Issue link: https://digital.copcomm.com/i/1546176
PROPERTYMASTERSGUILD.ORG 29 other. We will also need a rubber and a nonfunctional replica of the firearm for rehearsals and blocking. The real firearm should only be on set when the camera is rolling, and no firearm, real or replica, should ever be present without a property person or armorer within line of sight. Clarity is essential for any scene containing gun fire. Many discussions and meetings take place before the filming day to determine what needs to be achieved and the safest way to get there. We need to know: Who are the targets, and how many shots will be fired? Most importantly, what is the minimum distance between the end of the barrel and the actor? This geography dictates everything that happens next. If the shooter and the target are outside and across the street from each other, the options are broad. But in this particular scene, we are indoors and at point blank range within two feet. Equally important is the safety check on set with the first assistant director, the actors, and the crew. Everyone needs to know what to expect and what the protocol is if something goes wrong. I will not go into the details of how to properly clear a firearm here, but when done correctly, the chance of mishap is virtually zero. When it comes to safety today, we have several options. Because the weapon was in tight quarters and at point blank range, I would personally suggest a real firearm with dummy rounds in the cylinder, no blanks, and a muzzle f lash added in post- production. In 1971, muzzle flash was dependent on blanks as adding muzzle flash during post-production was not yet an option. When analyzing frame by frame, you see that the gunshots and the hits are never in the same frame, which is a testament to Coppola's care and skill, along with that of director of photography Gordan Willis. This allows the Property Master to put a very small load in the gun because it will never fire directly at the actor. Most of what we see is smoke from the end of the gun barrel. In the behind-the- scenes photo, legendary special effects coordinator Joe Lombardi appears to have run a small squib on a wire from the barrel, through Pacino's sleeve, and