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How a new kind of safe flash gun for interactive light, linked to the camera, was invented for The Penguin. An excerpt from issue #29 of befores & afters magazine.Many of the blood hits in The Penguin are, of course, inflicted via gunshots. Recent heightening of set safety in relation to firearms has meant that prop guns with chargesand therefore muzzle flashesare now less used. But in the series, guns were a key storypoint, and many scenes would be filmed in dark environments. The concern from visual effects supervisor Johnny Han was that there would be little or no interactive light generated on set since there would not be the usual muzzle flashes acquired.In my experience, breaks down Han, it often ends up a lot more expensive in post to add in interactive light, because artists have to get in there and start painting in light around actor faces and clothing. Its very delicate, fine artist work. Frankly, a lot of movies dont put that interactive light in and it really doesnt look good, in my opinion.The dilemma of interactive on-set lighting for gunshots forced Han to think differently about the issue. It was the third day of shooting. I brought my photography strobe from home. I got a sound sensor, which is used for sports photography, where it will be triggered by the sound of a ball hitting a baseball bat. We had a prop gun that still went Pop, pop, pop. So I figured, lets try the strobe and the sound sensor. We did it for a scene, and it worked! Everyone was like, This is so cool. It was very visceral, not just for us, but for the actor to see that light and for all parties involved. It just made such a tactile, visceral experience.Still, there were some initial challenges, notes Han. When a flash was utilizedand this is also a concern with real muzzle flashesit can sometimes only hit onto half the frame because of the action of the camera shutter. Youll see this on paparazzi footage where you see bands of light, outlines Han. This was just not a good look. You had to do multiple takes and get lucky. Also, the lights were always off camera, which didnt always make sense, depending on where the gun was located.Original plate with flash gun.Final shot by ReDefine.Ultimately, the promise of some real (and useful) interactive lighting was there, and led to developing what became known as the Phase Synced Flash-Gun System. We worked with props on this, says Han. We created our own identical models of the guns. I went through dozens of different light bulbs until I found the brightest thing that, if you charged with extra oomph from a capacitor, you could really get a bright camera strobe flash. What we ended up doing was developing our own guns with our own custom electronics to create as bright a photography flash at the tip of the gun as possible.The flash guns worked by wirelessly communicating to a base device dubbed the phaser, which was also in sync with the camera and timecode syncd. We could phase tune the flash until it would cover the frame fully with no banding, and consistently so, describes Han. So it became, then, a great collaboration between camera and lighting. Camera had to get on board to sync their cameras. And lighting helped colorize the light to the desired look with gels.ReDefine handled gunshot hits, adding in the actual fiery muzzle flash cloud, tweaking the color, and adding in other elements like smoke, sparks and shells.You can get issue #29 of the magazine in PRINT or DIGITAL.The post It was very visceral for the actor to see that light appeared first on befores & afters.