Totally Unauthorized

A side of the film industry most people never see.

Friday Photo

Windshield, post-explosion

Explosions for movies are all about the sound and fury. Huge colorful flames, ear-splitting noise, and little, if any, debris.

The reasons for this should be obvious. Expensive people standing around, expensive cameras, expensive cars, expensive equipment, and last night a very expensive (I’m not sure but I feel safe assuming here) helicopter.

So one does not, in any way, shape, or form, want debris flying off of one’s perfectly safe explosion.

But sometimes it just can’t be helped.

Cars, for example. One can weaken the frame, strip the vehicle as much as possible and try to minimize the debris, but there’s always going to be crap flying everywhere, and last night was no exception.

We had the ‘hero’ explosion (which shook the bridge!) and then when we went in for coverage, we had to step around a truly impressive debris field.

Unfortunately, this was for the television show that fears and hates free publicity, so no shots of the actual explosion – just the aftermath.

I don’t know about you, but I find safety glass hilarious, especially after it’s been blown 30 feet in the air and slammed into the road surface of a bridge.

Filed under: hazardous, locations, long long drives, Photos, up all night, Work, , , , , , ,

The non-exploding explosion

Sometimes, despite one’s best efforts, lighting equipment malfunctions – sometimes quietly, and sometimes loudly.

Most of us are used to small fires and medium kapows. They’re an occupational hazard (along with bad knees, the occasional shock and UV related eyeball damage) and it doesn’t seem to us like we downplay them, but we do, especially when compared to the reactions of witnesses from other departments.

Today, just after lunch, one of our security guards tapped me on the shoulder.

“One of the lights just exploded!”

Now, when someone tells me that a light exploded, the first thing I see in my mind’s eye is a column of flame shooting 20 feet into the air and shards of twisted metal and glass covering the blood soaked corpses strewn about the vicinity.

So, of course, I’m going to try to find out more information before I get any closer to that hot mess.
“Which light?” I asked.

“The big silver one!” he replied, gesturing frantically towards set.

Oh, that’s just fucking great. The ‘big silver ones’ are 18,000 watt  HMIs. I’ve seen one of those explode before. The column of flame wasn’t quite 20 feet high, but there was a lot of broken glass and I cut myself, so… blood.

I decided to follow-up before reacting.

“Tell me exactly what happened”

“The silver box made a loud noise and smoke came out!”

So, not really an explosion. More the aforementioned medium kapow. The silver box is the electronic ballast, and although they can have problems, actually exploding isn’t one of them.

It was probably coincidence. Or a squirrel.

I ventured over to set, reset the breaker on the ballast, and then the self-preservation instinct kicked in. I walked over to the lamp head and tried to strike it*.

Sure enough, there was a muffled “kumpfh” and a puff of something that might have been smoke, but was mostly bad smell from the ballast, followed by the lamp not igniting.

Okay.

So no one’s dead, nothing’s being consumed by an out-of-control inferno, and no one’s bleeding. Much.

Whew.

Makes having to tell the gaffer we’re down a light seem, well, no big deal.

Lucky for us, the kapow happened just as we were given  permission to downsize our HMI window barrage, so it all worked out well.

*One can strike, or turn on, an HMI from either the ballast or the head itself. Usually it depends on what’s easiest or, at the very least, not malfunctioning. You’d be surprised how often striking from the other end works.

Filed under: hazardous, locations, mishaps, Work, , , , , , , , , , , , , ,

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