y seen an airplane strafing a field w i t h a double line of explosions on either side of an actor. W h a t w e use for .50 caliber bullet hits is an SD-100. This is a det cord charge, w h i c h is v e r y dangerous and can b l o w y o u r hand off. Y o u will understand the installation and design of this particular system b y examining Figure 10-30. T h e reason that these charges are sunk into the ground rather than left on the surface (other than their o b v i o u s visibility) is that w h e n fired, they act like mini-mortars shooting into the air w i t h puffs or gusts of pieces of dirt and l o o k like bullets chipping into the earth.

Blowing S a f e s and B o x e s f Figure 1 0 - 2 7

(continued)

Figure 1 0 - 2 8

Kicker

Figure 1 0 - 2 9 door

Air mortar s e t u p to blow out

B l o w i n g anything that's sealed can be tricky if you're not careful. T h e best w a y to b l o w a lock, for example, if someone is shattering it w i t h a pistol

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shot, is to use a b r e a k a w a y lock made of either balsa or plastics. A charge placed in the lock or hasp creates the effect. W h e n b l o w i n g a safe (where the scene requires holes to be drilled in the safe and stuffed w i t h an explosive charge) use a concealed charge not unlike a mortar. N a t u r a l l y the d o o r must be unlocked, otherwise the safe could v e r y well b l o w apart, shooting lethal shrapnel. M a k e sure the door is easily opened on the hinges or spring devices. Place a charge inside the safe and o v e r that charge put a piece of monofilament to hold the door closed. W h e n the charge is fired, the monofilament releases the door and pressure b l o w s the door open and causes billowing smoke.

Rockets W e ' v e often used rockets and b a z o o k a shells for explosives. Using an ordinary Estes rocket m o t o r design, construct a lookalike rocket shell from a lightweight material such as cardboard, balsa w o o d , or plastic. Mount it on a w i r e and thread it through the b a z o o k a . W h e n fired the rocket travels along the guide wire and hits the target. O n c e the rocket is fired and hits the target, the explosion is set off. This effect requires a second rigging of an explosive device to the target. Y o u can also fire rockets free hand, but there are no guarantees.

Cannon Cars C a n n o n s are used to explode m o v i n g vehicles that are either hit b y a shell or gunfire, causing them to flip into the air, spin around, and drop back to earth. W h e n the cannon is built into the car, the car is a c o m m o n car (Figure 1 0 - 3 1 a ) . T h e cannon itself is a gigantic m o t o r approximately 2Vi feet long w i t h an extremely h e a v y wall Vi-inch thick. It is welded into the frame of the car (driven b y a stunt professional) and is fitted with a special roll cage mounted in the cockpit of the car and attached to the cannon. T h e c a n n o n is charged, depending on h o w far y o u w a n t the car to fly, w i t h a n y w h e r e from an 8 to a 16-ounce h a r d - w r a p p e d black p o w d e r b o m b (Figure 1 0 - 3 1 b ) .

Figure l 0 - 3 l b 131

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T h e cannon e m p l o y s a metal piston positioned after the b o m b is placed, leaving the b o m b a v e r y small area inside the c a n n o n . T h e piston is then attached to a section of telephone pole and nailed in through holes in the side of the cannon so that it rests about 2 inches off the ground beneath the frame of the car. Usually, it is mounted o n the right rear side of the driver and fired b y the stunt professional. T h e explosion drives the telep h o n e pole into the g r o u n d , forcing the car u p and flipping it over. There are nonpyrotechnic cannon cars that are fired w i t h nitrogen rams. These are nitrogen cylinders that do the identical j o b : pushing the ram into the g r o u n d , forcing the car u p , and flipping it. It's just as effective and often m u c h safer.

Blowing Up a T r e e Often I've been asked to b l o w off part of a tree or a telephone pole so that it l o o k s like it's been struck b y lightning, b l o w n d o w n in a h e a v y w i n d , or demolished b y a shell hit. T h e most effective w a y to d o this, depending o n the tree's dimension, is w i t h det cord. If it's a small tree, say no m o r e than 6 inches round or across, it needs no m o r e than eight w r a p s of 200-grain det c o r d . In affixing the det cord, never let it contact or overlap another piece. Use SD-100 (which has a self-contained detonator and can be used alone or in conjunction w i t h a separate detonator) to insure ignition. Eight w r a p s around a tree will b l o w it apart. W h e n w o r k i n g with a tree m o r e than 6 inches in diameter, drill holes through the trunk, lace the det cord through the center of the tree, and then w r a p it around the circumference. W i t h heavier trees, use heavier det cord up to 400 grains (Figure 10-32). T o represent a lightning strike on a tree, use flash ribbon as well as det c o r d .

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Blowing Bullet Holes in 55-Gallon Water or G a s Drums A c o m m o n visual in a gunshot scene is to f o l l o w the path of the bullets o n the surrounding scenery. A most effective trick is to see the bullets hit a w a t e r drum and jets of w a t e r spray out. For such a shot, there is no need to actually fire bullets into the w a t e r d r u m . M o r e effective and much safer is to set the drum up ahead of time w i t h the holes already punched into it, positioned as y o u w a n t . Figure 1 0 - 3 3 s h o w s the method of accomplishing this g a g . P l u g the holes w i t h Plastilina and the D60-6 squibs as shown in the detail of Figure 1 0 - 3 3 . Remember to place the Ping-Pong balls in the holes as the w a t e r reaches the hole level and h o l d them there until the w a t e r pressure keeps them in position. T h e n y o u ' r e ready to detonate the squibs w h e n e v e r the director is r e a d y .

Figure 10-33

Bullet holes in water barrel

Blood Hits on the B o d y Bullet hits c o m e in m a n y forms. T h o s e used for the b o d y are called flat hits. It is important that b o d y armor or a hit plate be used for protection. T h i s technique enables single or multiple hits to the b o d y areas with little or n o danger. In addition, it a l l o w s for freedom in positioning the camera shot for the greatest effect. A g o o d deal of preparation is required prior to the shoot. T h e construction, while not complex, is time consuming. Using a glue called 77 S p r a y , attach a squib to either the b o d y armor or the plate. O v e r this glue a blood pack. Blood packs used to be made b y filling a c o n d o m w i t h m a k e u p b l o o d or b y concocting y o u r o w n b l o o d (note: Use corn syrup and red f o o d coloring). T h e newer method is to use a plastic b a g . Using this m e t h o d , y o u h a v e access to any size b a g y o u need 133

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for the effect (Figure 10-34). S o m e specials effects people glue the hit on top of the b l o o d p a c k . I h a v e found b y putting the b l o o d pack o v e r the hit it eliminates the flash given off b y the squib. Glue the entire device to the inside of the actor's shirt w i t h the squib side facing the camera gaffers. T h e n glue tape o v e r everything to ensure it cannot m o v e or shift (Figure 10-35). Y o u can obtain different effects b y placing the b l o o d p a c k o v e r or under the squib and b y positioning the squib itself on the b l o o d p a c k in the high, middle, l o w , front, or b a c k position. Experiment w i t h this technique to discover h o w to achieve the m a x i m u m effect. Finally, string a wire from the squib d o w n the performer's pant leg to the ankle, at the base of w h i c h is a connecting wire to the firing b o x . A device k n o w n as breakaway wire is e m p l o y e d w h e n a director requires a full-length shot to take place immediately after the victim is hit. T h e w i r e breaks a w a y from its connection w h e n y a n k e d , thereby effectively removing the wires from the actor's ankle (Figure 10-36).

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Blowing S o m e o n e ' s Brains Out Figure 1 0 - 3 7 illustrates this procedure. Basically, a plate is held against the b a c k of the actor's head. O n one side of the plate is heavy foam and sheep's w o o l padding to protect the actor, the other side is a pack of wired b l o o d and sponge. W h e n the actor is "shot" in the head, the pack of "brains" is detonated.

Creating S p a r k s A fast sparking device of a n y size can b e purchased to produce spark hits, including continuous s h o w e r s of sparks c o m i n g from a specific area when required. M e t a l cutting wheels w o r k well as d o metal c h o p saws that when they cut through a h e a v y piece of steel can t h r o w a shower of sparks 10 to 20 feet a w a y . A n o t h e r w a y to get a lot of sparks is w i t h a welding machine. A t t a c h a rasp (metal file) to either a negative or positive line of the welder and a separate piece of metal or a carbon rod to the opposite line. R u n the metal or c a r b o n rod across the hasp to achieve massive sparking effects. Y o u can also use a w e l d i n g rod to create the required sparking w h e n y o u run it across the rasp. A l w a y s w e a r protective gear such as a welding mask, h e a v y gloves, and fire protective clothing. Sometimes a director will w a n t sparks dripping d o w n from o v e r h e a d . Get this effect w i t h an o x y g e n acetylene torch cutting of piece of h e a v y metal.

Figure 10-37 135

Blowing someone's brains out

S e c r e t s of Hollywood S p e c i a l Effects

C o n t i n u o u s C o l u m n s of Black S m o k e There are three w a y s to create continuous columns of black smoke: burning tires, burning diesel fuel, and smoke c o m p s . T h e cheapest w a y is w i t h an ordinary automobile tire. Place it in a metal pan and set it afire. Unfortunately, tires are not only v e r y hard to start burning, they are equally difficult to stop burning. I use a brush burner or flame thrower to start them. D o not use carbon dioxide to put them out. W a t e r is the best w a y to ensure extinguishing. M a k e sure that the tire is in a metal pan to ease later cleanup. T h e smoke from burning tires is toxic and thus the method should only be used as a last resort. Substitutes on the market are smoke comps, or smoke composition p o w d e r , v e r y effective but also v e r y expensive. A s a l w a y s , m a k e sure y o u h a v e permission from the authorities before attempting any pyrotechnics. Be a w a r e that the l a w s and rules v a r y with the local, state, and federal authorities. W i t h o u t permission from the right source, y o u are not protected.

Figure 1 0 - 3 8 a

Underwater e x p l o s i o n

Underwater E x p l o s i o n s Underwater explosions are a desired and quite dramatic effect. T h e y demand a great deal of preparation and careful attention to detail. M o u n t a black p o w d e r b o m b , sealed in plastic to ensure waterproofing, on a small floating ramp or raft. For the sake of example, let us say w e are setting five charges in a r o w . A t t a c h cables to the raft and run them d o w n from underneath the platform and anchor them to the water bottom. Level the platform at approximately 1 to IV2 feet below the surface. T h e n run the wires detonating the charges to y o u r firing position. It is imperative that this underwater structure cannot be seen w h e n y o u fire the charges. Use some form of masking or camouflage to hide the platform.

Figure 1 0 - 3 8 b 300-pound c a p a c i t y air mortar s e t u p for u n d e r w a t e r e x p l o s i o n s

N o t e that an explosion goes to the least point of resistance. If y o u r charges are too far under the water surface, the effect will be diminished. Experiment w i t h different size charges to determine the exact size and shape of the explosion. Such charges c o m e in sizes of 2 to 16 ounces. W h e n using explosives under water, y o u should not use a c o m m o n ground for a set of charges. Use a g o o d waterproof electrical line going to each charge and m a k e sure it is watertight. Y o u should h a v e an individual ground and an individual hot line to set off these explosions. Salt water presents particular problems because of electrolysis, that is, the production of chemical changes b y the passage of an electric current through an electrolyte. Y o u r intention m a y be to set one charge off w h e n in fact all of them could g o off at once if y o u use a c o m m o n ground. D o not underestimate the difficulties of underwater explosions. N o t only are y o u dealing with explosives and their particular variables, y o u are also coping w i t h electrolysis. C a u t i o n is the w a t c h w o r d (Figure 10-38a).

Underwater Explosions without Using Explosives A n o t h e r w a y to create water explosions is to use air mortars or air cannons (Figure 10-38b). Fill them with 200 to 300 p o u n d s of air pressure and then position them approximately 4 to 5 feet under the surface. W h e n fired, they gush water 200 to 300 feet in the air, depending on the pressure. W i t h 200 pounds of pressure, y o u will p r o b a b l y get a height of 150 feet; w i t h 300 pounds, a water spout of 300 feet is not unreasonable. A n o t h e r 136

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variable to consider is the diameter of the air mortar since the height of the water spout varies in direct proportion to the diameter of the mortar and air-valve release system, given that the amount of air pressure is a constant.

Trunion G u n s T r u n i o n guns are devices used to b l o w out car w i n d o w s or glass. They are especially useful if the actor is inside the automobile w h e n the back or side w i n d o w s are b l o w n out. In appearance they look like little guns mounted on plates adjustable to different angles (Figures 10-39a and b). W h e n loaded with an appropriate squib, they fire a glass or steel ball through the w i n d o w , leaving a round hole like a bullet. Trunion guns can also cause the w i n d o w to disintegrate if tempered glass is used. Lexan, a bulletproof clear plastic, should be used between the actor and the glass being shattered.

G l o s s a r y of Pyrotechnic T e r m s Bullet Hits Used to simulate bullet hits. T h e color-coded squib chart on the b a c k cover indicates the different sizes and shapes. T h e D-80 series are c o m m o n l y used as b o d y hits. T h e D-60 series are stronger and completely flashless. T h e y are used frequently to simulate bullet hits along a wall, and so o n . T h e S D series are v e r y strong hits used mostly to simulate bullet hits on the g r o u n d . T h e Z - 1 6 , 1 6 A , 17, 1 7 A , and M - 1 7 A s are v e r y effective in simulating ricochets. T h e y produce a small amount of sparks. Directional short circuitors Q u i t e similar to the omni short circuitors. T h e directionals can be pointed in the direction y o u intend for them to g o to produce sparks that are like the omni's. T h e directionals come long or short, the long producing more length to the sparks and the short producing more w i d t h . Flash p o w d e r Flash p o w d e r s c o m e w i t h t w o components so they can be shipped v e r y easily. T h e y are v e r y safe because y o u only mix the two bottles w h e n y o u are going to use them. T h e y c o m e in a variety of colors and speeds. There has also been developed a type of flash powder that sparkles w h e n ignited, called sparkle flash, w h i c h comes in red and green. Fountain effects Produces sparks that shoot off and look like fountains. T h e y are designed to spark for different lengths of time and in different sizes. Igniters Used to ignite materials that are squibbed when a large flash is not w a n t e d . T h e y are used quite frequently to ignite b o m b s and smoke. M a t c h A r c i n g match is used to create sparks. Basically, it is a type of fuse w i t h gerbs, or sparkling devices, placed at intervals so that y o u get the effect of the fuse burning and sparking at regular intervals. Blackmatch is simply used to ignite v a r i o u s pyrotechnics, as is the thermite fuse, w h i c h burns faster. T h e silver match is a type of fuse that is almost like a flexible sparkler. It is more often used as a visual effect than as an igniter. 137

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O m n i short circuitors Produce sparks for explosions and electrical effects. T h e larger the short circuitor, the m o r e sparks. T h e omni short circuitor produces 360 degrees of sparks. Reduplicating material Used for duplicating p r o p s , parts of bodies, or w a l l sections. It can be made to disappear in seconds w h e n ignited w i t h a minimum a m o u n t of s m o k e . S m o k e s S m o k e s are v e r y dense and true in c o l o r . T h e y can be b o u g h t in v a r i o u s colors and can burn for v a r i o u s lengths of time. T h e y are sold in bulk or in s m o k e p o t s . T h e s m o k e pots c o m e squibbed, fused, or in pull-tab f o r m . T h e squibbed smokes are ignited electrically and the fused are ignited w i t h a m a t c h . Except for the white, black, and g r a y exterior smokes, they present no hazards. H o w e v e r , some people d o h a v e l o w e r tolerances to v a r i o u s smokes than others and could experience minor throat or eye irritation o v e r an extended period of time of exposure. Use smokes in a well-ventilated area. T h e black, white, and g r a y exterior smokes should be used outside o n l y .

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Fireworks

Spectators l o v e fireworks. A w e l l - d o w n fireworks display adds excitement to live performances, m o t i o n pictures, and television productions. Firew o r k s , h o w e v e r , are extremely dangerous even in the right hands. There are p r o b a b l y no more than a dozen truly qualified firms in the country that design and construct these pyrotechnic displays and also have the experience to run the show; t h o u g h there are m a n y more licensed to do them. It is a highly specialized field that requires years of experience, to the extent that some of the best companies in the field are family-run with a b a c k g r o u n d going b a c k several generations. It is not simply putting a match to a fuse. Specialized terminology has been defined in the glossary though I don't pretend it is complete. Often y o u will find that highly technical fields such as this d e v e l o p a verbal shorthand, incomprehensible to the uninitiated. This chapter addresses terminology, safety procedures, and use of firew o r k s . T h e material in this chapter is from the Film Industry Fire, Life, and Safety Handbook and is reprinted w i t h permission of the California State Fire M a r s h a l .

Specifications of Fireworks A p p a r a t u s and Devices Mortars 1. M o r t a r s should be made of Shelby (brand name) seamless steel tubing or equivalent strength steel h a v i n g a smooth bore and a steel bottom plate, at least equal in thickness to the tube w a l l , welded continuously around its inside diameter rendering it weatherproof. 2. M o r t a r s normally used for the firing of salutes and other single break shells m a y be made of spiral or c o n v o l u t e - w o u n d chipboard or draft paper tubes. It is suggested that tubes used for firing 3-inch shells and ordinarily used in finale racks h a v e a w a l l thickness of not less than V2 inch and tubes for 4-, 5-, and 6-inch shells h a v e not less than /4-inch walls. All paper tubes shall h a v e a w o o d e n base plug in g o o d condition w i t h a thickness not less than the inside diameter of the tube. T h e base plug shall be securely glued and nailed to the tube. 3

3. T h e minimum inside length of mortars shall be not less than five times their inside diameter for mortars u p to 7 inches in diameter and not less than four times their inside diameter for mortars having an inside diameter greater than 7 inches. 4. Salutes must never be fired from metallic mortars. 5. W h e r e the shooting site contains soft ground or sand, all mortars except 3-inch finale batteries shall be set u p o n a h e a v y plank or timber footing and be buried in solidly tamped clean earth. N o t less than 7 5 % of the mortar bore length shall be b e l o w the normal surface of the ground. A continuous r o w of sand- or earth-filled bags shall be laid against the firing side of the mortars. T h e upper surface of the sandbags shall be level w i t h the mortar tube muzzles. Sandbags shall also placed similarly at b o t h ends of each line of mortars. 139

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6. A l l mortars other than those in a b o v e g r o u n d finale racks and sandb o x e s shall be separated from each other b y not less than four times their bore diameters. 7. W h e r e it is impossible to b u r y mortars in suitable clean earth or w h e n the authority h a v i n g jurisdiction has declared that public safety will be increased thereby, mortars m a y be set for firing in a p p r o v e d sand-filled containers; in these instances it is suggested that troughs be constructed of h e a v y b o a r d s in accordance w i t h the f o l l o w i n g details of construction. a. T h e w i d t h of the trough should be not less than three times the diameter of the largest mortar. b . T h e depth of the trough must permit burial in w e t sand tar to within 1 inch of its muzzle. H e a v y w o o d b l o c k i n g space between the b o t t o m of the m o r t a r and the container, case there should be a minimum 2 inches of thickness of each mortar.

of each morshall fill the and in every b o a r d under

c. T h e length of the trough should permit spaces between all mortars and between the first and last mortars and the ends of the trough equal to the diameter of the largest mortar. These spaces shall be filled w i t h blocks of w o o d . Board shall separate troughs into compartments not more than 6 feet in length. d. T h e sides, ends, b o t t o m , and a n y b o a r d s required to limit compartment length to 6 feet shall b e sturdy lumber in g o o d condition and nailed securely. T h e ends of the troughs shall be set 6 inches in from the ends of the side and b o t t o m boards, and t w o V H n c h threaded rods used to bolt the sides in place at b o t h ends of the trough just outside of the trough ends. e. T h e container shall be set and the mortars b l o c k e d and secured at the angle determined as safe for firing. While h e a v y drums in place of the described troughs are authorized in several states, their use is not encouraged. f. Finale batteries c o m p o s e d of mortars no larger than 3-inch inside diameter are normally limited to ten mortars per unit. Such battery mortars must be made of paper since they are not buried. W o o d e n racks of stout construction are used to support the mortars. Batteries m a y consist of as m a n y ten tube units as required for the display, but each unit should be independently set, braced, and secured, as indicated b y w i n d direction and velocity predicted for the firing time. After the mortars are loaded and quick match connected, a narrow piece of tape should be placed over the muzzle of each tube. This is a valuable safety practice because after the display it a l l o w s the operator to easily recognize a mortar containing a misfire.

Shells 1. Shells are measured and classed only in terms of the inside diameter of the mortar from w h i c h they are designed to be shot, not circumference, for example, 3-inch shells are o n l y for use in 3-inch-diameter mortars. 2. Q u i c k match leaders should be long e n o u g h to a l l o w not less than 8 inches of fuse to protrude from the m o r t a r after the shell has been inserted. 3. T h e length of exposed black match on a leader should not be less than 3 inches, and the fuse should h a v e a total minimum firing delay time of not less than four seconds from ignition of leader to initiation of the lift charge, in order to allow the operator to retreat to safety. 140

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4. A safety cap shall be installed o v e r the exposed end of the fuse and r e m o v e d b y the operator o n l y at the time of firing.

Before the Display Site Selection and Preparation It is important to the safety of spectators and the general public that the operator in charge of a display carefully plan for proper security and c r o w d control. T h e shooting site and fallout zone should be guarded before, during, and after the display. This is important in order to protect against theft, accidental ignition, and injury to the public. Fencing off the shooting area is a l w a y s a g o o d idea and m a k e s security somewhat easier. There is a tendency, h o w e v e r , for people to believe that all danger is over after the final serial shell is fired. O f course this is not the case, and dud shells can explode at unexpected and dangerous locations. Security guards must prevent people from entering the fallout area even after the display is o v e r . If possible, a fallout zone w i t h limited access should be utilized. Natural boundaries, roads, fences, or areas well m a r k e d with signs, ropes, or flagging are all useful in designating a fallout area. Flammable materials such as dry grass, shrubs, and piles of trash should b e watered d o w n thoro u g h l y immediately before the display. Such watering can save much w o r r y b y preventing small fires, w h i c h detract from the smooth operation of the display. A l t h o u g h the fallout zone will ideally h a v e limited access, it should h a v e suitable access for emergency vehicles. T h e type and number of pieces of equipment required m a y be determined b y the authority h a v i n g jurisdiction, but in every case it must be adequate to cope with any fire that can be reasonably anticipated.

Consideration of Wind Velocity High w i n d is d a m a g i n g to the success of a display for several reasons. The primary disadvantage of high w i n d v e l o c i t y is that fallout can be carried outside the intended fallout zone. W h a t might be a smoldering piece of shell casing in still weather can b e c o m e an open flame that can ignite other fireworks, grass, trees, roofs of buildings, and so on, during high winds. Strong w i n d s can also influence the trajectory of a shell and the shape of its burst. It is a l w a y s a g o o d idea to fire at least one test shell to check the trajectory. A l t h o u g h the performance of a fest shell does not guarantee that all shells will b e h a v e in the same w a y , such testing provides valuable information on the location of the actual rather than the intended fallout zone. W i n d also destroys subtle or delicate aerial effects and reduces the b e a u t y of m a n y kinds of shells. There can be no single recommendation o n the m a x i m u m w i n d v e l o c i t y at w h i c h safe firing m a y take place. This decision depends on the site and the hazards in the area. Local fire authorities normally h a v e the final say and some m a y not permit displays when the w i n d velocity is as l o w as 10 m p h . Here it is well to remember that a pyrotechnist w h o has perhaps spent months preparing a single night's display is v e r y easily tempted to fire that display in spite of a strong wind. Such a decision, h o w e v e r , should be carefully weighed and should be discussed w i t h others, since judgment o n such matters is easily clouded.

Determination of Distances from Spectators T h e distance from the firing site to the spectators is one of the most important safety factors to be considered in the planning of a display. It is generally recommended that mortars and rocket launchers be at least 300 feet 141

S e c r e t s of Hollywood S p e c i a l Effects

from spectators. Greater distances m a y be advisable not o n l y for safety but also because v e r y large shells or elaborate shell arrangements can best be appreciated at distances greater than 300 feet. H o w e v e r , displays consisting, for example, of o n l y t w o dozen 3-inch star shells d o not require as m u c h distance between the shooting site and the spectators or as large a fallout zone as a larger display containing m o r e numerous or v e r y large shells. S o m e situations, such as sporting events at stadiums, m a y necessitate somewhat shorter distances from spectators. M o r t a r or rocket launchers should be positioned so that serial devices will not c o m e within 25 feet of a n y overhead object. O p t i m a l l y there should be a m i n i m u m of a 300 foot long b y 300 foot w i d e or larger fallout zone that is free of spectators. A t no time should the trajectory of shells pass o v e r the heads of spectators. It is also recommended that the firing site be at least 600 feet from health care and penal facilities and from storage of hazardous materials (such as petroleum products). G r o u n d displays consisting of lances and n o n m o v i n g set pieces should be no closer to spectators than 75 feet. It is the responsibility of the operator in charge to discern and meet all special requirements of the local authorities i n v o l v e d . A s a general rule a l a n c e w o r k w i t h pyrotechnically driven m o v i n g parts, wheels, large elaborate set pieces, and large cracker strings should be separated from spectators b y a minimum of 150 feet. Low-level serial fireworks such as mines, class C shells, and comet barrages, or other multiple tube devices should be placed a minimum of 200 feet from spectators. These distances, of course, m a y be increased b y local authorities or insurance companies. T h e y represent a realistic appraisal of the relative hazards of these devices to spectators but of course cannot absolutely guarantee safety in every instance. For this reason, pyrotechnic operators must familiarize themselves w i t h all the devices they use in a particular display and m a k e an appropriate assessment of the potential risks to spectators.

Selection of Shells If the display site has a small fallout area, multiple-break shells must be a v o i d e d if possible. Shells w i t h significant fallout debris (such as whistles, tourbillions, serpents, and other special effects) should also be a v o i d e d if the fallout area includes parking lots or other areas where damage to people or property might result. W h i l e large fallout zones are desirable, there are times w h e n it is simply not possible to ensure such areas will be totally free of people and vehicles. W h e n large fallout areas are not practical, a careful selection of shells can help compensate for a less than optimal fallout zone. Single-break star shells and salutes n o r m a l l y result in relatively harmless fallout. This is not true of multiple-break and m a n y special effect shells.

Inspection of Shells In preparation for the display, each and e v e r y aerial shell should be inspected carefully. A l l shells should be r e m o v e d from individual w r a p ping and a n y rubber bands on the leaders should also be r e m o v e d , so that the shell is ready to load without delay. Leaders should be inspected for breaks or tears. Tears in the paper covering of the quick match can be mended w i t h a short piece of tape if the black match is intact. M o s t importantly, shells must be examined for d a m a g e to the shell b o d y and the paper enclosing the lift charge. If a n y p o w d e r is found to be leaking, the shell should be put aside and not used. Inadequate lift can cause a l o w burst or result in a shell bursting o n the g r o u n d endangering personnel and unig142

Fireworks

nited fireworks. Shells should be carefully sorted b y size (diameter) and arranged in the order of firing. It is g o o d practice to place shells (and mortars) of dissimilar diameter size adjacent to each other to help avoid mixups. T h u s , 5-inch and 3-inch and 6-inch and 2-inch shells might be placed adjacent to each other. If, for example, a 3-inch shell is loaded into a 4-inch mortar, a l o w or g r o u n d burst will result. Such mixups must be a v o i d e d . Salutes must be recognized as such b y both loader and shooter, since they represent greater hazards as a dud, misfire, or hangfire. Salutes can be conveniently m a r k e d b y taping a short piece of colored ribbon or D a y - G l o surveyors' flag tape onto the leader just past the safety cap before the salutes are placed into the ready b o x e s . Salutes should be fired only f r o m paper mortars. Should a salute explode within a metal mortar (even one properly buried), dangerous pieces of flying metal are likely to result.

On-Site Storage of Shells Before a n y firing begins, the entire complement of shells should be b r o u g h t to the firing site and stored in ready boxes at a point not less than 25 feet distant and u p w i n d from the nearest mortar. A ready box is a substantially constructed container of w o o d , h e a v y cardboard, or plastic. T h e ready b o x should be positioned w i t h its b o t t o m facing the mortars and arranged to open a w a y from the mortars. A flameproof water repellent c a n v a s c o v e r should be used to protect all ready b o x e s during the display, except that the c o v e r m a y be lifted w h e n shells are taken from or returned to the boxes. Shells must be protected against accidental ignition, and most importantly theft. Black match should a l w a y s be covered with safety caps.

Operation of the Display Operator Responsibility T h e term operator is frequently used to refer to the pyrotechnist in charge of a fireworks display. Often the operator is also the shooter and actually ignites the shells or other devices. T h e operator is responsible for the entire s h o w . Duties normally include preparing fireworks for transportation, safe storage, and providing all supplies necessary for the safe firing of the s h o w . Equipment such as eye, ear, and head protectors, flashlights, tools, and protective clothing must be m a d e available to personnel. The positioning of mortars, establishing the l a y o u t of the entire firing site, inspecting all devices before the display, and generally maintaining safe conditions at the firing site are also the responsibility of the operator. T h e operator is fully in charge during the actual shooting of a display and devices are normally ignited o n l y on his or her c o m m a n d . It is the operator's responsibility to m a k e corrections in mortar angles to adjust for wind changes and to ensure that all bursts occur in the unoccupied fallout zone. T h e operator is responsible for the successful completion of the entire display.

Loading Aerial Shells into Mortars Shells should not be carried b y their leaders. Loaders should be equipped w i t h a flashlight or a h e a d l a m p and fuse or portfire never used for illumination. Shells should be placed into the mortars without placing any part of the b o d y o v e r the muzzle. T h e leader must check to be sure the shell has dropped to the b o t t o m of the mortar. Except for v e r y large shells (those a b o v e 5-inch diameter) this m a y be best accomplished b y a gentle 143

Secrets of Hollywood Special Effects

tug at the leader, w h i c h will lift the shell briefly off the b o t t o m of the mortar. Large shells can be similarly checked, but a cord or string p r o v i d e d for lowering the shell into the mortar is tugged instead of the leader, w h i c h might be d a m a g e d if the shell is too h e a v y .

Firing Aerial Shells In general all personnel w h o are i n v o l v e d w i t h firing the display should w e a r protective clothing as well as protective eye, ear, and head equipment. Flame retardant cotton coveralls or the equivalent should be w o r n as opposed to n y l o n , r a y o n , or other synthetic material that could cause or aggravate injury in the event of fire. G o o d quality earplugs and protective shatterproof eyeglasses or goggles, as well as safety helmets, such as hard hats or m o t o r c y c l e helmets, should also be w o r n . In m a n u a l l y fired displays, the crew is usually divided into three units: the magazine tenders, the loaders, and the shooters. T h e magazine tenders are responsible for keeping the loaders supplied and for safeguarding the ready boxes: T h e y must protect the ready boxes from sparks and should never open more than one b o x at once or lift the protective tarp covering the boxes on the side facing the mortars. T h e loaders place shells in the mortars, m a k i n g sure that the shells are properly seated and keeping track of the load shells b y type. T h e shooter then r e m o v e s the safety cap f r o m the leader and fires the shell. A e r i a l shells are best ignited w i t h a portfire or fuses securely attached onto a d o w e l or rod. T h e operator first removes the safety cap from the leader and then carefully applies the flame from the portfire to the v e r y end of the exposed black match. He or she should then turn a w a y from the mortar and quickly retreat. A t no time should a n y part of the b o d y b e positioned o v e r the mortar, and the operator should keep l o w as he or she approaches and retreats from the firing line. Used portfires, w h i c h m a y contain hot embers, must never be discarded in the area between the mortars and ready boxes. Personnel at the firing site should maintain close observation during the display in order to detect and report misfires and duds.

R e c o m m e n d e d Safety P r e c a u t i o n s for P y r o t e c h n i c s and Fireworks 1. W h e n using an electric firing b o a r d , y o u must h a v e a master k e y lock to prevent unauthorized use or h a v e an equivalent means of safety. 2. A l w a y s put the k e y in y o u r pocket before plugging in the controller. K e e p it in y o u r pocket during setup and loading or until firing. 3 . D o n ' t a l l o w a n y smoking or open flames in the vicinity of pyrotechnic materials. This caution applies to both mixed and unmixed p o w d e r s , in or out of the device. D o not reload a device immediately after firing. Let it cool. 4. W e a r safety glasses during the pyrotechnic materials mixing and loading operations. 5. A l w a y s test-load and fire the devices o u t d o o r s in a clear area before a performance to determine proper loads. N e v e r exceed the maximum recommended load. 6. A l w a y s mix the pyrotechnic materials according to instructions. Different chemicals could cause cross contamination that m a y result in misfires or dangerous mixtures. N o t all flash p o w d e r s burn at the same speed. 144

Fireworks

7. M a k e sure that security personnel are present during shows. This measure is necessary to prevent members of the audience from suddenly approaching the pyrotechnics during a performance. Observe the c r o w d clearance distances written in the device instructions. 8. Be certain that the person firing the flash p o w d e r has an unobstructed v i e w of the effect and its fallout area, if a n y . 9. N e v e r put y o u r face o v e r a loaded device. 1 0 . If a misfire occurs, put the controller k e y in y o u r pocket and empty the device. Dispose of the p o w d e r (no m o r e than 1 ounce at a time) b y flushing it d o w n a toilet. 1 1 . A p p o i n t o n l y one person to be responsible for loading effects equipment to a v o i d loading the same device twice. 1 2 . C o n c u s s i o n mortars can h a v e considerable recoil; place the mortars on a substantial floor during firing. 1 3 . W h e n positioning devices, take into account the distances from sets, scenery, cast, crew, and audience. Follow the manufacturer's instructions for distances from spectators. 1 4 . Be sure that stage decorations are fire resistant and approved b y the local authority. 1 5 . Test the ventilation system against m a x i m u m s m o k e production. 1 6 . Ensure that smoke detectors and other fire alarms are not affected b y pyrotechnic display. If they are, s m o k e p r o d u c t i o n must be reduced or ventilation increased. 1 7 . Run s m o k e production tests using pyrotechnics or approved smoke b o m b s . Tests must be m a d e before spectators are allowed in the area. 1 8 . W h e n in doubt, d o not fire the pyrotechnic. C a l l the manufacturer or the local authority. 1 9 . Static or induced electricity can ignite a squib. Squibs must be shunted during handling and loading. If a control or firing cable must be run across other current-carrying cables, shield it. 20. M a k e sure a fire extinguisher is immediately available w h e n transporting, handling, or firing pyrotechnics, regardless of all other safety procedures or protective clothing available. 2 1 . L o c k up all pyrotechnic compositions in a p p r o v e d storage when not in use.

G l o s s a r y of Fireworks T e r m s A e r i a l shell Cylindrical or spherical container containing stars or other effects, quick match fuse, and lift charge. Battery Collection of fireworks devices designated to be shot within a short period of time, for example, a g r o u p of mortars (finale batteries) or a bundle of R o m a n candles (candle batteries). Black match

C o t t o n w i c k i n g or cord impregnated and coated with black

p o w d e r , used for c o n v e y i n g fire to fireworks devices. Black p o w d e r M i x t u r e of finely p o w d e r e d potassium nitrate, sulfur, and charcoal. C o m m e r c i a l b l a c k p o w d e r m a y be granular or finely p o w dered. It serves as a propellant and in a w i d e variety of other uses in firew o r k s . It should not be confused w i t h smokeless p o w d e r , which is nitrocellulose and not suitable for use in fireworks. C o m e t Solid pellet of composition that is propelled from a mortar shell and is designed to produce a long-tailed effect. C o m e t s m a y or m a y not 145

Secrets of Hollywood Special Effects

burst at their zenith. Large comets or comets fastened to shells are sometimes referred to as stickless rockets because of the similarity of their effect, not their design. Composition device.

Mixture of ingredients in a device or a component of a

Detonation Powerful and l o u d explosion that occurs inside a mortar in w h i c h the entire contents (or nearly the entire contents) of a device are consumed. Little or no visible burning material leaves the mortar because the compositions are totally destroyed in the explosion. A detonation usually damages the mortar and m a y disturb the positions of adjacent mortars. Several causes are possible. T h e most c o m m o n are the use of unsafe formulations in stars, p o o r l y designed or constructed shells, and impurities in the chemicals used in manufacture. Driver Strong paper case w i t h a nozzle or c h o k e . T h e case is charged w i t h a fierce burning composition and is used to propel wheels or other mechanical devices. Drivers are sometimes called wheel pushers or pushers. Dud Shell that leaves the mortar but fails to break (burst) and falls to the g r o u n d . It m a y explode u p o n hitting the ground or later o n . Fallout zone/area A r e a or ground onto w h i c h dud shells, shell c o m p o nents, and shell fragments fall during a display. It is important to prevent spectators from o c c u p y i n g the fallout zone. Finale Fireworks designated to be fired at the end of the display. B y tradition, this is usually an especially spectacular assemblage of devices and is usually fired in a short period of time. Flowerpot Shell that bursts within the mortar, producing a shower of ignited stars and other material. Flowerpots h a v e numerous possible causes: the most c o m m o n are a fire leak into the shell or a w e a k or d a m aged shell casing. Fountain Identical to a gerb except that fountains usually h a v e w o o d e n or plastic bases and are designed to be placed o n the ground instead of fastened to a set piece. See gerb. Fuse Long-burning flare, usually red, commercially used as a railroad or h i g h w a y w a r n i n g light but also used to ignite fireworks. W h e n used to ignite fireworks, it m a y be referred to as a Gerb

portfire.

D e v i c e that releases a jet of sparks or spray of fire, usually used

o n set pieces. Gunpowder

See black

powder.

Hangfire Fuse that continues to flow or burn s l o w l y instead of burning at its normal speed. Such a fuse m a y suddenly resume burning at its norm a l rate. Hatch Heading

See black match or quick

match.

Portion of a skyrocket that is released at the zenith of its flight.

Lance Small paper tubes (Vi to V s inches in diameter) charged w i t h composition and used for m a k i n g outline pictures in w h i t e or colored fire. Leader

Length of quick match attached to a shell.

Lift charge Granulated black p o w d e r positioned beneath a shell, which w h e n ignited propels the shell into the air. Lift is n o r m a l l y enclosed in some shells, in plastic) and is ignited b y the leader.

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Fireworks

Line rocket C a s e w i t h a nozzle or c h o k e , charged with a fierce burning composition and attached to a c o r d or rope. T h e devices follow the rope instead of flying freely. Line rockets and their elaborations are sometimes called flying pigeons or simply pigeons. Lowburst/break T h e shell explodes b e l o w the prescribed h e i g h t — o n the w a y u p or d o w n . Meal (meal powder)

Finely p o w d e r e d black p o w d e r .

Mine D e v i c e designed to project ignited stars a n d / o r other effects into the air. C o m p a r e d w i t h shells, mines generally produce visual effects that are seen at l o w e r altitudes. A minelike effect is produced b y a flowerpot. Misfire Shell in w h i c h the quick match burns a w a y after being lighted but nothing else happens, leaving a live shell in the mortar. Mortar

T u b e of metal or c a r d b o a r d from w h i c h aerial shells are fired.

Multiple-break shells A e r i a l shell designed to produce more than one explosion in the air. There are several different c o m m o n l y used designs; h o w e v e r , all of these result in an increased risk of a dud falling into the fallout zone. Shells containing numerous small shells are often called shells of shells, Muzzle burst

Puppadella,

or many small

flowers.

Shell that bursts just as it leaves the mortar, scattering stars

and burning material in all directions at g r o u n d level. Operator

Pyrotechnist in charge of a display or in charge of the ignition

of shells and other devices. Portfire Paper tube charged solidly w i t h composition that is used for lighting other firework devices. Portfires are best securely fastened to a length of d o w e l or other light b o a r d for use. Priming

Slurry usually m a d e of g u n p o w d e r , a binder, and water or

other solvents and used to ensure the ignition of devices. Quick match

Black match enclosed in paper w r a p p i n g .

Racks Sturdy w o o d e n frames used to support paper tubes in an upright position a b o v e g r o u n d . Ready boxes Sturdy fire-resistant b o x e s used to store shells or other firew o r k s during a display at the display site. Report L o u d explosion, normally m u c h louder than the explosion of a star shell. Sometimes used s y n o n y m o u s l y w i t h a salute (the fireworks display itself). A report, h o w e v e r , is the sound actually produced b y the explosion. Roman candle

C a r d b o a r d tube designed to shoot stars of special effects

periodically and repeatedly into the air. Safety cap T u b e of h e a v y paper or c a r d b o a r d that fits over the bared b l a c k match at the end of a quick match leader and is removed just before ignition b y the operator. Salute Shell containing a powerful composition (usually a flash powder) that explodes violently, producing a l o u d report with v e r y little visual effect other than a bright flash. Titanium salutes are similar except the l o u d report is accompanied b y a large cloud of white particulate fire. Set piece G r o u n d display such as lances, wheels, gerbs, fountains, a n d / o r other devices that perform at ground level. Skyrocket

147

C a r d b o a r d tube solidly charged w i t h g u n p o w d e r (or other

Secrets of Hollywood Special Effects

propellant). T h e tube is attached to a stick that gives it guidance during flight and prevents it f r o m spinning end o v e r end. T h e nose or heading of a skyrocket m a y contain a salute, stars, or special effects. After c o m pletion of its flight, a rocket tube and its stick fall b a c k to the ground intact w i t h the potential to d o d a m a g e to people and property. Rockets are seldom used in commercial displays because they are more dangerous than shells and less efficient in getting large p a y l o a d s several hundred feet into the air. S k y r o c k e t s are not c o m m o n l y used in A m e r i c a n commercial displays because of their unpredictability. Special effect shells A n y shell that contains something other than a salute or simple stars. Such shells usually include whistles, w h i c h are cardb o a r d or plastic tubes filled w i t h special whistling composition; serpents, w h i c h are small tubes charged w i t h fierce burning composition that jet and shoot about in the air; and tourbillions, w h i c h are tubes charged w i t h fierce burning composition but h a v e the exhaust hole in the side of the tube so instead of jetting like serpents they spin like small wheels. N u m e r o u s other special effects are to be found including small shells that explode several seconds after the large shell bursts, curious class C items such as firecrackers and jumping jacks, and comets, w h i c h if they explode are called Crossette comets. Stars Small cubes, cylinders, or balls of composition that are discharged f r o m shells, mines, R o m a n candles, or other devices and burn w h i l e in the air.

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12 Special Effects and Stunts

Q u i t e often you'll w o r k side b y side w i t h stunt professionals. Effects such as slingshot cars, car explosions, pyrotechnic jump ramps, and b o d y burns all require the greatest degree of cooperation between the F/X and the stunt professionals (Figure 1 2 - 1 ) . This is p r o b a b l y the most interdependent, credent, and symbolic relationship that exists between t w o people, outside the military. N o w h e r e else does one person so completely and emphatically trust their life to the judgment of another. Granted, both the F/X and stunt persons h a v e their o w n areas of responsibility, but they are so intertwined as to be virtually indistinguishable. Figure 1 2 - 1

P y r o t e c h n i c ramp jump

T o m a k e it completely clear, I personally k n e w three stunt people w h o died recently because someone made a mistake. M o s t often it w a s the stunt person or the stunt co-ordinator w h o made the mistake. This is a personal w a r n i n g to you, h o w e v e r , that injury or death should never be caused b y an F/X foul u p .

B o d y Burns T h e b o d y burn requires a stunt person to catch on fire and perform some activity such as running d o w n the road or thrashing about in a room, all the while engulfed in flames. This effect is dangerous because of the flames but can be made fairly safe.

Figure 1 2 - 2 a

Body burn

T h e stunt person wears several layers of N o m a x underwear, which is flameproof, a burn suit o v e r that, special fireproof headgear, and a special mask and headpiece. In addition he or she carries a t w o - or three-bottle air supply. Since the fire takes all the o x y g e n out of the air and superheats it, the stunt person must h a v e a self-contained air system to facilitate breathing. N o n e of this protective clothing is donned until immediately prior to the shot. T h e insulated gear is hot and perspiration can turn to steam and cause injury. In addition to the clothing, the stunt person applies stunt gel to hands, head, hair, neck, and so o n . T h e gel keeps the person cool and protects the skin from a n y flames that m a y inadvertently penetrate the suit. O n c e the performer is suited u p , he or she has o n l y six to nine minutes of air supply, so y o u must w o r k q u i c k l y and accurately. W i t h either rubber cement or p y r o gel, brush a coating o n the entire front and back of the costume, but a v o i d putting a n y material under the arms or between the legs. W h e n this step is completed r e m o v e a n y remaining chemicals from the set.

Figure 1 2 - 2 b

Car fire and b o d y burn

Five to six crew members should a l w a y s be standing b y with carbon dioxide fire extinguishers in addition to a large hand-held blanket (of a weight used b y movers) that has been soaked in water. A s a further safety precaution, always test the carbon dioxide extinguisher immediately prior to the shot. O n e safety person should a l w a y s stand b y to look at the over149

S e c r e t s of Hollywood S p e c i a l Effects

all picture especially w h e n the safety crew is putting out the person burning to m a k e sure that the flames aren't reignited from other sources. W h e n the camera rolls, the performer is ignited and executes the stunt. T h e cue for extinguishing is a l w a y s given b y the performer! O n l y the person i n v o l v e d can judge the timing and limitations of the equipment and the situation accurately. T h e cue to put the stunt person out is indicated b y the performer falling face d o w n w i t h outstretched arms. T h e safety crew then dashes in immediately w i t h the c a r b o n dioxide. If for some reason the carbon dioxide fails (almost impossible), the b a c k u p wet blanket should be w r a p p e d around the performer. A s part of the setup safety procedures, pull the locking pins from the carbon dioxide bottles prior to the shot and test them w i t h a burst from each one. V e r y rarely h a v e I seen a stunt person injured w h e n doing a burn gag if wearing proper garments, but don't ever take shortcuts w i t h safety procedures (Figure 1 2 - 2 a - c ) .

Figure 1 2 - 2 c Air breathing s y s t e m worn by stunt p r o f e s s i o n a l s during b o d y burns

Car Fire Stunt E x p l o s i o n s and Ramp J u m p s Burn suits are also used b y drivers in car burns and explosions, fire traverses, jump ramps, and m o t o r c y c l e burn gags (Figure 1 2 - 3 a - c ) . C a r s inv o l v e d in rolls or jump ramps are specially built w i t h reinforced frames and interior roll cages. T h e gas tanks are r e m o v e d and replaced w i t h a fuel cell that carries approximately 1 gallon of gasoline. T h e driver is strapped into a h e a v i l y padded roll cage and secured w i t h a five-point safety harness. M o s t action m o v i e s h a v e a sequence in w h i c h a car i n v o l v e d in a highspeed chase suddenly flies into the air, spins o v e r , and rolls on the ground. T h i s is called a cannon car (see Chapter 10, page 1 3 1 ) .

Figure l 2 - 3 a

Roll c a g e inside stunt c a r

Figure l 2 - 3 b

Motorcycle burn and jump

Figure 1 2 - 3 c Stunt professional Kevin McCarthy in Kevlar burnsuit with Nomex hood prepping for b o d y b u m 150

S p e c i a l Effects and S t u n t s

Breakaway G l a s s and T e m p e r e d G l a s s Effects B r e a k a w a y glass and tempered glass are used for different effects. Breaka w a y glass is usually limited to sizes 4 b y 6 feet (Figures 1 2 - 4 , 1 2 - 5 , 1 2 - 6 ) . A n y t h i n g larger is difficult to handle unless y o u are making it on location. W h e n larger dimensions are needed, I use tempered glass, often in sizes 8 b y 10 feet and larger for sliding patio d o o r s , picture w i n d o w s , and storefronts. I e m p l o y glass breakers to shatter the glass (Figure 1 2 - 7 ) . These small sharply pointed metal devices are positioned at the base of the wind o w on both sides and are either spring loaded or laid with squib hits and attached to the glass. Tempered glass requires nothing more because it is quite delicate. A simple scratch will literally cause it to collapse and shatter into a million pieces about the size of dimes.

Figure 1 2 - 4 glass

Table u s e d to prepare b r e a k a w a y

Figure 1 2 - 6 a

In stunts where a person is required to jump through a w i n d o w , squib charges are set and detonated a split second before the performer plunges through, and the actor "pushes t h r o u g h " the fragments of glass. G o o d timing is absolutely necessary for this effect to w o r k . If y o u are off by a split second, expect the stunt person to b o u n c e off the w i n d o w quite hard. This is a relatively safe stunt but should never be attempted b y untrained people.

B r e a k a w a y bottle and mold 151

Figure 1 2 - 6 b

T w o - p i e c e silicone milk bottle mold

S e c r e t s of Hollywood S p e c i a l Effects

Slingshot Cars T h e slingshot is a device to propel a car, airplane, truck, motorcycle, or a n y other kind of wheeled object off a cliff, through a building, or a n y other place the script requires (Figure 1 2 - 8 ) . First r e m o v e the gas tank, carburetor, m o t o r , and transmission to reduce the vehicle's weight. Beneath the front end of the car, preferably mounted on the frame, w e l d a h e a v y - d u t y pin at a 45-degree angle facing the rear of the automobile. T h e n attach a h e a v y - d u t y ring to a /s-inch cable that in turn is h o o k e d to the pin and taped to prevent it from slipping off. This cable runs forw a r d to a large steel sheave that is attached to a second cable running to a 4 X 6-foot post buried approximately 4 feet in the g r o u n d . This post is k n o w n as a dead man. It is buried at the conjunction of the sheave and a 4 X 4 truck that serves as the p o w e r or thrusting force for the slingshot. T h e sheave must be kept snug to the g r o u n d and anchored to provide proper leverage for the pull. 3

Figure 1 2 - 7 P y r o - t y p e g l a s s breaker t o break tempered glass

T h e 4 X 4 truck has another ring mounting fixed to its rear that can be jettisoned b y a trip release. T h e trip release is there if for some reason the ring or the cable should get fouled and it is necessary to break the connection between the t w o vehicles. A guide track is then laid out consisting of 2 X 6s and 2 X 8s that serve to control and guide the direction of the vehicle being launched. This track steers the car to the exact position y o u w a n t it to be launched off the cliff. W i t h o u t this guide track it is m u c h too risky and dangerous, as the vehicle could swerve w i l d l y . (There are other mechanisms to control the steering of the automobile without the guide track but they are less reliable.)

Figure 1 2 - 8 a

S l i n g s h o t car

T h e speed of the vehicle to be launched is determined b y the length of the cable used. A s an example, if 30 miles per hour is required for launching, then a 150- to 200-foot cable is required. Naturally, the longer the cable, the higher the speed.

A s s o r t e d Special Effects

Equipment

Fans Fans and the w i n d they produce can be dangerous. See Box 1 2 - 1 for safety tips. There are several types of fans used in the business.

Box 1 2 - 1 Figure 1 2 - 8 b

Slingshot car

Safety Tips

Remember that wind can be very dangerous. It can blow large quantities of debris, which in turn may be sucked into the fan and injure people. Be especially careful when you're using heavy-duty wind machines at high speeds. Always check the blades. Make sure they're secure and that nothing is loose or rattling around the c a g e . Never shoot debris through the wind machine blades. If you have something to release, do it in front of the blade and let the wind blow it onto the set. If you feed snow, breakaways, or pieces of debris or dust from the back through the machine, you can d a m a g e the blade. If anything gets inside the c a g e , you'll have to take it apart and clean it. Never shoot smoke through a wind machine. Smoke is greasy and coats the propeller, which in turn will pick up dirt.

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1. squirrel cage (Figure 1 2 - 9 a ) . 2. E-type 2 1 fan (Figure 1 2 - 9 b ) . 3. Red Bird (gasoline-operated engine w i t h a w o o d e n airplane propeller; Figure 1 2 - 9 c ) . 4. the Ritter (big A C / D C operated fan): v e r y quiet and therefore good for set w o r k , except at high speeds. But rarely is a w i n d set quiet. Wind makes noise (see Figure l - 9 c on page 3). 5. hurricane fan: enormous fan that can produce 120 mph winds. Its engine can be gasoline or electrically p o w e r e d . It has a single airplane blade. It also has an adjustable pitch so y o u can create more or less w i n d . T h e blade is about 1 3 feet long and tremendously powerful. T h e fan is n o r m a l l y transported on a l o w - b e d trailer, though it can also be transported on a truck if the height of the truck doesn't prevent folding the safety cage in half to minimize the total height (Figure 1 2 - 9 d ) . Figure l 2 - 9 a

Squirrel c a g e

Wind Machine Attachments W i n d machines can h a v e several attachments built onto them. If it's a gasoperated machine, y o u can build a s m o k e device using y o u r exhaust system. T o get a hurricane effect, put a rain ring on the w i n d machine and turn it up to v e r y high speed. For snow, a f o a m spinner is placed on the w i n d machine. A combination of f o a m and water regulated in the proper amounts will give y o u a dry f o a m that l o o k s like s n o w or wet foam for a slushy effect. It can also be used for falling s n o w effect (see Figure 1-4 on page 2).

Dump Tanks D u m p tanks are devices built to hold as m u c h w a t e r as required (Figure 1 2 - 1 0 ) . I've built d u m p tanks that contained 20,000 or 30,000 gallons. (On stage t h o u g h , y o u ' d never use m o r e than a 400- to 900-gallon tank.) For a w a v e effect, they can be d u m p e d all at once. D u m p tanks can be operated manually, remotely, electrically, pneumatically, or hydraulically. Y o u can also put d u m p tanks on platforms w i t h a chute in front of them. Depending on the angle and w i d t h of the chute y o u can create many different effects. Put a lip o n the chute. It will allow y o u to v a r y the direc-

S e c r e t s of Hollywood S p e c i a l Effects

tion, degree, and height of the splash of the w a t e r . T h e lip should be adjustable to facilitate changes in the angle, height, and width of the flow. A l w a y s remember that water is v e r y h e a v y and v e r y dangerous, so be v e r y careful w h e n using a d u m p tank, especially around actors. For instance, a 450-gallon d u m p tank (roughly about 3 X 4 X 5, or 60 cubic feet of water) weighs about 3700 p o u n d s . This is a tremendous amount of weight to put up in the air, so be sure y o u r platform supporting y o u r d u m p tank is strong enough to hold it. Before putting a d u m p tank on a platform be sure to strongly brace the scaffold to a c c o m m o d a t e the weight of the water.

Making Waves

Figure 1 2 - 1 0

750-gallon d u m p tank

There are several w a y s to m a k e w a v e s in a tank. Y o u can use a w i n d machine, feed b o x , an offcenter r e v o l v i n g drum, an o u t b o a r d motor, an air cannon, a d u m p tank, or an air-driven w a v e machine (Figure 1 2 - 1 1 ) . If you're w o r k i n g in a stream and are asked to increase the flow of water in a sewer or stream, there are m a n y different w a y s to do this: for example, use a fishtail nozzle, water p u m p , fire hose and nozzle, or an o u t d o o r engine.

Cobwebs There are three pieces of equipment used for making c o b w e b s : 1. c o b w e b spinner (Figure 1 2 - 1 2 a ) 2. paint spray gun 3. hot glue gun and air tube (Figure 1 2 - 1 2 b ) T h e c o b w e b spinner is used w i d e l y because it does a g o o d job and is easy to operate. It has v e r y few w o r k i n g parts: a drill motor with an attached fan blade and a material spinning cup w i t h a removable top mounted on a shaft in front of the fan. This cup fits v e r y tightly to the mechanism. A thin slot approximately Vi to A inch is cut into the top of the cap about .0002 inches deep. T h e material is spun out of the cup through the slot and b l o w n b y the fan onto the object y o u are c o b w e b bing. Note: There's a wire cage around the c o b w e b spinning machine to provide protection from the fan blades. 3

r>7

mmm

a Figure 1 2 - 1 1 P n e u m a t i c w a v e m a c h i n e : frontview (top), side v i e w (bottom)

Figure 1 2 - 1 2 and air t u b e 154

b (a) O p e n c o b w e b spinner, s i d e v i e w (b) hot g l u e g u n

S p e c i a l Effects and S t u n t s

There are t w o types of materials used for c o b w e b b i n g . O n e is Saran 121 resin and the other is methyl ketone, w h i c h is rubber cement and rubber cement thinner. T h e 1 2 1 resin is used most often and is the safest, though both it and the rubber c o m p o u n d s are flammable. Rubber cement is used w h e n the 1 2 1 resin is unobtainable. Both give an equally realistic effect; h o w e v e r , the Saran 1 2 1 resin is a better material to w o r k with. T o m a k e the c o b w e b brighter and more authentic looking, use a plant duster w i t h fuller's earth or white b a b y p o w d e r to achieve an even coating. Build up coats of dust through a series of applications rather than a single h e a v y one (Figure 1 2 - 1 2 c ) . There are several models of dusters available in hardware stores for dusting roses and trees, but all w o r k w i t h either a pumped device or sprayer v e r y similar to that used for b u g spray. T h e duster is easily recognized b y its long handle and a glass jar located underneath. In constructing c o b w e b s that cover large areas, use a v e r y thin monofilament as a supporting structure. O n c e y o u r design is completed overlay the spray w e b b i n g . For dusting an entire set with h e a v y dust, use a sandblasting gun w i t h fuller's earth or white p o w d e r .

Bubble M a c h i n e s Bubble machines made Lawrence W e l k f a m o u s . T h e machine uses a bubble fluid, w h i c h is nothing but a liquid detergent soap. Y o u can make several sizes of bubbles w i t h this machine merely b y changing the size of the holes on the r e v o l v i n g wheel that dips into the bubble fluid and passes in front of a b l o w e r w h i c h b l o w s the bubbles into the air.

Mirror and Reflection

Effects

During m y career, I've p r o b a b l y heard one phrase a thousand times: " T h e y must do it with mirrors." W e l l , that's not too far from the truth because I've often used mirrors and reflecting devices w h e n performing as a magician or doing special effects for television, motion pictures, and at Disney's Epcot Center. T h e oldest system is the image splitter (sometimes referred to as the Schuffton shot, after the inventor w h o popularized the process in the 1880s), w h i c h affords an effective method of creating composite shots. T h e image splitter is a four-cornered b o x , open on three sides (Figure 1 2 - 1 3 ) . A 2 0 % front-silvered mirror is mounted rigidly inside. The mirrored surface must be maintained at a perfectly plumb 90 degrees vertically; horizontally it is positioned on a 45-degree plane to the optical axis of the camera lens. This mirror is c o m m o n l y referred to as a t w o - w a y mirror. It is semitransparent and serves to both transmit and reflect light. O n c e these procedures h a v e been followed, the camera is locked d o w n and shoots through the mirror, p h o t o g r a p h i n g the actor positioned on its opposite side while simultaneously recording objects or activities positioned at a 90-degree angle to one side or the other of the camera and w h o s e images are simultaneously overlaid in camera and with maximum optical quality. A n example of this technique can be found in a scene requiring a person to be standing unprotected in a burning r o o m . In actuality, he or she is placed in an empty r o o m and the fire is some distance a w a y at a 90-degree 155

Secrets of Hollywood Special Effects

Figure 1 2 - 1 3

Schematic of an image splitter

angle to camera. These t w o separate images are combined in camera and give the appearance of being one. C l e a r glass (mounted and angled identically as the silvered mirror) is used to o v e r l a y or superimpose apparitions such as ghosts, floating heads, and so o n . B y increasing and decreasing light levels on the "spirit," these apparitions can be made to appear or disappear, s l o w l y or quickly, as images are reflected off the mirror and into the lens. There are t w o vital elements to be considered w h e n using an image splitter. First, both the primary subject behind the mirror and the reflected seco n d a r y object must maintain the exact identical distance in relation to the focal plane of the camera. In other w o r d s , if the p r i m a r y subject is 1 5 feet from the focal plane, the secondary object must be t o o . Neither subject nor object can deviate from the relationship of 90-degree angles from each other or the camera. Secondly, a light loss occurs due to the 2 0 % front-silvered mirror. T h e difference between the darker subject and brighter reflected object requires an exposure compensation of ZVi to 4 stops. M a k e sure that the c a m e r a operator takes this into account. O n " T h e Jackie Gleason S h o w , " w e often used the f a m o u s " B u s b y Berkeley" overhead shot. T h e June T a y l o r Dancers executed formations while lying on the floor and created an endless v a r i e t y of designs w i t h their arms and legs. It appeared to the v i e w e r that the camera w a s m o u n t e d in the flies, shooting directly d o w n on the performers, t h o u g h it w a s not. In fact, the camera w a s attached to a pipe mounted o n a platform w i t h the lens shooting through a 1 0 0 % front-surfaced silvered mirror. This mirror w a s adjustable and could be angled to conform to the directed shot.

Scent Cannons A scent c a n n o n l o o k s like a c a n n o n , but shoots scents instead of shells. I created several interesting scent cannons for Epcot Center. 156

Special Effects and Stunts

O n several of the rides, the Disney designers w a n t e d passengers to experience b o t h the sights and smells of the location. For instance, in a s w a m p the smell should suggest the fragrance of jungle vegetation and flowers as the riders passed. A n erupting v o l c a n o should assault the senses of smell, sight, hearing, and give off heat. It should be a combination of the visual, auditory, and olfactory. T h u s fragrances were incorporated into the rides to create as total an experience as possible. T h o u g h the degree of perfection and technical innovation of such a system has never been attempted or equaled, the Epcot Center did not originate the concept. It w a s first tried in several specially equipped movie theaters during the late 1960s and d u b b e d b y some as "Smell-O-Vision." Basically the scent c a n n o n uses a round tube approximately 4 to 5 feet in length. A t one end is a cannister containing a particular fragrance that is fired onto a special w i c k sealed in the cannister. A s a car full of people passes b y , a trip lever sends a signal to the c a n n o n . It s l o w l y opens and a squirrel cage b l o w e r forces the scent through the tube to the audience. T o prevent contamination (i.e., intermixing of fragrances), special charcoal filters and exhaust fans suck out and purify the air and then return it to the r o o m . W e had no problems of cross contamination even with fragrances separated b y as little as 6 feet.

Tornados T o r n a d o s are one of the effects I had a lot of fun w i t h while w o r k i n g for Disney. I w a s asked to create a tornado effect for the Imagination Pavilion at Epcot Center. I had to d o the d r a w i n g s and plans within t w o weeks and the entire effect had to be finished in t w o m o n t h s . O n e w e e k later I had the effect built and ready to b e s h o w n (Figure 1 2 - 1 4 ) .

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Secrets of Hollywood Special Effects

W e used a combination of fog machines to create a giant mechanical tornado (centrally a funnel) made w i t h several layers of various size opera cloth. H e a v y fog w a s p u m p e d through the center of the tornado. A s the tornado turned and spun, the h e a v y fog w o u l d seep through the cloth, effectively masking it, and then turn it to a solid fog. It w a s a walling layer of fog in the shape of a tornado w i t h excellent shape and dimensions. T h e effect w a s b a c k lit, w h i c h g a v e even m o r e realism.

Volcano W h i l e I w a s at Disney w o r k i n g on the Epcot Center project as special effects and magic design consultant, I w a s asked to create a v o l c a n o . This w a s not just an ordinary v o l c a n o , but a v o l c a n o that w o u l d run continuously, erupting w i t h hot, flowing, s m o k i n g lava carrying rocks and burning debris w i t h it. It w a s to be so realistic that the heat f r o m the flowing hot l a v a could b e felt as well as seen. In addition audiences had to experience the actual smell of the v o l c a n o . Finally, the volcanic eruption and explosion of l a v a had to be done on cue. This w a s quite a challenge. It t o o k almost a month to build the set, using a combination of liquid nitrogen, steam, mechanical pumps, plastics, ultraviolet (UV) lights, U V dyes, and a hair gel that w a s an inert material but w h e n specially treated w o u l d maintain the viscosity of l a v a . T o this w e added v a r i o u s U V d y e s . This concoction w a s illuminated b y U V lights f r o m beneath a clear plastic l a v a trough. T h e U V lights emphasized the pigmentation of the l a v a and made it appear to g l o w red hot. From both sides of the set, w e then shot in steam and strategically spaced injections of liquid nitrogen to create a flow of fast sparking s m o k e . Scent cannons w e r e added, and hot air b l o w e r s p r o v i d e d the sensation of heat w h e n the audience passed b y . P u m p s were then cued to shoot up a liquid impregnated w i t h U V dyes from the m o u t h of the v o l c a n o . This liquid g l o w e d red hot on anything it landed o n or touched (Figure 1 2 - 1 5 ) .

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Special Effects and Stunts

Rocking C a r s , Airplanes, B o a t s , and R o o m s T h e expensive w a y to rock large objects uses hydraulics, air rams, and large h e a v y steel frames. But y o u can economize and just use truck tire inner tubes (Figure 1 2 - 1 6 ) . Fill the inner tubes w i t h a small a m o u n t of air pounds) stacked t w o high, lace them together w i t h them in the center w i t h a post. Build a platform on top and put the object that is to be m o v e d on it. In each mount

(approximately 30 rope, and stabilize of these inner tubes of the four corners

4 X 4s that extend out approximately 6 feet. B y manipulating these y o u can create an u p - a n d - d o w n m o v e m e n t . M o u n t t w o more 4 X 4s at the nose of the platform to m a k e the side-to-side m o v e m e n t . T h e proper balance of the object being r o c k e d is achieved b y centering its weight on the platform and securing it to the platform. O b v i o u s l y it's m u c h cheaper to d o the effect this w a y as all it requires is a bit of h u m a n labor. O n the T V s h o w "Supercarrier," w e mounted the b o d y of a jet aircraft o n a mechanism like this and it w o r k e d perfectly.

Figure 12-16

Mechanism for rocking a car, boat airplane, room

Spinning or Tilting Room O n " T h e Ernie K o v a c s S h o w " m a n y years a g o w e built a tilting r o o m . The skit i n v o l v e d K o v a c s sitting at a long table either in the center or at one end depending on the effect he w a n t e d . T h e camera w a s stationary m o u n t e d to the platform itself and thus it maintained a constant, visual perspective between it and K o v a c s , regardless of h o w the platform itself m o v e d . Since the visual relationship remained constant the camera didn't "see" the tilt. If, for instance, K o v a c s w o u l d p o u r from a bottle, the liquid w o u l d seemingly defy gravity and miss the cup and flow either parallel, d o w n h i l l , or uphill for no apparent reason responding to the degree of the platform tilt. W e got all sorts of effects like this b y v a r y i n g the tilt to different degrees. T h o u g h I had nothing to d o w i t h Fred Astaire's famous dancing on the ceiling number, I h a v e built similar spinning and tilting rooms that 159

Secrets of Hollywood Special Effects

enabled a person to w a l k and dance on all four surfaces of the r o o m . T h e same technique w a s e m p l o y e d in the v i d e o Dancing on a Ceiling. T h e spinning r o o m can be built to a n y size depending on y o u r budget. I once built a spinning r o o m w i t h t w o gigantic circles made of 4 X 12-inch w o o d . O n e w a s positioned in the front section and one in the b a c k section of the r o o m , b o t h of them on the outside of the set. Essentially it w a s a square inside of t w o circles. These were on gigantic rollers w i t h guides that enabled the r o o m to be pulled around b y three men (Figure 12-17).

Blowing S m o k e through Small H o s e s or P i p e s A t t e m p t i n g to p u m p s m o k e through a small hose or pipe as small as V* inches using o n l y the force supplied b y the fog or s m o k e machine will d o nothing m o r e than create a v e r y messy b a c k u p . A Venturi device (named after the nineteenth-century Italian physicist) is necessary to accomplish this effect efficiently. 160

Special Effects and Stunts

A Venturi system creates a permanent air flow through the piping even w h e n y o u are not p u m p i n g s m o k e through it. In turn, this airflow pushes the s m o k e through the conduit and out the other end. T h e device provides a g o o d l y amount of s m o k e through the small diameter tube. In addition to the s m o k e machine, an air compressor, air line, and a regulator are required to modulate the speed of the s m o k e flow into and through the hose (Figure 1 2 - 1 8 ) . B l o w i n g s m o k e through tubes or confined areas is a l w a y s troublesome. Y o u h a v e to h a v e a Venturi for large round flexible tubing (say a foot in diameter) in order to be able to delivery accurately o v e r distances to predesignated areas. W i t h o u t the airflow created b y the Venturi, the smoke tends to remain calm and stationary. A s m o k e machine alone does not h a v e the p o w e r output to accomplish a s m o k e throw of any confined distance. A squirrel cage b l o w e r is best for use o n tubes 2 feet and larger.

Popping Champagne Corks T h i s effect can be safely done w i t h the bottle in hand or w h e n it rests on a table or is being chilled in an ice bucket. Likewise, the corks can be designed to p o p individually or in rapid succession. For example I recently did a commercial that required six c h a m p a g n e bottles to p o p their corks in a r o w . T o prepare the bottle, drill a /s-inch hole in the base to accommodate a glass tube that y o u then insert and glaze or e p o x y securely in place. T r y ing to drill a hole through the b o t t o m of the bottle is a hit and miss project at best, so y o u are well advised to h a v e a glazier or glass blower perform the operation. 3

C o n n e c t a rubber pressure hose to the glass tube and then hook a button v a l v e to the air regulator and then to an air tank. W h e n the tank is turned o n the resulting air pressure propells the cork on cue when the button v a l v e is pushed (Figure 1 2 - 1 9 ) . It is important that the c o r k not fit tightly. It should be shaved d o w n and well greased for easy r e m o v a l . 161

Secrets of Hollywood Special Effects

C h a n g i n g a W o m a n into a Gorilla For m a n y years, magicians h a v e used mirrors and glass devices in their illusions. P r o b a b l y the most f a m o u s of these tricks is the transformation of a w o m a n into a gorilla (Figure 1 2 - 2 0 ) . For this illusion a magician chains a w o m a n into a b o x . A s the lights dim onstage, the w o m a n begins to struggle frantically. G r a d u a l l y there is a faintly perceptable metamorphosis as she fights against her restraints. Hair begins to g r o w from her b o d y , her face assumes the visage of an ape, arms elongate and legs stiffen and shrink until this beautiful w o m a n has been transfigured into the daughter of K o n g . W h e n this illusion w a s first performed, audiences ran screaming from the theatre, not realizing that w h a t they had seen w a s the effective and imaginative use of an image splitter.

Pressurized S m o k e through Musical Instruments Recently Michael Jackson w a n t e d a v o l u m i n o u s cloud of smoke to pour from the end of the guitar p l a y e d b y one of his musicians. W e accomplished this b y using c a r b o n dioxide through a high-pressure Vi-inch hose. A special nozzle cone w a s hidden behind the neck of the guitar. O n cue from offstage the carbon dioxide w a s fired, giving the effect of a cloud of white s m o k e coming from the end of the neck of the guitar. Remember w h e n using c a r b o n dioxide that it is under h e a v y pressure. A l l the lines used must be rated for high pressure. 162

Special Effects and Stunts

Fireballs from Musical Instruments A few years b a c k I w a s creating effects for Emerson, Lake and Palmer on their s h o w . Keith Emerson w a n t e d fireballs to shoot from the end of his guitar. T h i s w a s accomplished w i t h a tiny device called a fire shooter that I invented m a n y years a g o for magicians. W e used flash paper inside t w o n a r r o w pieces of copper tubing at the end of w h i c h w a s placed a small model aero plain spark plug that w a s fired up b y a 1.5-volt battery. W h e n the b u t t o n w a s pushed on the unit, the flash paper ignited, shooting out the end of the tube and kept burning for about 30 inches or m o r e . B y pushing the second button the same effect could be accomplished. It w a s a compact unit, so m u c h so that w e w e r e able to build it into the instrument and run it off a battery pack containing t w o 1.5-volt batteries and h a v e as m a n y as six shots. Separate buttons were used to fire individual fireballs o n cue. W h e n Emerson pushed a specific button, a fireball w o u l d shoot 40 to 50 feet out o v e r the audience, vanishing in midair. These are dangerous devices so care must be taken. I initially conceived this idea based on an effect I had created years before w h e n performing as a magician. It is similar to w h a t magicians do w h o shoot fire into the audience. I created this effect for Lou Tannen many years ago and h a v e since sold hundreds of them to magicians all over the c o u n t r y . T h e solution for the Emerson, Lake and Palmer effect w a s to simply combine five or six of these devices and build them into the guitar.

Breakaways There are m a n y types of b r e a k a w a y s : furniture, glass, bottles—practically anything and everything. T h e aim is to m a k e them safe. B r e a k a w a y furniture is made in most cases of balsa w o o d , but be a w a r e that all balsa w o o d is not soft. Y o u must choose the specific w o o d for y o u r furniture carefully. T h e furniture is constructed in the design of the p r o p to be duplicated. This is time consuming and v e r y expensive. S t y r o f o a m and different types of plastics are used to m a k e bricks, rocks, and certain b r e a k a w a y furniture in addition to items such as falling ceiling pieces. B r e a k a w a y bottles and glass are m a d e w i t h a product called Pyco-Tex or Pyco-Lastic. C o n t r a r y to p o p u l a r belief, sugar glass, or candy glass, hasn't been used for years. These plastics are heated v e r y s l o w l y in pots at exact temperatures and using precise methods. T h e exact formulas and methods of making breaka w a y is a trade secret. T h e table is heated in the manufacturing process and in turn heats the plastics. A cellophane covering is draped o v e r the table and the predesigned and constructed w o o d e n forms executed in the size and shape of the glass being made. O n c e this ensemble has been c o v e r e d w i t h water-soluble cellophane, it is placed on the heating table. T h e mixture of plastics is heated in a large enough pot to m a k e the required size sheet of glass. It is then poured into the cellophane-covered m o l d . This is v e r y s l o w l y cooled d o w n to prevent bubbles in the glass and cracking. If bubbles d o appear in the glass they can be r e m o v e d simply, but then again that w o u l d be telling a trade secret. P y c o - T e x and Pyco-Lastic come in a crystalline form, so the hardness or 163

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density of the glass depends on h o w m u c h of the materialis used in the formula. For clear glass add a speck of blue or green d y e for proper coloring w h e n heating it or it will turn y e l l o w . For b r e a k a w a y bottles, add in a b r o w n d y e . Y o u can reuse the b r e a k a w a y glass b y remelting it, but y o u can only reuse it for b r o w n bottles because it discolors w h e n reheated. There are other methods of m a k i n g bottles that require a special m o l d . P o u r y o u r mixture into the mold and a l l o w it to settle before y o u pour out the excess. O n c e cooled, y o u can easily extract the bottle. These molds p r o v i d e a limitless number of shapes, sizes, and colors and can be e m p l o y e d for everything from bottles to b r e a k a w a y telephones. There are other materials that can be used for these b r e a k a w a y s such as plaster of paris, rubber, or other types of plastics. There are m a n y different products of this nature on the market t o d a y and innovations are c o m i n g forth e v e r y d a y .

Prompting and Image Splitters Years a g o television e m p l o y e d cue cards. While they served their purpose, it w a s readily apparent to viewers that the performers' eyes were m o v i n g b a c k and forth or that their heads tilted slightly in the direction of the cards held b y the prompter. T o d a y , teleprompters are used. W h e n they were first developed, they had to be placed a b o v e or b e l o w the camera lens in order to be useful, thus causing the eye line (i.e., eye contact or focus) to be b r o k e n from the lens. T h e problem w a s solved using an image splitter. M a d e from a simple piece of plate glass, it is angled to reflect the actor's or broadcaster's lines directly onto the lens. Because of the optics involved, these lines are invisible to the lens and therefore invisible for the v i e w e r .

T h e Haunted House T h e haunted house exhibit at Disney W o r l d e m p l o y s dozens of distortion mirror effects. A t Epcot Center, a variation called a vibrating mirror w a s created. T h e primary difference between the t w o is that in the first instance, the person m o v e s to create the distortion while in the second the mirror vibrates, changing the viewer's shape. In Disney W o r l d ' s haunted house, there is an unusual ghost r o o m that is v i e w e d b y the audience from a b o v e and designed on the glass reflection principle. L o o k i n g d o w n , the audience sees a r o o m filled with demons, hobgoblins, and ghosts flying through the air, oozing from a pipe organ, or seeping from w a l l crannies. If y o u h a v e the opportunity to visit the v e n u e , notice there is an almost invisible piece of glass separating y o u from the r o o m b e l o w . It is o n this that the images are projected from b e l o w and controlled b y lighting adjustments that provide the image-splitting effect.

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The Gleason Years

M y 12 years of w o r k i n g w i t h Jackie Gleason were probably some of the most rewarding and artistically liberating in m y career. T h e hours were a l w a y s outrageously long and the time to invent and perfect the effects ridiculously short, but the pure excitement of doing a one-hour live show every w e e k w i t h a great gentleman and talent has never been equaled. O n e of m y favorite Gleason characters w a s Reggie V a n Gleason III, the outrageous p l a y b o y and imbiber w h o w a s a l w a y s willing to take on any of life's challenges as long as it w a s preposterous. M o r e often than not, these skits were blackouts, or one-joke skits, as opposed to fully developed scenes, and so rarely required a great deal of development or integration into a main s h o w storyline. Three that I particularly remember are the W e a t h e r m a n , Rocket Sled, and Electrical M a n .

R e g g i e the Weatherman Reggie as the w e a t h e r m a n appears on stage with m a p , pointer, globe, and so on (Figure 1 3 - 1 ) . During his report, he describes h o w beautiful the weather is and since it is Florida, it will continue to be so. Suddenly the w i n d starts to b l o w at hurricane force and everything, including Gleason, is b l o w n off the stage (Figure 1 3 - 2 ) . For this effect, I had to construct a special machine consisting of a 6 X 6-foot squirrel cage b l o w e r driven b y a 40 hp motor. Until this time, I'd a l w a y s somewhat cynically assumed that manufacturers tend to overrate their products. In this instance I w a s p r o v e d w r o n g . T h e blower not only cleaned the stage of props and Gleason, but also raised the scenery lVi feet off the floor w i t h the updraft it created. Ironically, a real hurricane hit M i a m i not 48 hours later, w r e a k i n g h a v o c throughout the city and forcing us to rent massive electrical generators in order to do the following week's s h o w .

Figure 1 3 - 1 R e g g i e the w e a t h e r m a n d e s c r i b e s how beautiful the w e a t h e r in Miami will b e . 165

Figure 1 3 - 2

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R e g g i e and the Rocket Sled Reggie w a s an adventuresome sort w h e n faced w i t h impossible challenges and fortified w i t h considerable libation. In this instance he w a s Stuntman Reggie w h o intended to ride a rocket sled through a glasshouse, barn door, and brick wall (Figure 1 3 - 3 ) . I rigged this m u c h like the human cannonball stunt (below) using pull cables on a sled mounted on 80 feet of rail. A d u m m y w a s substituted for Gleason at the last second, with the much used and abused Gleason staggering out after the impact (Figure 1 3 - 4 ) .

R e g g i e the Electrical Man Reggie as the Electrical M a n w a s more gaff and gimmick than gag (Figure 1 3 - 5 ) . Jackie w a s strapped to a massive electrical board and charged, w h e r e u p o n he w a s able to run fixtures, a v a c u u m cleaner, and so on, with his b o d y b y simply plugging the appliances into his m o u t h . T h e finale featured him lighting a giant A m e r i c a n flag w i t h a c c o m p a n y i n g fireworks display, sparklers, and s m o k e .

S h o o t i n g G l e a s o n Out of a C a n n o n D u r i n g the seasons w o r k i n g as the special effects director o n " T h e Jackie G l e a s o n S h o w , " I w r o t e special effects skits. O n e of the most exciting w a s a variation on the old circus trick called " T h e H u m a n C a n n o n b a l l . " T h e technique I used for him, h o w e v e r , w a s quite different than used in the circus. Usually a circus cannon is designed on the principle of a giant slingshot w i t h the thrust being p r o v i d e d b y giant springs. T h e flyer lies on a cradlelike seat and is flung from the crotch, not shot b y the feet. If his feet or legs were to absorb the sudden acceleration they p r o b a b l y w o u l d be broken. A carriage is fitted to a tube and slid into the cannon muzzle. A padded h o o k is w r a p p e d around the b o d y almost to the flyer's crotch and he is then slung from the cannon. I believe Zuchini w a s the inventor of this mechanism and its accuracy is truly amazing. 166

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W i t h Gleason (a large m a n w h o w a s never one to be insulted b y the offer of a meal), the problem w a s to fire this w e i g h t y and valuable projectile across the stage. In this instance, discretion w a s the better part of valor and a substitute for Gleason, specifically a d u m m y , w a s made of Styrofoam and stuffing. A pipe ran through the center of the d u m m y . Through the pipe, rollers, and guiding devices ran a Vi6-inch steel cable. T h e d u m m y w a s attached and positioned on the upstage side of the cannon, masked from the audience (Figure 1 3 - 6 ) . Gleason then got into the cannon, slid d o w n the barrel and through a concealed trapdoor, exiting out the other side, totally unseen b y the audience (Figure 1 3 - 7 ) . He then made his w a y backstage, crossed to the opposite side, and waited for his cue while special m a k e u p w a s applied. W h e n Jackie slid d o w n the cannon, there w a s a stall for time b y the girls w h o loaded the gun. T h e y then stuffed the barrel with wadding, began the big c o u n t d o w n and finally lit the fuse. W i t h the explosion, Gleason's d u m m y hurled from the mouth of the cannon flying up and offstage, or course missing the net (Figure 13-8). The d u m m y w a s pulled b y guide wires attached to a grid wire than ran up to a sheave and d o w n to the floor. A t t a c h e d to that guide wire w a s a 200-pound sandbag that w a s activated b y a trip release. W h e n the cannon w a s fired, the sandbag tripped and dropped to the floor, pulling the d u m m y of Gleason up to the grid. T h e sandbag on the floor served as a catch device holding it up on the grid. Seconds later Gleason came back on stage, blackened with soot and g u n p o w d e r , his costume torn to shreds (Figure 1 3 - 9 ) . T h e punch line w a s that t o o much g u n p o w d e r had been used in the cannon and consequently Gleason had missed both the net and the studio and kept going. It became a classic bit that w a s used t w o or three times a year, Figure 1 3 - 9 R e g g i e after the landing

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G l e a s o n ' s Floating Cloud This effect w a s performed first on the G l e a s o n s h o w one season and w a s discovered b y accident while I w a s experimenting with a f o a m machine in the parking lot behind the M i a m i Beach A u d i t o r i u m . T h e stunt that I w a s w o r k i n g on called for a r o o m to be entirely filled w i t h soapsuds. This effect presented peculiar problems such as filling a r o o m on stage with soapsuds (on cue) and r e m o v i n g the suds quickly so as not to interfere w i t h the next scene. Remember, this w a s a live s h o w . Basically, the gag called for Jackie to install a washer and dryer in his basement. While testing the machine, he u n k n o w i n g l y k n o c k s a full b o x of detergent into the washer. After starting it, he leaves the basement, closing the door behind him. O n returning and opening the door, a wall of soap cascades out and buries him. W h e n I began experimenting, I tried a n e w type of foam machine, because I w a s worried about w h a t method I could find to r e m o v e the suds quickly after the shot. Where there w a s no difficulty in creating a giant m o u n d of suds 10 or 12 feet in height and circumference, I had no idea w h a t s o e v e r h o w to get rid of it. W h i l e puzzling o v e r the problem, I happened to lean against a fan I had just built and w a s going to test for another bit. By pure accident, I turned it on in the direction of the f o a m m o u n d that w a s about 20 feet across and 15 feet high. T h e resulting gust caused an updraft that lifted the f o a m into the air in one solid piece. Surprisingly, it just hung there floating around the parking lot for about 45 minutes. It w a s Fantasia. It w a s the most unbelievable effect of a closeup floating cloud that I had ever seen. A c c i d e n t s , as well as necessity, can also be the mother of invention.

Jackie G l e a s o n , the B i c y c l e , and the Brick Wall O n e of the most famous skits on the Gleason s h o w w a s Jackie crashing a bicycle through a 2-foot-thick brick w a l l . O f course the wall wasn't really made of brick, only S t y r o f o a m that looked like bricks. It w a s actually Gleason's idea to use a brick w a l l . W e built one 2 feet thick b y 10 feet wide b y 10 feet high and encased it in a portable crate so it could be m o v e d without falling apart. W e r e m o v e d the front, back, and sides after spotting it on its marks prior to the bit. All Jackie had to do w a s get up speed and p o w e r through it. In the first rehearsal, Jackie rode on stage on a two-wheel bicycle and tried to ram through it. But he only made it h a l f w a y and got stuck. A s a result he requested a ramp be built that I thought, at the time, w a s too high. I w a s afraid he w o u l d gain too m u c h speed and lose control, but he insisted the ramp be 4 feet high dropped d o w n to zero o v e r 16 feet. I also thought this w a s a little too steep. After all, a big man like G l e a s o n wasn't used to riding a bike and, to m a k e matters worse, he didn't w a n t to rehearse. He said, "Let's just do it live on the s h o w . " Gleason w a s a l w a y s a hard gentleman to get to rehearse; he a l w a y s said, " G o for it." Well, he came flying d o w n that ramp and w h e n he hit the b o t t o m , he w a s out of control. T h e bike hit the w a l l , the front wheel pitched to the left and bent his wrist beneath the handlebar, and the impact cracked his wrist. He went through the wall all right, but he got hurt in the process. I still believe that had he rehearsed and practiced, the accident w o u l d never h a v e happened (Figures 1 3 - 1 0 and 1 3 - 1 1 ) . 168

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R e g g i e Walking over Hot C o a l s This w a s another gag I w r o t e and designed for Gleason. It w a s Jackie Gleason as the great Reggie V a n Gleason III (the famous fire walker). T h e bed of hot coals w a s so realistic that Jackie didn't want to step on it w h e n he first saw it. In actuality, the coals were plastic that looked like real charcoal, colored in degrees from black to bright y e l l o w with orange and red highlights, lit from b e l o w w i t h flickering lights and different colored gels. T h e w h o l e contraption lay on a 12-foot sheet of heavy-duty plex. Holes were drilled to a l l o w s m o k e to ooze up through as if emanating from hot coals. It g a v e a v e r y realistic effect both to the audience and to Gleason. A t first sight, Jackie g a v e one of his famous double takes. "Wait a minute, M c C a r t h y , " he said, " y o u w a l k across it first! I w a n t to m a k e sure it w o r k s . " I did. Jackie hesitated for a moment, then with evident distaste gingerly followed. Y o u see, though Jackie trusted me, he also knew that I actually did w a l k on hot coals as part of m y former magic act (Figures 1 3 - 1 2 and 1 3 - 1 3 ) .

T h e Poor Soul and the Wilting Flower O n the Gleason show I created a flower for the P o o r Soul, one of Gleason's most famous characters. T h e flower sat on a table center stage. It w a s a delicate, beautiful red rose that interacted intimately with the character. T h e flower w o u l d follow him w i t h its "face" as he m o v e d about the r o o m , shake and shiver and m o v e t o w a r d him w h e n he left it, and lovingly react to his gentle affectionate petting and careful watering. O n e evening Gleason returns to his apartment w i t h a w o m a n . T h e rose's head tilts d o w n and begins to shake, tears streaming from its petals, and finally in dispair falls over, wilts, and dies. This m a y not seem like such an extraordinary effect, but it became a classic, particularly the w a y Jackie p l a y e d it, earning him a standing o v a t i o n . I w a s under the table manipulating the rose w i t h a brass rod that ran through a plastic tube. This tube w a s attached to the flower that had been weighted with tiny dollops of lead to help in maneuvering. By pushing the brass rod up the tube the flower w o u l d stand upright; b y removing the rod from the flower it w o u l d tip o v e r and d o w n . A third piece of tubing w a s inserted inside the other tube providing a water source for the tears on the leaves. By gently b l o w i n g water from my mouth through the tube, I could simulate tiny teardrops w h e n the rose cried. I w a s under the table for the entire length of the scene, but of course the audience w a s u n a w a r e of it. I w a t c h e d Gleason through a tiny monitor and thus w a s able to see his reactions to the flower, allowing us to w o r k back and forth with each other. A s I said, Jackie's performance in this skit blew the audience a w a y . During his o v a t i o n he w a l k e d o v e r to the table, unbeknownst to me, and raised the tablecloth saying, " A n d here's the g u y w h o really created this effect, Bob M c C a r t h y " (while still on live T V ) . There I w a s sitting dumbfounded watching a tiny T V set and surrounded b y rods and a mouth full of "tears." It w a s one of the m a n y times I "acted" with him. Jackie w a s a dear man w h o w a s unstinting in his praise for w o r k well done and a l w a y s a c k n o w l e d g e d it to others. That scene w o r k e d because of his performance and for no other reason. His talent w a s such that he could h a v e created a relationship with a shoe. He didn't have to lift that 169

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tablecloth, but he did and I cannot describe h o w touched I w a s b y his generosity.

C o m p a r i s o n s and Memories Live T V severely limits preparation time, and the pressure increases w i t h the realization that if the stunt is not carried off on the first shot, there are no retakes. Film, on the other hand, a l l o w s a m o r e leisurely approach for planning and prep and affords a greater latitude for retakes. It is u n d o u b t edly the least pressured atmosphere to w o r k in. C o m m e r c i a l s require the greatest degree of perfection, entail the most retakes, and are b y far the most expensive to produce per second of film time. Considering that an a v e r a g e 30-second commercial c o m m o n l y costs $1 million to produce, in m o t i o n picture terms this w o u l d extend to a cost of $80 billion, an inconceivable sum. Personally I h a v e a l w a y s preferred to w o r k in live T V . T h e time limitations are positively insane, the prep time absurd, and the pressure unrelenting, but to me this o n l y adds to the excitement of the challenge. This w a s n o w h e r e m o r e true than w h e n I w a s the special effects director on " T h e Jackie G l e a s o n S h o w . " In all m y years in the business, I can honestly say that I've never enjoyed myself m o r e than the nine seasons spent w i t h G l e a s o n . T h o s e were the best. He w a s highly unusual as b o t h an artist and a man. W i t h o u t a doubt, Jackie w a s demanding. W i t h him, perfection w a s expected. It w a s the n o r m against w h i c h everything w a s gauged. It w a s o n l y w h e n y o u exceeded that level that y o u gained his respect, but once h a v i n g done so, y o u became more than y o u ever thought y o u could. I w a n t to m a k e it clear that Jackie w a s not a difficult m a n to w o r k for. I h a v e never been treated better or appreciated as m u c h . He w a s extremely creative but never egotistical, a l w a y s eager for innovations and receptive to suggestions. He never restricted m y artistic freedom and certainly never restricted m y budget. T o Jackie, m o n e y w a s meant to be spent to m a k e the s h o w as g o o d as possible. N o corners w e r e cut. I w a s a l w a y s excited b y the crazy w a y he challenged me, having a mere three d a y s to prep and construct absolutely outlandish effects for skits w e devised together. I a l w a y s felt stretched and driven to m y limits, but never pushed. M o r e often than not, I w o u l d realize later that a g o o d l y amount of the stretching I'd done myself. He just g a v e me m y head and I ran. I sometimes w o n d e r if he didn't just sit b a c k and laugh to himself, w o n d e r ing if M c C a r t h y hadn't bitten off a bit too m u c h that w e e k . Equally important to the artistic challenges and stimulation w a s that Jackie w a s p r o b a b l y the most generous m a n I've ever k n o w n . Ego never got in his w a y w h e n credit w a s given or a c k n o w l e d g m e n t s made. O v e r the years I've often thought b a c k to a v e r y special moment in m y life. It happened at the banquet given f o l l o w i n g the premiere of the s h o w in M i a m i . It had received a standing o v a t i o n , and naturally I w a s elated. It w a s technically the most difficult s h o w I'd ever done, and it had gone perfectly. So I w a s riding a crest w h e n m y wife C a r o l and I attended the dinner. W e found our table off in one corner and w a t c h e d as the governor of Florida, m a y o r of M i a m i , and the cast and other department heads were seated, all of us waiting for Gleason's entrance. A s usual, he made it in grand style and w i t h an a c c o m p a n y i n g o v a t i o n . A s he w e n d e d his w a y past the guests, I w a s surprised. He w a s , as a l w a y s , courteous and polite 170

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but didn't stop at a n y table. I w a t c h e d as he continued b y the cast and director, the department heads, the m a y o r , the governor, and only stopped w h e n he reached us. He flashed his charming smile at Carol, w e l c o m i n g her, then turned to me thrusting out his hand. " H o w y a doin', p a l . " He w a s beaming as w e s h o o k hands and he sat. " A great show, pal." Jackie w a s a m a n of few w o r d s and that night those w o r d s were pure g o l d . For 20 minutes he sat w i t h us, virtually ignoring the other guests. I w a s floating—flabbergasted and charmed at being singled out. T h a t w a s like Jackie G l e a s o n . He (maybe o n l y he) w o u l d ever show his appreciation like that. W h e n he passed a w a y , I felt that m y loss w a s heaven's gain. I k n o w he's m a k i n g the angels laugh, and that quietly under their breaths they're still calling him " T h e Great O n e . "

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The Fisher King

This chapter details m y w o r k on the film The Fisher King. It is a typical example of the types of difficulties, large and small, that confront special effects people during the course of a production (Figure 1 4 - 1 ) . Each film presents its o w n unique set of problems and conditions but shares one c o m m o n denominator: solutions must be found that are visually impressive and cost effective. Simply stated, y o u are limited only b y imagination and budget. Even assuming that this is a profession that y o u l o v e as much as I d o , the bills still h a v e to be paid. I h a v e never felt that simply because I've received so m u c h personal satisfaction in m y w o r k that I should g o unrew a r d e d . M y talent, training, and imagination are m y living, and I h a v e been able to d o this for more than 30 years because I thoroughly understand the professional definition of one w o r d : budget. T h e budget must include initial costs of raw materials, construction crews' salaries, research and development, preparation expenses, and the w o r k force and human requirements for the actual execution of the effects on the set or location. The Fisher King w a s directed b y T e r r y Gilliam. If y o u are familiar with his earlier film The Adventures of Baron Munchausen, y o u k n o w his penchant for spectacular special effects. He w a s no less creative for this movie. W h e n I w a s approached in early 1990 w i t h The Fisher King script, I saw immediately the m a n y challenges of the project. T h e y became even more apparent during the first production meeting held at C o l u m b i a Studios in Culver City. Gilliam w a s looking for four specific special effects designed around his main fantasy character, the Red Knight: (1) A giant flame w a s to shoot from the top of the helmet of the Red Knight; (2) Billowing white smoke w a s to surge from the nostrils of the knight's horse as it snorted; (3) C l o u d s of red s m o k e had to flush from specific sections of both the knight's and horse's armor on cue; and (4) T h e eyes of the knight had to appear to flash and g l o w from the interior of the helmet like a searing hot caldron of burning coals. A s a l w a y s , m y first consideration w a s safety, especially since w e were to employ fire, smoke, and high-pressure devices. I k n e w for instance that both the knight and horse w o u l d require special fire protection and also extra safeguards from the s m o k e . In the case of the horse, it w o u l d need protection from the white s m o k e emanating from its nostrils; the knight w o u l d p r o b a b l y require some sort of independent breathing apparatus while wearing his helmet even though the s m o k e in b o t h cases w a s nontoxic. It w a s also evident that the special effects could not be run b y remote control. S o m e h o w all the effects had to be self-contained and activated b y the rider himself. Duplications and b a c k u p systems for all the devices w o u l d be required in case of malfunctions. D u e to the confining nature of the costumes for both horse and rider, fitted fireproof undergarments w o u l d be necessary in order to protect both characters in the eventuality of a fire.

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Since the Red Knight w a s an independent self-contained and selfactivating unit, he w o u l d need a p o w e r source for the various devices that were connected to both him and the horse b y cables, hoses, and wires. For safety's sake these connections w o u l d need to be b r e a k a w a y s , so that if the rider had to dismount quickly for a n y reason he w o u l d not be hindered or b o u n d b y the v a r i o u s connections. T o further complicate the situation, all of these units had to be readily transferable from one horse to another in case some malfunctions occurred. A d d i t i o n a l l y , this switchover w o u l d h a v e to take place in a matter of minutes in order not to hold up production. Furthermore, some form of arming and firing devices had to be provided to the rider so that he could control the effects. A s I continued to analyze the script, problems continued to arise. Chemicals that were safe for b o t h horse and rider had to be used. The armor covering both had to be v e r y lightweight and not cumbersome, allowing ultimate mobility. A t the same time, Gilliam wanted a white, ambient s m o k e that g l o w e d , m a k i n g visability extremely difficult. It w a s necessary to find a w a y of diffusing it while still giving the same effect. Finally the horse itself w a s to be a v e r y specific shade of red. N o n e of these problems p r o v e d to be insoluble. Fire protection for the horse and rider w a s provided b y the extensive use of fireproof N o m e x and K e v l a r materials built right into the armor plating covering them (Figure 1 4 - 3 ) . T h e knight's helmet from w h i c h flames were to shoot out w a s likewise insulated and a specially built flamethrower w a s designed to fire directly through the top of the helmet (Figure 1 4 - 4 a ) . It w a s fitted with a pilot light and fed b y t w o propane hoses that ran d o w n the back of the helmet through the actor's costume to the saddle. O n the side of the saddle t w o saddlebags were mounted containing small tanks of propane, one of w h i c h w a s used for the pilot light while an additional six fed the flamethrower. T h e hoses were then h o o k e d up to v a l v e s . A spark plug inserted at the nozzle of the flamethrower and next to the pilot light served to ignite it, and then the flamethrower itself. T h e spark plug w a s ignited by a wire that ran to a coil and then to cables running into a saddlebag. T h e saddlebags were compartmentalized for each unit. There were t w o of them, one on each side of the horse. Wires were strung up through the arms of the rider's costume and then attached to the triggering devices. These triggering devices were simply ignition buttons built into the sword of the Red Knight, his saddle, and even his gauntlets. His buttons were positioned for easy access and m a x i m u m control. D u e to the necessity of extreme mobility and severe constraints on the size of the saddlebag units, everything had to be m i n i a t u r i z e d — m o t o r s , relays, control b o x e s — a n d all had to be run on a 12-volt D C gel cell battery. O f course all of these units, wirings, or connections had to be invisible on camera, so the setup presented a v e r y special set of problems, not the least of which w a s finding the necessary equipment. O n c e the equipment and rider were in place, wires were strung through the arms of his costume and to the buttons. W h e n a button w a s pressed, for example, for the flamethrower, the spark plug w a s ignited while at the same time the gas for the pilot light w a s immediately turned on and lit. A second button triggered the flamethrower, w h i c h b y adjusting the pressure could be fired for as far as 20 feet. T h e white s m o k e snorting out of the horse's nostrils w a s a bit of a problem as w e had to run high-pressure hoses stemming from the saddlebags beneath the armor that covered its entire b o d y and along its neck to its nose. T h e pressure hoses terminated at the tip of the nostrils, w h i c h had been c o v e r e d w i t h a special plate to prevent any smoke fluid from touch173

S e c r e t s of Hollywood S p e c i a l Effects

ing its skin and causing possible injury. A special adjustable brass nozzle w a s devised for the snort effect and delivered a spray that could be adjusted from v e r y fine to v e r y w i d e . W e tried several concoctions to get this effect and while experimenting discovered w e couldn't use regular s m o k e because it did not provide sufficient pressure for the snort. C a r b o n dioxide turned out to be unsuitable because the back pressure upset the animals, causing them to jerk their heads and b e c o m e somewhat uncontrollable. O u r alternative w a s a refrigerant called R y c o n 22, w h i c h e m p l o y s less pressure (approximately 150 pounds) and w o r k e d extremely well. T h e clouds of red smoke p r o v o k e d special problems: V e r y specific sections of the knight's and horse's b o d y had to be sequentially timed, last for approximately 60 seconds, and then gradually diminish. In addition, Gilliam requested that the smoke be a v e r y deep almost rust color. W e went to D e L a m a r Engineering, a major supplier of F/X pyrotechnic devices, and after several meetings and a few w e e k s of w o r k w e developed the right color, the right timing, and the right size. These small smoke pots were no larger than 2 inches b y 2 inches, about the size of half a C cell battery. T h e y were manufactured with directional covers so that the s m o k e could be controlled w h e n it first came from the b o d y of the knight or horse. It should be o b v i o u s at this point that w i t h as m a n y as ten different s m o k e devices built into the horse and the rider, along with the flamethrower, that w e were entering into an area of extraordinarily complex wiring. There were too m a n y buttons for the knight to press, so w e created a step relay system of firing. By pressing a button one time, the rider fired the correct smoke pot on cue and the system a d v a n c e d itself. A subsequent pressing fired another smoke pot, and so on in sequence. T h e smoke pots on the horse were identical and controlled in the same w a y with buttons punched b y the knight. A l l of these were fired b y 12-volt nickel cadmium batteries built into the saddlebags. T h e saddlebags themselves, while large, could not be detected in the film because the horses were so large and were completely costumed in armor. Originally they were white Percherons weighing about 1800 to 2000 p o u n d s each. N o t the least of m y concerns centered on the burning coallike eyes of the knight. I decided on using fiber optics, w h i c h consist of thousands of individually p r o g r a m m a b l e plastic glass fibers that, depending on the prog r a m , can be designed to change colors, m o v e left to right, right to left, and so on. In a sense they are not unlike miniature light bulbs, each one serving a specific purpose. T h e problem confronting me with fiber optics w a s heat generation. T h e bulbs were 750 watts and drew tremendous amounts of energy, limiting us to six or seven minutes of full p o w e r from the batteries w e were using before light intensity began to drop off. W e maintained 50 nickel cadmium 12-volt batteries on continual charge and after each shot replaced and recharged. (It w a s decided later on during the final prep d a y that because of a lighting problem in daylight w e w o u l d kill the fiber optics and g o to black.) T h e white ambient s m o k e presented constant lighting problems and could only be controlled b y an expert with a refined technique of manipulating the machinery. For the red s m o k e emanating from the b o d y and helmet of the knight, w e designed a special breathing apparatus for the rider (Figure 1 4 - 5 ) . T h e system w a s quite similar to that used b y scuba divers and consisted of three tanks that p r o v i d e d three minutes of air each and were built into one saddlebag. These could be charged v e r y quickly, 174

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within a few seconds, while the rider w a s in his costume. A special valve control enabled us to pressurize his air system from a single portable h e a v y - d u t y tank. This system w a s v e r y expensive. T h e control or regulator inside the saddlebags delivered air through a tube positioned beneath his costume and affixed to a mouthpiece. It w a s a completely separate apparatus and p r o v e d to be most effective. T o fully understand the complexity and difficulty in constructing such a system, y o u must understand that in addition every air or propane gas tank, electrical cable, and hose and wire had to be fitted w i t h a quick automatic disconnect trip release device in order to ensure the safety of the rider. In addition, in case of a quick bailout, not only did the disconnections need to be made automatically, but all gas tanks had to be shut d o w n immediately. W i t h o u t these safety features built into the system, the role of the Red Knight w o u l d h a v e been m u c h too dangerous for anyone to attempt. T o further emphasize our concern w i t h safety, w e a l w a y s carried fire extinguishers and were close to the w o r k i n g set, so in the event that anything did happen, w e w o u l d be in position to handle the emergency immediately. Even though the system appeared to be fail-safe and every possible device to prevent a mishap w a s in place, there w a s a l w a y s that 1 % chance that something might happen. W h e n the project first began, the producer w a s faced with the problem of finding horses that were large enough to do the job and that also could be trained to adapt to the smoke, fire, and other effects they w o u l d encounter. Eventually w e used t w o Percheron horses. T h e y were used to c r o w d s and noise and partially used to s m o k e and fire because they had w o r k e d in the circus. T h e training on the East and West Coast ranches t o o k us several w e e k s . I met the horses for the first time on a ranch in California. O n that d a y I brought w i t h me a small flamethrower, a few standard black smoke b o m b s , and carbon dioxide extinguisher. I began w i t h the black smoke b o m b s , p r o b a b l y the most horrible smelling of all, because I wanted to see w h a t their reaction w o u l d be. I used a small mortar to start with and tried to get one of the horses near it. N a t u r a l l y he w a n t e d no part of this nonsense and refused to m o v e within 100 feet of it. In fact, he took off running. Next I brought out the flamethrower and fired it from 100 yards a w a y . Horses m a y be a bit dimwitted, but they are not stupid, and these p r o v e d no exception; if I w a n t e d to p l a y w i t h that fire thing it w a s fine, but they did not. T h e c a r b o n dioxide extinguishers seemed to bother them the most, p r o b a b l y because the gas has a lot of pressure behind it and makes a great deal of noise besides being v e r y cold. W h e n I fired it near one horse the blast of carbon dioxide drifted t o w a r d him, and he made his decision: "This crazy Irish h u m a n might like to play with noise and fire and cold stuff, but not me. I am a sensible h o r s e . " W e expected all this to happen, although after speaking to the trainer and w o r k i n g with the horses for about a w e e k , w e were able to get the rider close enough to the horse so he could shoot off the flame o v e r and around the horses and they did not bolt. T h e same gradual a p p r o a c h w o r k e d with the smoke, and w e were eventually able to bring them to the s m o k e pots and almost have their heads directly in the pots without bothering them. T h e carbon dioxide t o o k a little longer because of the combinations of smell, noise, and cold. O n e of the w a y s w e eventually got the horses used to it w a s our method of training. Horses are v e r y trusting, and if they see a human doing some175

S e c r e t s of Hollywood S p e c i a l Effects

thing like allowing themselves to be sprayed with carbon dioxide, they will gradually acclimate themselves to it and accept it as harmless. Similarly with the s m o k e — b y handling it myself these animals gradually became confident that it presented no danger. O n c e the animals became accustomed to the flame, smoke, and carbon dioxide, w e designed the appropriate apparatus to be mounted on them and the rider. This process of research, development, and refinement consumed several w e e k s conducted during preproduction at ranches on both the East and West coasts. Ironically, w i t h all this attention to detail and planning the one difficulty that w e failed to forsee w a s that these b r a v e and noble steeds might b e c o m e considerably unstrung b y N e w Y o r k C i t y traffic, w h i c h w e discovered somewhat belatedly once w e got on location. It w a s only after several d a y s that they became citified. Similarly, N e w Y o r k presented climatic conditions that required considerable adjustment on our part. V a r i a b l e winds coming off the East River created h a v o c with directional controlled flames and smoke effects. Such changes in w i n d direction required constant and oftentimes consuming and therefore costly adjustments. It w a s not u n c o m m o n w h e n faced with fluctuating gusts of wind to be constantly reigniting the pilot lights, the s m o k e machines, and flamethrowers while modulating pressure flows in order to achieve the effect. If y o u are at all familiar w i t h M a n h a t t a n traffic flow (more accurately described as gridlock) it is not difficult to imagine the problems inherent for major productions shooting in that city, even with the fullest cooperation of film commission officials, " N e w Y o r k ' s finest" and of course the A S P C A , w h i c h kept a close eye on the horses' safe treatment. A s w i t h anything designed b y humans there is a l w a y s the possibility of glitches, w h i c h w a s no less true on this shoot. T o quote M u r p h y ' s law, "If anything can g o w r o n g , it w i l l . " O u r concentrated preparation kept these difficulties to a minimum, but on a minor scale they did inevitably arise. T h e system installed in the saddlebags on the horses allowed the knight to activate the effects, w h i c h a l l o w e d us to double-check it before the shot. D u e to the nature of the emergency b r e a k a w a y system necessitated b y horse and rider safety, there w a s a l w a y s the possibility of a malfunction. This w a s further aggravated b y the often physically demanding choreog r a p h y . T h e jarring, often rough and tumble action occasionally caused a malfunction, but due to its unique and basically sound design, the saddlebag system could be quickly r e m o v e d and repairs effected. T h o u g h I h a v e often used the personal p r o n o u n throughout this chapter I w o u l d be remiss if I did not give credit to the m a n y people with w h o m I w o r k e d . In addition to the four members of the special effects crew, ten others in addition to w a r d r o b e people were totally i n v o l v e d in dressing the Red Knight and his horses. O n c e w e were given the g o sign, it took a full IV2 hours of costuming, loading, and checking the special effects and other preparation before the shot began. T h e result of all this w o r k p r o v e d w o r t h the effort. Every shot the director and producers wanted w a s executed to their satisfaction. Every effect w o r k e d . T h e extensive preproduction planning enabled the effects to come in on budget. M o s t importantly, there was not one injury to either the stunt riders or any animals used in this film, something w h i c h y o u m a y find difficult to believe w h e n y o u see it (Figure 1 4 - 6 ) . There were m a n y other effects used during the course of the film such as rain, ambient smoke, special rigging, fire, and in one scene a v e r y large fireball explosion created using four large L a c a p o d i u m pots and a wall of

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s m o k e that made it appear to the v i e w i n g audience that the Red Knight had ridden literally through the middle of the explosion. But no effect w a s m o r e challenging than the rigging of the Red Knight and his horse.

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A Note to the Reader

After studying this mass of material y o u p r o b a b l y feel one of t w o things: o v e r w h e l m e d , or secure in y o u r k n o w l e d g e and capabilities as a F/X person. Unfortunately, this is not quite h o w it w o r k s . N o t h i n g is a substitute for on-the-job experience. Y o u ' v e been exposed to possibly 1 0 % of the k n o w l e d g e y o u will need in order to produce a n y given special effect safely and efficiently. Don't assume that y o u k n o w the field, only that y o u k n o w of it. In the 35 years I've been in the business, I still learn something n e w o n e v e r y shoot. There are, to use a cliche, m a n y w a y s to skin a cat, and w h a t I've presented to y o u is an approach, a c o m p e n d i u m if y o u will, of the multitudinous possibilities, h o w I d o the "skinning." F/X, h o w e v e r , is a lifetime learning process. A l l F/X professionals h a v e their o w n approach to their w o r k w i t h techniques they've developed (as I have) through years of experience. M e t h o d ologies reflect individual personalities. In order to be successful, y o u too will h a v e to open and expand and mature to the point where y o u can refine techniques, equipment design, execution, and the honing of y o u r o w n instincts to w o r k successfully in this highly competitive business. N e v e r be too p r o u d to take advantage of the k n o w l e d g e of those professionals better schooled in the intricacies of the business, especially w h e n it could v e r y well affect the safety of performers or crew personnel. Finally, I cannot emphasize safety e n o u g h . It is y o u r responsibility! If y o u don't exercise every possible precaution, adhere to federal, state, and local regulations, y o u h a v e only yourself and y o u r conscience to live w i t h . In all of this, it is important to remember that the o n l y limitation and the creativity of a special effects person are self-imposed. A s C o n r a d once w r o t e , " O n l y in men's imagination does every truth find an effective and undeniable existence. Imagination, not invention, is the supreme master of art as of life."

For further information, purchase, or rental of any of the equipment mentioned in this book, contact WIZARDS, Inc. 18333 Lahey Street Northridge, CA 91326 USA Telephone: 818/368-5084 Fax phone: 818/360-1462 Email: [email protected] Web Page: http://www.specialeffects.com/sfx

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Glossary

A c t i o n O r d e r given b y the director, once the sound recording equipment and the film in the camera are running at filming speed, to begin the action within the shot. Assistant director Person w h o functions as an intermediary between the director and the cast and crew. First assistant director is responsible for the daily operations of the production; the second assistant director is his or her direct assistant and is responsible for the extras. Backings Large sheets of fabric painted w i t h a scene, foliage, or buildings and used as a continuation of the set. Solid backings are usually black or w h i t e fabric and are used to hide the b a c k s of other sets or stage walls where no scenery or set continuation is required. Back lot Portion of the studio a w a y from the stages and offices. There m a y be standing sets, storage facilities, or just bare land on the back lot. Beds (greenbeds)

T y p e of lighting scaffold that is h u n g b y chain over sets

o n stages. Best b o y

Assistant to the foreman of the set lighting department or grip

department (a subforeman). Call (call time) T i m e for reporting to w o r k . Different personnel or crews m a y h a v e different calls, and an individual m a y h a v e several calls in a d a y (makeup call at 7:30 A.M., set call at 9:00 A.M., etc.). Call sheet Schedule of w o r k , personnel, equipment needed, and calls for the next d a y ' s shooting. C a m e r a m a n Person responsible for lighting the scene and setting up the shots. A l s o k n o w n as the director of p h o t o g r a p h y or the cinematographer. M e m b e r s of the camera crew report to this position. Cinematographer Cinemobile

See

cameraman.

Large self-contained m o t i o n picture equipment truck.

C o m m e r c i a l fireworks Class B and C fireworks used in religious and public display type functions (firecrackers, sparklers, and small- and large-diameter public display shells). Construction coordinator

Person w h o supervises the construction of sets

in and out of the studio. Crafts service Personnel w h o are responsible for cleaning u p and doing small chores. T h e y usually handle the coffee and other beverages and snacks o n the set. Director Person w i t h artistic control and overall responsibility for making a film f r o m a script. Electricians Technicians responsible for connecting lights to the proper p o w e r supplies. T h e y w o r k for the gaffer, w h o is the chief electrician. Explosive Substance or c o m b i n a t i o n of substances w h o s e primary purpose is detonation or rapid combustion. Explosives are capable of relatively instantaneous or rapid release of gas and heat.

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Exterior

A n y scene shot outside a structure.

Fire chief

Chief administrative officer of a fire department.

Fire inspector M e m b e r of the fire department responsible for day-to-day inspections and code enforcement. Fire lane T h a t portion of a street, parking lot, or other driving surface designated to provide rapid and unobstructed access to a building or other area b y fire apparatus. Fire marshal

Head of a fire prevention bureau.

Fire safety advisor T e r m used b y s o m e fire departments to define a member of that department (active or retired) w h o is hired temporarily b y the film industry in an a d v i s o r y capacity to ensure compliance with fire/life safety issues. Fire safety officer T e r m used b y some fire departments to define a member of that department w h o is assigned to ensure compliance with fire safety regulations as set forth o n the appropriate permit. Fire/life safety standby S w o r n paid person or retired person w h o enforces fire/life safety requirements per the local department at film location sites. Fire supression crew T w o or m o r e persons p r o v i d e d w i t h protective clothing and trained to attack, control, and extinguish hostile fires using fire extinguishers, hose lines, and related fire service and equipment. Fire watch

Civilian or fire department representative assigned to w a t c h

for or react to fire hazards. Firework A n y device containing chemical elements and c o m p o u n d s capable of burning independently of the o x y g e n of the atmosphere and producing audible, visual, mechanical, or thermal effects that are useful as pyrotechnic devices or for entertainment. Fireworks, dangerous First assistant director

T h a t class of fireworks defined as dangerous. See assistant

director.

Flat Section of a studio set, usually 8 to 10 feet high, v a r y i n g greatly in w i d t h , m a d e from p l y w o o d and c o v e r e d w i t h paint, wallpaper, fabric, or metal. Fog effect

Foglike mist p r o d u c e d b y using fog juice (i.e., oil) in a special

machine. Four-foot rule Four-foot w i d e clear space voluntarily maintained a r o u n d the perimeter of stages for use as an emergency e x i t w a y . Gaffer

Foreman or boss of the set lighting department. A l s o k n o w n as

the chief electrician. Gaffer's tape W i d e , strong adhesive tape used to secure lighting instruments, stands, cables, and so o n , on a set. Gag

Stunt or physical event.

Generator

Portable or mobile electric p o w e r supply.

Grip C r e w member w h o s e responsibility is the placement of the camera, the setting of diffusion between the lights and the set, and the removal of parts of the set to a c c o m m o d a t e camera position. Honey wagon Key grip

Portable dressing r o o m and rest r o o m .

Head of the grip department. See grip.

License, pyrotechnic

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A n y nontransferable authorization granted b y the

Glossary

state fire marshal to engage in specific activities i n v o l v i n g certain types of fireworks. Loads, full, half, quarter

T e r m s used to describe v a r y i n g amounts of

explosive materials used in b l a n k cartridges. Location

A n y site a w a y f r o m a studio used as a b a c k g r o u n d for filming.

Location Manager Person responsible for finding and arranging for the use of location filming sites. T h e location m a n a g e r is also responsible for acquiring local authority filming permits, but is not qualified to obtain pyrotechnic special effects permits. Magazine

B o x , container, or structure in w h i c h ammunition, fireworks

or explosives, or special effects materials are stored. Magazine, class I

Permanent structure constructed to standards set forth

in codes of regulations and uniform fire codes. Magazine, class II

B o x or container, usually portable, constructed of

w o o d or fiber 2 inches thick and c o v e r e d w i t h 20-gauge steel, or w o o d 1 inch thick covered w i t h 14-gauge steel. Class II magazines shall be painted red w i t h the w o r d E X P L O S I V E S painted o n the top and all sides. For additional details of construction, see Title 1 9 , C C R , 989.3. A l s o see Uniform Fire C o d e 77.204. Mortar T u b e or potlike device used to direct the explosion and debris into camera's v i e w . M o r t a r s also prevent the explosives from throwing flying r o c k s . On a bell T e r m heard o n the set or location indicating that the camera is rolling or about to roll. It is a signal that all activity not related to the filming is to stop and e v e r y o n e is to be quiet. Permit, filming A u t h o r i z a t i o n b y the local authority allowing for filming in their jurisdiction. Filming permits d o not authorize the use of firew o r k s or special effects pyrotechnics. Permit, pyrotechnic Nontransferable d o c u m e n t , issued b y the local authority granting permission for a pyrotechnic licensee to establish and maintain a place w h e r e fireworks are manufactured, constructed, produced, p a c k a g e d , stored, sold, exchanged, discharged, or used. Pickup shot

Reshooting a p o r t i o n of a scene, the rest of which w a s

filmed previously. Plugging box

See

spider.

Powder card Traditional industry term for pyrotechnic licenses issued b y the state fire marshal. See pyrotechnic operators. Preproduction A l l activity prior to the first d a y of filming. This generally includes script writing, set design, budgeting, major casting, and selection of principal locations. Producer Individual at the top of the film hierarchy w h o represents the studio a n d / o r investors. Production manager Prop

See unit

manager.

M o v a b l e object used b y actors.

Property man

Person responsible for all of the small objects used b y

actors. Pyrotechnic composition A n y c o m b i n a t i o n of chemical elements or c o m p o u n d s capable of burning independently of the o x y g e n in the atmosphere.

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Pyrotechnic device A n y c o m b i n a t i o n of materials, including p y r o t e c h nic compositions, w h i c h , b y the agency of fire, produce an audible, visual, mechanical, or thermal effect designed and intended to be useful for industrial, agricultural, personal safety, or educational purposes. Pyrotechnic operator/theatrical Person authorized to use special effects, b l a n k cartridges, colored fire, flash paper, composition, and smoke composition in stage or theatrical productions o n l y . Pyrotechnic operator/theatrical trainee Person authorized to conduct procedures permitted a pyrotechnic operator/theatrical. Pyrotechnic operator/performer Title restricted to persons w h o perform before an audience. M a y include magicians, comedians, and others w h o s e p r i m a r y interest is in other than pyrotechnics. Such license is restricted to the use of special effects, b l a n k cartridges, colored fire, flash paper, composition, and s m o k e composition w i t h the production of theatricals and operas before live audiences in theatres, opera houses, television studios, nightclubs, and similar occupancies. Pyrotechnic operator/unrestricted Person w h o m a y conduct and take charge of all fireworks activities in connection w i t h every kind of public fireworks display, whether commercial entertainment, experimental model rockets, missile launching, or m o t i o n picture, theatrical, and television p r o d u c t i o n . Pyrotechnic special effects Pyrotechnic compositions or devices consisting of articles containing a n y pyrotechnic composition manufactured and assembled, designed, or discharged in connection w i t h television, theatre, and m o t i o n picture productions, w h i c h m a y or m a y not be presented before live audiences. S o m e of the most frequently used special effects materials are arcing m a t c h , black match, black p o w d e r lifting charge, dets, flash p o w d e r , and squibs. Q u a r t z light P o p u l a r name for tungsten-halogen lamps, which are tungsten filament and halogen gas sealed within quartz. Bulb temperatures m a y exceed 500 ° C (930 °F). Red light Light activated to indicate that filming is in progress within a building or area. A l s o w a r n s personnel not to enter or exit. Refueler T r u c k used to transport and deliver flammable or combustible liquids to individual internal combustion engines or portable tanks containing flammable or combustible liquids. Riggers

C r e w members responsible for the construction of scaffolding

(rigging) o n a set and the placement of the lights on that rigging. Ritter fan A l s o k n o w n as a w i n d machine. C a n be gas or electric powered. R u n a w a y production state or c o u n t r y .

California-based film production filmed in another

Safety director Person in charge of all aspects of life safety relative to the production c o m p a n y , studio lots, and the general public in or around these areas. A l s o responsible for all aspects of code enforcement and environmental affairs. Liaison between the p r o d u c t i o n c o m p a n y and local governmental agencies. Safety fuse Flexible cord containing an internal burning medium b y w h i c h fire or flame is c o n v e y e d at a constant and relatively uniform rate from the point of ignition to the point of use, usually a detonator.

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Glossary

Scene

Unit of action in filming consisting of one or more takes (shots).

Screenplay

Script of a motion picture containing dialogue and descrip-

tion of the action i n v o l v e d . Scrim

A n y device placed o v e r lighting to soften the lighting effect.

Second unit Production crew that films scenes not i n v o l v i n g the principal actors. M o s t often used for action sequences, remote locations, b a c k g r o u n d for process shots or matte shots, and so on. Set decorating Set decorator

Furnishings used on a set. Person w h o places and is responsible for set decorating.

S h o t Point where a camera begins taking pictures (rolling) to the point w h e r e it stops makes u p a single shot. M a y include marker (information on the camera setup written in chalk on the clapperboard) and other material, also referred to as a take. Special effect

A n y effect produced to create an illusion on film, ranging

from pyrotechnic effects to w i n d , rain, or s n o w . Special Effects Materials Pyrotechnic compositions used in connection w i t h television, m o t i o n picture, and theatrical productions that h a v e been classified b y the Bureau of Explosives as special fireworks Class B, c o m m o n fireworks Class C , and additional special effects items listed in T a b l e 1 3 - A of Sub-chapter 6, Title 1 9 , California C o d e of Regulations.

183

Basic Safety Rules for Chemical Effects

Y o u r l a b o r a t o r y is not a place to p l a y . Experimenting is a serious business, and y o u h a v e to carry it out in a businesslike w a y if y o u are to learn anything from it. T h e rules b e l o w will help y o u to enjoy y o u r experiments and learn from them without endangering yourself or others. D o not a l l o w y o u r friends to mix things just to see w h a t will happen. D o not d o so yourself. S o m e combinations of chemicals are dangerous and y o u might accidentally mix some of these. Perform o n l y the experiments for w h i c h y o u h a v e complete instructions. A l w a y s keep a g o o d supply of tap w a t e r on y o u r laboratory table. Unless y o u are w o r k i n g near a sink, h a v e a wide-mouthed gallon jar filled w i t h w a t e r close at hand, as well as several large sponges for wiping up a n y chemicals that might be spilled. If an acid or an alkali (base) is spilled on y o u r clothing, skin, or any place in y o u r laboratory, immediately w a s h the area w i t h lots of clear water. A n A m e r i c a n Red Cross first-aid h a n d b o o k should be part of y o u r laboratory equipment. Refer to it in case of accident, and never hesitate to call a doctor if y o u are accidentally burned or inhale irritating fumes. Be v e r y careful of hot glass. It doesn't l o o k hot and it cools v e r y s l o w l y . Treat burns at once w i t h sodium bicarbonate solution. N e v e r put hot glassware d o w n on an unprotected table. W h e n heating chemicals or chemical solutions in a test tube, do not point the open end t o w a r d yourself or a n y o n e else. K e e p rotating the test tube constantly w i t h a gentle circular m o t i o n so that bubbles forming rapidly in the b o t t o m of the test tube will not force the liquid out of the tube in a dangerous w a y . Before using glass tubing, be sure that both ends are fire-polished. T o put the tube through a cork or rubber stopper, wet it first. Hold it with a piece of cloth and insert it gently into the hole b y rotating it while y o u a p p l y pressure. O n c e y o u h a v e started the tubing through a stopper, never hold the tube from a point m o r e than t w o inches a w a y from the stopper. O t h e r w i s e , the weight of the stopper will m a k e the tube snap. If the tubing is part of a funnel or thistle tube, d o not hold it b y the funnel for the same reason. Handle thermometers in the same w a y . N e v e r use a chemical that is not labeled. It might be poisonous or cause a violent and dangerous reaction. N e v e r return unused chemicals to their original bottles. Y o u m a y cause contamination or m a k e an error that will spoil future experiments. T h r o w the unused chemical a w a y in the proper w a s t e container. O n l y waste paper belongs in the wastepaper basket. Put discarded solid chemicals in an earthen or pottery jar. Later y o u should w r a p them in newspaper and t h r o w them in an incinerator or garbage can. Put liquid wastes into a sink partly filled w i t h water, and then w a s h them a w a y w i t h the tap water running for at least five minutes. This will dilute them and lessen the effect they might otherwise h a v e on the plumbing.

185

S e c r e t s of Hollywood S p e c i a l Effects

N e v e r taste or smell a chemical directly. D o not do so at all unless the experiment directs y o u to. T o taste a chemical, transfer one drop to y o u r tongue b y means of a glass r o d . W a s h y o u r m o u t h out immediately w i t h w a t e r . T o smell a chemical, fan the v a p o r t o w a r d y o u r nose w i t h y o u r hand. Be prepared to turn y o u r head a w a y q u i c k l y if the odor proves to be irritating. K e e p glass apparatus spotlessly clean. C o n t a m i n a t i o n often spoils the results of experiments. W h e n y o u w e t clean glass, it takes on an even coating of w a t e r , but on dirty glass the w a t e r forms small droplets instead. Y o u can use a n y g o o d detergent for cleaning, but be sure to rinse the apparatus t h o r o u g h l y afterward. A l w a y s w e a r a rubber or plastic a p r o n to protect y o u r clothing w h e n doing experiments; unless y o u already w e a r eyeglasses, y o u should h a v e a pair of plastic goggles or safety glasses to protect y o u r eyes whenever this is suggested in a particular experiment. A s b e s t o s gloves are a g o o d safety factor for experiments i n v o l v i n g fire.

186

Index

Acetylene torch for creating sparks, 135

Bazookas and rocket launchers, 102-103

Adventure of Baron Munchausen,

Bee smoker, 21

The, 172

Aerial shells, 145 loading and firing of, 143-144

Binder chain, 99

rainbow, 49 Buildings, exploding, 128-129. See also Doors; Windows; Rooms

Bird's mouth head, 2

Bull pricks, anchoring for dead man rigs, 81

Aerosol shaving cream for snow effects, 8

Black foam, 34

Bullet hits, 104-106

Air cannons

Black match, defined, 145

for making waves, 154 for underwater explosions, 136-137 Air cylinders for levitation, 74 Air mortars for underwater explosions, 136-137 Aircraft cables and strands, 82, 83

BATF and D O T ratings for ignition

Black powder bombs, 119, 121, 145 for pyrotechnics, 129 Black smoke, 25 continuous columns, 136

squibs, 116 board for, 125 defined, 137 strafing, 130

with exploding buildings, 129

Bullet holes in 55-gallon drums, 133

liquid, 26

Bulletproof glass, Lexan, 137 Bureau of Alcohol, Tobacco and Firearms

Alcohol, for miniature volcano, 43

Blanks in weapons, 101

Alloy chain, 97-98

Blasting machine, plunger-type, 126

Alum for fireproofing, 46

Blinding flash, 42

Burlap torches, 27-28

Aluminum, for a blinding flash, 42

Blitz fogger, 20

Burn suit, 149

American Society for Testing Materials

Block and fall rig, 65

"Busby Berkeley" overhead shot, 156

(ASTM), 96

(BATF), 116, 1 1 7

Blood, simulating, 35, 47-48 Blood hits, 133-134

Cable rig, four-way flying traveler, 64

for chemical smoke, 50-51

Blood knife, 114

Cable slings, 80

for pitcher changing colored waters, 40

Blowtube for delivery of nonpyrotechnic

Cables

Ammonia

Ammonium chloride for invisible ink, 36-37 Ammonium dichromate for volcano, miniature, 43 Ammonium hydroxide for exploding shoes, 40 for smoke from a tube, 41

projectiles, 106

connections for, 59

Blue screen process, 55

invisible, 55-56

Blue stars, 44-45

preparation of, 59

Body armor, 133-134

safety precautions for using, 69, 70

for working with projectiles, 109

specifications, 82-84

Body burns, 149-150

Calcium chips to promote a violent boil, 24

Body hits, 133-134

Campfires, 29-30

Body smoke pots, 24

Candles, 31

Ammonium sulfide for anarchist bombs, 48

Boston nozzle, 2

Cannon cars, 131-132, 150

Anarchist bombs, 48

Bottle

Ammonium phosphate in fire extinguishers, 27

Anchor, dead man rig as, 81 Antimony sulfide for fireworks, 38

nonpyrotechnic, 132

flying, 75

Cannon for fire balls, 32-33

of many colored waters, 39

Capsule guns for nonpyrotechnic projectiles,

Apparitions, 156

Brains, blowing out, 135

Arrows, 108-114

Breakaway glass, 151

Asbestos mats

for icicles, 1 1

107-108 Car burns, 150 Carbon dioxide for extinguishing torches, 28

for firepads, 30

Breakaway wire, 134

for fireworks effects, 38

Breakaways, 163-164

in fire extinguishers, 27

for flame and fire effects, 42

Breaking strength

for pressurized smoke, 162

cables, 84 Background, for masking cables, 56 Ball hit guns for nonpyrotechnic projectiles, 107-108 Balsa wood for breakaway furniture, 163 Barium chloride, 39

precautions in interpreting, 69 Brick wall for riding through, 168 Bromochlorodifluoromethane (Haylon) in fire extinguisher, 27 Bubbles

for steam curtains, 16

See also Dry ice Carbon disulfide for cold fire, 35 for demon fire effect, 47 Carbon tetrachloride for cold fire, 35 Cars

Barium nitrate for fireworks, 38

bouncing, 49

Barium salt for green fire, 45

burning, 43-44

cannon, 131-132, 150

BATF and D O T ratings

dry ice for, 34

moving, rain on, 6-7

for ignition squibs, 116

exploding, 44

for smoke effects, 1 1 7

machines for making, 155

Castile soap for bubbles, 49

permanent, 48-49

Chain, 95-100

Battery, defined, 145

187

nonpyrotechnic, 132

Secrets of Hollywood Special Effects

Chain connectors, 100

for exploding buildings, 129

Finale, defined, 146

Charcoal

for napalm simulation, 119

Fireballs

for blue stars, 44

Detonating devices, 124-125

from air cannons, 32-33

for brilliant sparks, 42-43

Detonation, defined, 146

from musical instruments, 163

for colored fires, 45

Deus ex machina, 54

Fire bars, 31

for fireworks, 38

Diesel fuel for pyrotechnics, 129

Fire eating, 46

for silver fire, 44

Dinafogger, 18

Fire effects, 27-33, 42-46

Charges, wiring for vehicle explosions, 128

Directional short circuitors, defined, 137

Checklist

Disney Land, 164

Fire extinguishing agents, 27

safety precautions for flying effects, 69-71

Doors, blowing out, 129-130

Fire pans, 31-32

for snow effects, 9-10

D O T regulations, covering pyrotechnics,

Fire ribbons, 32

Choke Canyon, 81

116

colored, 44-46

Fire writing, 36

Double clevis chain connectors, 100

Firepads, materials for, 30

D-ring ties, 93

Fireplaces, 29

Chroma key, 55

Dripping icicles, 1 0 - 1 1

Fireworks, 139-148

Clunker box, 125

Driver, defined, 146

Clunker hit board, 126

Drop boxes and bags, 79

Cobalt chloride for invisible ink, 38

Dru, Joanne, 1 1 1

Cobalt nitrate for red invisible ink, 37

Drum, blowing into the air, 121

Cobwebs, 154-155

Dry hand effect, 49-50

Fisher King, The, 1 1 5 , 1 7 2 - 1 7 7

Cold fire, 35-36

Dry ice

Fishing line, monofilament, 75

Chopped ice or snow ice for snow effects, 10

BATF and D O T ratings for, 116 colored, 38 Firing boxes, 126 for smoke, 22

Comet, defined, 145-146

for bubbles, smoke, 34

Flames, 42

Commercials, 170

fog machine for smoke effects, 19-20

Flash packs, 118

Composition, defined for fireworks, 146

Dud, defined, 146

Compressed air for delivery of

Dump tanks, 153-154

Flash pots, 119

Dust hits, 108

Flash powder

nonpyrotechnic projectiles, 106 Connections

defined, 137

chain, 100

Eddy valves, 3

for det cords, 122

Electrical equipment, safety precautions in

Copper oxide

for igniting shotgun mortars, 127

using, 69

packs for pyrotechnics, 129 Flashpoints, 1 7 Flat hits, 133

for blue stars, 44

Emerson, Keith, 163

Floating cloud, 168

for fireworks, 38

Epcot Center, 156, 164

Floating drums, 72

Epsom salts for frosting windows, 11

Floating ice, 11

Equipment

Floating piano, 72, 73

Copper sulfate for fireworks, 38

for burning bubbles, 43

Flocking for snow effects, 9

for colored fireworks, 38

Flowerpot, defined, 146

for blue stars, 44-45

for fire eating, 46

Flying rigs, 61-68

for fireworks, 38

hardware for rain effects, 3-5

Flying track, 62-68

for invisible ink, 36-37 Copper sulfide

Cotton, chemical and physical characteristics, in rope, 85-86

for rain effects, 1 - 3

types of, 62-64

smoke producing devices, 1 7 - 2 1

Foam, black, 34

Counterbalance crane, 62

for smoke rings, 41

Foam spinners for snow effects, 9

Counterweight rig, 65

for sprinkles of fire, 43

Fog juices, 25

steam, 1 4 - 1 5

Fog nozzle, 2, 3

safety precautions for using, 69 Cranes

*Estes rocket, 131

Footprints in the snow, 1 1

for flying rigs, 61-62

*Esty rockets, 103

Fountain

object-flying, 77

E-type 21 Fan, 153

rainbar setup, 2

Exploding shoes, 40

Creativity, 178 Crew

Fallout zone, defined, 146 Fans, 152-153

for manually fired fireworks, 144

Ferric ammonium sulfate, 39 for brown invisible ink, 37 mystery of Malabar, 47

Dafoe, Willem, 109

Dancing on a Ceiling, 160 Dead man rig, 81

defined for fireworks, 146 Freon

for flying cranes, 61 safety precautions for flying effects, 69

defined, 137

Ferric chloride for pitcher changing colored waters, 39 for simulating blood, 35

for frosting windows, 1 1 for simulating a boiling radiator, 15 Fruit juices for invisible ink, 37 Fuller's earth for mud, 52 for quicksand, 53 Fuses, 125-126 BATF and D O T ratings for, 116

Demon fire effect, 47

Ferrous oxalate for sprinkles of fire, 43

defined, 146

Det cord, 121-124

Fibers for ropes, 85-86

for fireworks, 144

BATF and D O T ratings for, 116 for blowing a tree, 132

Film Industry Fire, Life and Safety Handbook, 139 188

Galvonometer, 125, 126

Index

Gasoline

Hydrochloric acid

for frosting windows, 11

for burning bubbles, 43-44

for chemical smoke, 50-51

Liquid tar for pyrotechnics, 129

dynamite equivalent of, 128

smoke from a tube, 41

Little Caesar, 104

for exploding bubbles, 44 for pyrotechnics, 129 Gate valve, 4

Lowburst, defined, 147 Igniter cord, BATF and D O T ratings for,

Luminous paint, 51

116

Gel caps, 108

Igniters, defined, 137

Machine guns, 102

Gerb, defined, 146

Ignition squibs, BATF and D O T ratings for,

Magazine for storing pyrotechnics, 115

Ghosts, 156

116

Magic effects, chemical, 34-53

Gilliam, Terry, 172

Ijeba smoke machine, 18

Magic wound, 47-48

Glass, Lexan, 137

Image splitters, 155-156

Magnetic cartridges for spectracolor smoke,

Glass hits, 108

for teleprompters, 164

Glauber's salts for changing a liquid to a

for transformation illusions, 162

solid, 50

Inanimate objects, flying, 74-77

Gleason, Jackie, 165-171

Invisible inks, 36-38

Globe valve, 4

Invisible lines (cables), monofilament, 75

Glossary

Iodine

23 Manifolds for rain effects, 3 Manila rope chemical and physical characteristics, 85-86 specifications, 87

of fireworks terms, 145-148

for exploding shoes, 40

Match, defined, 137

general, 179-183

for purple vapor, 45-46

Maxi-smoke pots, 22

of pyrotechnic terms, 137-138

Iron chloride, for the magic wound, 47-48

Glycerine for bubbles, 49

Mee fog system, 18

burning bubbles, 43-44

Jackson, Michael, 162

exploding bubbles, 44

Jetex foam, 10

Gray smoke, fast-burning, 24-25

Mechanical crane, 62 Mercurous chloride for blue stars, 44

machine, for snow effects, 8

Great Train Robbery, The, 101, 104

for colored fires, 45 for fireworks, 38

Greek theater, 54

Kerodex for skin protection, 26

Methocellulose for mud, 52

Green fire, 45

Kerosene for smoke, 26

Methylethylketone (MEK) for cobwebs, 155

Grip chain, 95

Kevlar for fire protection, 173

Mine, defined, 147

Gun delivery for nonpyrotechnic projectiles,

Kickers, 129

Mini-smoke pots, 23

Kill Me Again, 115

Mirror effects, 155-156

Gunpowder. See Black powder

Kilmer, Val, 115

Misfire

Gypsum for snow effects, 8

Knife gun, 113

107

defined, 147

Knife throwing, 114

safe management of, 145

Hailstones, 12

Knives, 108-114

Mole Richardson fogger, 18

Hangfire, defined, 146

Knots, 91-94

Mortars, 102, 118-119

Hanging rig, 68

for det cords, 122-123

defined, 147

Harnesses

for piano wire,

for fireworks, 139-140

preparation of, 59

76-77

ten-wrap fisherman's tie, 75

safety precautions for using, 69-70 safety precautions in fitting, 70-71 types of, 56-58 Hatch. See Black match

lifting, 121 shotgun, for exploding vehicles, 126-127

Lacquer

Mud, 52-53

for frosting windows, 11

Multiple-break shells, defined, 147

for waterproofing pyrotechnics, 1 1 7

Muriatic acid. See Hydrochloric acid

Haunted house, 164

Lance, defined, 146

Muzzle burst, defined, 147

Haylon in fire extinguishers, 27

Launching methods for knives, arrows and

Mystery of Malabar, 47

Heading, defined, 146

spears, 108-112

Heavy fog machine, 18

Leader, defined, 146

Nail board for detonation, 124-125

Hemp rope, 86

Levitation, 54-103

Napalm explosion, simulation of, 119-120

Lexan bulletproof glass, 137

Naphthalene

safety precautions for using, 69 High Carbon Metallic Tinned Piano Wire, 76 High-test chain, 97 Horses, working with, 175-176 Hoses, 4-5

Licensing

black smoke from burning, 25

for gun handling, 101 for operating steam boilers, 15 for pyrotechnics, 116

for pyrotechnics, 120, 129 National Association of Chain Manufacturers (NAMC), 96

Lift charge, defined, 146

New York snow machine, 12

fittings, rain effects, 2

Lifting mortars, 121

Nitroacetanilide for snake from smoke,

for liquid propane, 30

Lifting packs for pyrotechnics, 129

41

Hot coals, walking over, 169

Line rocket, defined, 147

Nitrogen rams for cannon cars, 132

Human cannon ball, 167-168

Liquid, changing to a solid, 50

Nomax underwear for burn protection, 149

Hurricane effects, 7

Liquid nitrogen

Nomex for fire protection, 173

water rings for, 2 Hurricane fan, 153

fogger for smoke effects, 19

Nonjacketed cable, 83

for frost and ground fog, 25

Nonpyrotechnic projectiles, 104-114

189

S e c r e t s of Hollywood S p e c i a l Effects

Nylon ropes chemical and physical characteristics, in rope, 85-86

Potassium chlorate

Reverse pull knives, 112

for colored fires, 45

Revolving drum for making waves, 154

for colored pyrotechnics, 44-45

Ritter fan, 153

double-braided, 90

for fireworks, 38

solid-braided, 90-91

for flames, violent, 42 for rod of fire, 39

for heavy rain, 7 for snow effects, 8, 10, 12 Robinson, Edward G., 104

Oil cracker for smoke effects, 19

Potassium ferrocyanide, 39

Rockets, 131

Omni short circuitors, defined, 138

Potassium hydroxide for smoke rings,

Rocking vehicles and rooms, 159

Operator

41-42

Rod of fire, 39

defined, 147

Potassium iodide for exploding shoes, 40

Roman candle, defined, 147

for fireworks, 143

Potassium nitrate

Rosco 1500 fog and smoke machine, 20

Outboard motor for making waves, 154

for brilliant sparks, 42-43

Rubber bones, 49

Outdoor effects

for fire eating, 46

Rubber cement, safety precautions for

snow, 8

for fire writing, 36

steam and smoke, 15

for fireworks, 38

Outdoor overhead rainheads, 1-2 Overhead track systems, 62-68 for flying rigs, 61 Oxalic acid, for pitcher changing colored waters, 39

Potassium thiocyanate, 39 for simulating blood, 35 Preplaced knives, arrows and spears, 1 1 3 , 114

using, 32 Rubber knives, 113 Running bullets, 109 Rycon 22 for simulating a boiling radiator, 15 for smoke, 174

Priming, defined, 147 Projectiles, arrow and spear, making of, 1 1 1

Safes and boxes, blowing, 130-131

Pan mortars, 118-119

Proof coil chain, 96-97

Safety cap, defined, 147

Paraffin for sprinkles of fire, 43

Propane torches, 28

Safety precautions, 178

Paranitroacetanilide for snake from smoke,

Propylene glycol for fog, 20

in aluminum use, 42

Protective clothing for body burns, 149

for blanks in weapons, 101

41 Passing link chain, 98 Peat moss for mud, 52

for blitz foggers, 21

Puddles ice on, 12

body armor for use with weapons, 114

mud, 52-53

for burning tires, 136

for quicksand, 53

Pumps for water, 4

for carbon dioxide, 16, 19, 35, 162

Pendulum rigs, 65-67

Purple vapor, 45-46

for chemicals use, 35, 36-37

for flying systems, 61 Pentaerythritol tetranitrate (PETN) in det

Pyrocel for footprints in the snow, 11

for cold fire chemicals, 35-36

Pyrotechnics, 115-138

for cold materials, 1 1 , 35 for detonation cord use, 122, 123-124

cord, 121-122 Peter Pan rig, 65-67

Quick match, defined, 147

Phosphorus

Quicksand effect, 53

for dry ice management, 35 example from The Fisher King, 172, 175 in exploding buildings effects, 129

for smoke rings, 41-42 Racks, defined, 147

extinguishing torches, 28

Piano wire, 76-77

Rain, 1 - 7

for fire ball preparation, 32

Pipe hitches, 96

Rain mats, 2

fire hose control, 4

Pipe threads, types of, 2

Rainheads, 2

fire writing effects, 36

Pitcher changing colored waters, 39-40

Rainstands, 1-2

for fireworks, 141-142

Plastic-jacketed cable, 83-84

Ramp jumps, vehicle, 150

for flame thrower use, 33

Plastic snow, 8

Raymond, Harry, 34

for flying effects, 68-69

Platoon, 109

Ready boxes, defined, 147

for Ijeba smoke machines, 18

Polyester, chemical and physical

Red Bird fan, 153

white, for demon fire effect, 47

characteristics, in rope, 85-86 Polypropylene ropes

Kerodex for actors' skin protection, 26

for heavy rain, 7

for liquid nitrogen, 19, 25

for snow effects, 10

for monofilament line, 75

Red fire, 45

for mortars, 140

Red River, 1 1 1

for naphthalene, 25

double braided, 89

Reduplicating material, defined, 138

for nitrogen triiodide handling, 40

hollow-braided, 88

Reflection effects, 155-156

for phosphorus use, 42

Sta-set, 89-90

Reflections, chemicals for reducing, 56

for plastic used under snow, 9

truck, 88

Reggie (Gleason character)

for propane gas tanks, 30

chemical and physical characteristics, 85-86

Pop-off hits, 104-105

the electrical man, 166

for propane handling, 32

Pop-out knives and arrows, 112, 113

and the rocket sled, 166

for propane torches, checking for leaks, 28

Popping corks, 161

the weatherman, 165

protective clothing, 149

Porter, Edwin S., 104

Report, defined, 147

for pyrotechnics and fireworks, 144-145

Portfire

Resin for permanent bubbles, 48-49

for rain effects, 2

Return of the Living Dead, The, 1, 52, 53

for shells, 140-141

defined, 147 for fireworks, 144

rain effects example, 7 190

in simulating fireplaces, 29-30

Index

for smoke effects, 1 7

pellets, 23-24

Stearic acid, for skin hits, 104, 105-106

for steam devices, 1 4 - 1 5

pots, BATF and D O T ratings for, 1 1 7

Steel balls for breaking props, 108

for steel ball projectiles, 108 in storing and moving pyrotechnics, 117

Smoke effects, 17-26, 160-161

Straight link coil chain, 100

BATF and D O T ratings for, 1 1 7

Straight link machine chain, 98

chemical, 50-51

Straight mortars, 118

in storing and moving shells, 143

defined, 138

Stroblite (luminous paint), 51

for sulfuric acid use, 34

dry ice for, 34

Strontium nitrate

for titanium tetrachloride use, 120

example from The Fisher King, 173-175

for trunion guns, 137

gray, fast-burning, 24-25

for underwater explosions, 136

hand-held devices, 21-22

Stunt gels for skin protection, 149

water hose quality and, 5

puffs, 23

Styrofoam, beads, for footprints in the

for wind machine use, 152

rings, 25-26, 41-42

for wire suspensions, 54-55

in snow scenes, 1 1 - 1 2

in wiring explosives, 128

from a tube, 41

Safety valves on steam boilers, 15

Smoke stacks, 22

Salt for snow effects, 8

Snakes from smoke, 41

Salutes

Snow blankets, 9

for fireworks, 38 for red fire, 45

snow, 11 Sugar for flames, violent, 42 for rod of fire, 39 for spontaneous combustion, 44 Sulfur

defined, 147

Snow effects, 8-13, 153

for blue stars, 44

firing of, 139

Soapsuds for burning bubbles, 43-44

for colored fires, 45

Sandbag rig, 65

Sodium bicarbonate in fire extinguishers, 27

Saran 121 resin for cobwebs, 155

Sodium hydrogen sulfite, 39

Sawdust as snow, 10

Sodium oxalate

for fireworks, 38 Sulfuric acid for black foam, 34

Scent cannons, 156-157

for fireworks, 38

for flames, violent, 42

Semiautomatic and automatic weapons,

for yellow fire, 45

for invisible ink, 36

101-102 Set piece, defined, 147 Seven-strand cable, 84 Shadow, walking away from a, 5 1 - 5 2 Shellac for colored fires, 45 Shells, 140-141 for fireworks, 142-143

Sodium peroxide for a blinding flash, 42

for pitcher changing colored waters, 40

Sodium salicylate for mystery of Malabar,

for rod of fire, 39

47

for snakes from smoke, 41

Sodium sulphocyanate (thiocyanate) for the magic wound, 47-48

Super fogger, 18

Sound

Sweeney guns

and crane selection, 62

Shotgun mortars, 118, 121

from gas fireplaces, 29

Shotguns and semiautomatic shotguns, 103 Shufton shot, 155-156 Shunting wires, 128

for the telltale cigarette, 48

Sometimes a Great Notion, 80

Shock cord, 55 for exploding vehicles, 126-127

for spontaneous combustion, 44

from propane under pressure, 30 Sound stage, rain effects for, 5

for nonpyrotechnic projectiles, 107 steel balls in, 108 Sweet oil for changing a liquid to a solid, 50 Synthetic rope, polypropylene twisted, 87

Spanner wrench, 4 Sparks, 135 brilliant, 42-43

Tannen, Lou, 163 Tannic acid, 39

Siamese outlet reducer, 2

Spears, 108-114

Silicate, sodium, for fireproofing, 28

Special effect shells, defined, 148

Tartaric acid, 39

Silver fire, 44

Spectrasmoke devices, 21-24

Tear gas effects, 120

Silver nitrate for silver fire, 44

Spinning harness, safety precautions for

Teleprompters, 164

Simulated blood, 35

using, 71

for pitcher changing colored waters, 39

Telescoping knives, 1 1 3 , 114

iron chloride for, 47-48

Spinning room, 159-160

Telltale cigarette, 48

sodium sulphocyanate (thiocyanate) for,

Spontaneous combustion, 44

Tempered glass, 151

Spreader bars, 60

Tetter board, 68

Sprite, snow commercial for, 1 2 - 1 3

Tilting room, 159-160

Squibs

Titanium salutes, defined, 147

47-48 Sisal rope, chemical and physical characteristics, 85-86 Site selection for fireworks, 141 Skin hits, bullet, 104-106 Skyrocket, defined, 147-148 Slide for life, 67-68

accidental ignition of, 145 for pyrotechnics, 129 Squirrel cage fan, 153 for blowing smoke, 161

Titanium tetrochloride for liquid smoke, 25 for tear gas effects, 120 Tools for rain effects, 3-5

Slingshot cars, 81, 152

Stage campfires, 29-30

Slingshot for delivering bullets, 109

Stars, defined, 148

Tornados, 157-158

Smoke devices

Stationary track, two and four directional,

T o w for fire eating, 46

cartridges, long-burning, 22

Torches, 27-28

Toxicity

65

composition powder, 136

Steam boilers, 1 4 - 1 5

of cold fire chemicals, 35

cookies, 23

Steam curtains, 16

of smokes, 1 7

grenades, 24

Steam effects, 1 4 - 1 6

oils, 24

Steam traps, 14 191

of titanium tetrachloride, 25 Transport chain, 99-100

S e c r e t s of Hollywood S p e c i a l Effects

Traveler track, 62 four-directional, 64

miniature, 43 V-pan mortars, 118

Tree, blowing a, 132 Trip releases, 78-79

Windows blowing out, 129-130, 137 flame shooting out of, 32

Water, 1 - 7

frosting, 11

Trunion guns, 137

dump tanks for holding, 153-154

Turnbuckles

for extinguishing fires, 27

Wire for wire flying, 54-56

supplies for rain effects, 5-7

Wire flying, 54-103

for line tension distribution, 75 with piano wire, 77 Two-way mirror, 155 Underwater explosions, 136-137

rain outside of, 5

Water gauges on steam boilers, 15

Wire guides for rockets, 103

Water rings for hurricane effects, 2

Wire-controlled arrow gun, 1 1 0 - 1 1 1

Waterglass for fireproofing, 28

Wire-controlled knives, arrows, and spears,

Wave machine, pneumatic, 154

112

Waves, 154

Wire-controlled spears and knives, 112

Valve control, 5

Weapons, 101-103

Wireless arrow gun, 109-110

Vehicles

Weather

exploding, 126-128 frost and ice on, 12 rocking, 159 Venturi device, for blowing smoke, 160 Vermiculite

Wiring harnesses for pyrotechnics, 124

and use of pyrotechnics, 1 1 7

Wizard super fan, 7

wind velocity and fireworks, 141

Working load

Welding machine for creating sparks, 135 Whirlybird heads, 2

for mud, 52

Wilstabrite Wire, 76

for quicksand, 53

Wilting flower, 169-170

Vinegar

on cables, 84 for hemp, 86 safety precautions for interpreting, 69 Yellow fire, 45

Wind machine

for invisible ink, 37-38

attachments for, 153

for rubber bones, 49

for heavy rain, 7

Zapped, 78 Zapped Again, 78

for making waves, 154

Zirconium spark hits, 108

Volcano, 157-158

192