The question of "how much training time does one need?" has been on the mind of late.

A couple weeks ago I was talking a friend through purchasing their first handgun, what training they were looking for, how much practice time they could/should take and so on.

And recently it's been a side topic of discussion with some colleagues over how much training time is considered good or adequate or even above average over in the stage/screen combat world.

And few outside the fight choreography world know this, but there's a particular boom-and-bust cycle usually centered around pilot season. It goes something like this:

1. Combat-heavy show is announced in the trades.
2. Every actor fitting the description of the combat-heavy roles chases what combat training they can get.
3. The show gets cast.
4. The bulk of actors training, not being cast, suddenly lose interest in combat training.

The short answer to my original question is the ever-dependable copout of "it depends."

That said, I did some math on real-world operator training time, specifically USMC grunts.

So the question becomes, on average, how much combat training time to people who fight for a living get?

Grab a pencil and a calculator, we're off!

Call it 8 hours training time a day starting from boot camp (8 hour days, my ass, but long hours plus hurry-up-and-wait time makes it close enough for government work.)

8hrs/day, 7days/week. Figure 3 weeks of actual combat training (as opposed to other business being taken care of). That covers grass week, range week, BWT and Semper Fu. That takes us to 168 hours by the end of boot.

Off to SOI (Grunt school). Now, our non-grunts go to a short version of grunt school. It's a month long, 7days/week. That adds another 224 hours. 392 in total by the end.

Now bear in mind, this is for our cooks, clerks, and mechanics. 392 hours to ensure that even if they do nothing but push paper the rest of their careers, they at least know what a raid, ambush, patrol, and guard post look like from both sides.

Refresher training? Figure about 2 weeks annually. Call it 80 hours/year.

Now back to our grunts.

 SOI for grunts is a 2-month course, minus weekends but similar hours.

That gives us 320 hours in SOI, 488 hours total.

That does NOT give me an advanced level of warfighter. That gives me a boot that can be called upon to shoot who they're supposed to 4 falls out of 5.

Let's be generous and say that on dropping to the fleet, what with this, that, and the other, our new Grunt gets about 2 month's worth of training before deploying. That covers ITX (which they used to call CAX, Mojave Viper, and other things) and about a month's worth of miscellaneous field ops, ranges and so on. Add another 320 hours.

Now we're at 808 hours. To get someone competent in at least 3 weapons systems and familiar in at least 4 more. (YMMV depending on specific MOS).

Now deploy them. 7 months. Full time. Is that always combat? Nope. But I'll use the 9-5 M-F option again to distinguish patrols, raids, and combat from working parties, standing post, and suchlike. Again, mileage may vary, but it's the yardstick we've been using so we'll get some good rough numbers from it.

Now we're at 808 hours of training and 1120 hours of experience. 1928 in total. To create what grunts call a "one-hump chump." Still might be a dirtbag of some variety. But on the whole, generally reliable and effective fighters with their own weapons systems. Some may have effective cross-training outside their MOS. A few might even be ready to lead teams soon.

A good skillset. And like all skill sets, perishable if not used.

Not only that, but keep in mind what these numbers don't cover...

- Workouts. Training burns some calories, PT builds more. So tack a good workout schedule on that.

- Study. There are a lot more bibliophilic grunts than you'd think. For every one that's reading Hustler, there's another that's reading Gates of Fire and On Combat, and a third reading both, along with some Clauswitz, Musashi, and Kipling.

-Any manner of super secret special ninjas black classified elite pick-your-own-hardcore-adjective training. I've been talking about standard Marine ground-pounders. Highly skilled, not-to-be-fucked-with ground pounders, but ground pounders all the same.

Something to keep in mind when judging exactly how well trained a weekend seminar makes you.

So, 2 big things happened recently.
One, I've just become an instructor for the SAFD's Theatrical Firearm Safety Program.
Big deal in my case 1) because it's a program I wholeheartedly support and needs more instructors, and 2) I was in the 2nd or 3rd class to take it as a student when it was first fully developed about 5 years back, so it's a nice milestone for me to step up.

The second big thing is that I'm going back to Pinewood. My first seminar over at Act Tactical was so much fun they asked me to come back for more in August.

The pic says the most of it. If you're in Atlanta next month and interested, take a gander at the page for it and see if it's up your alley.

I hadn't planned on blogging today. The day job's been rambunctious and I more or less just wanted to chill for a while. And one thing led to window shopping.
And then I found this.

It's long, so I'll give the short version.

Maxsell is one of the companies I go to for my prop firearms. It's a small business in Florida run by a older gent named Vico who sounds like he walked off the set of the Sopranos. They sell imported prop guns (usually from Italy and Turkey), blanks, and assorted other stuff. He's pretty much stayed out of the news, outside of being sued hard by Glock a while back.

And now his shipments of stock are being seized by U.S. Customs. It's hard to tell with no opposing statement and Vico's curmudgeonly belligerence, but it looks like there's at least a degree of bureaucratic shenaniganry going on in Miami. Paperwork, fines, fees, incompetence, belligerence, you know, government stuff.

It may be another copyright and trademark suit going on (The only firearm manufacturers I know of that license their frames for blank-fire versions are Colt and Walther. Maxsell sells neither.) It may also be related to good old Chapter 76.

I'm personally inclined to believe it's the latter, if nothing else because Front firing weapons are rapidly disappearing off of various commercial sites, while top and side venting ones are staying in place.

It's really too early for me to even see what's going on, let alone make a judgement call over what should be done. But I will point out a few things.

Despite what if-it-bleeds-it-leads excuses for journalism may make it seem, there's a huge world of law and regulation hovering in the background of anything having to do with a firearm in the U.S., real or simulated. It doesn't take public outcry to change the world of guns, it takes lawyers and money.

There are indie directors and performers around the country now who have no idea of the bigger picture, in which the manner in which they fire off blanks before audience or camera is too small to even be noticed. Hell, if the state of New York can pass sweeping firearms legislation while giving no creed to their own entertainment industry (New York! For fuck's sake, New York of all places!), it's entirely possible for a small potatoes prop gun business in Florida to be paperworked off the face of the earth with scarcely a byline to note its passing.

I get hired a good bit because film culture only talks to gun culture through those who can translate between them. I'm fortunate enough to have the skills and tools to do so, and tell awesome stories and keep my people safe at the same time.

I filmed Just Blanks using weapons bought from Maxsell.

You've sold me worthy tools in the past, Vico. Here's hoping you're around long enough to sell more.

~J.

Yep. You read that right.
I'm justifying teacupping.
Hell, I've done so once in a private class and once on a gig in the past month, I might as well keep at it.

For those who don't know what I'm talking about, "teacupping" is a derogatory term used for a certain way of gripping a handgun that's currently out of favor.

In fact, nowadays I'd have to say in the top ten of "things to make your firearm advisor happy on set," "not teacupping" might rank just below "calling it a magazine, not a clip," and "not flagging me."

So, what is it? What makes it a bad thing? (if it even is a bad thing?) Why the bad rap?

History lesson time.

For the bulk of its existence, the pistol was a one-handed weapon. Once technology could scale down from the "handgonnes" of earlier times, the pistol became a favored backup weapon alongside the saber and cutlass, not to mention reins or rigging. Until WWI, U.S. Army holsters were designed to cross-draw, reflecting a right-handed officer's instinct to use the sword with the right hand and pistol with the left.  

Here and there, two-handed grips were used for whatever reason, but on an ad hoc basis. It's my personal belief that the first use of a two-handed grip was what we now call The Teacup.

This grip is almost invariably the first two-handed grip that an untrained shooter uses.

The reason is simple. With the pistol operable with one hand, the other is relegated to a support role. The most immediately needed support to a new shooter the vast majority of the time isn't against recoil, but against weight. Pistols are heavy, so the support hand naturally rests under the butt to take some of the weight off of the shooting hand.

Looking at it this way, teacupping is the untrained, but natural and instinctive response to having to hold a pistol two-handed.

It felt so natural the U.S. Army was recommending it in WWII.

(Teacupping ensues at 5:20)

So, if teacupping is a natural and instinctive response, what's the big deal?

Well, the major sin of teacupping these days is inefficiency at worst. When actually shooting, the support hand offers no support against the force of the shot (what with coming from the wrong direction and all), leaving the shooting arm to absorb the recoil.

There's a couple different ways to be more efficient. Jack Weaver took a teacup and turned it into a sort of piston grip by having the support hand pull back while the shooting hand pushed forward. This helped get the pistol back on target after the force of the shot lifted the muzzle up.

The most popular grip these days, however, seems to be a wraparound of one kind or another.

In this particular case, the support hand comes up on the side, fingers sliding into the grooves left on the grip by the fingers of the shooting hand. The shooting hand's thumb curls down and forward, paralleling the thumb of the support hand.

(Hint: if you ever hear gun enthusiasts yell "thumbs forward!" while watching an action scene, this is what they're talking about.)

What this grip ends up doing is keeping the grip balanced between both hands, giving the shooter the strength of both arms (and in some instances, the torso) to alleviate the effects of recoil.

That's pretty much it.

So, why teacup in a gunfighting scene if you know that?

Any number of reasons: an untrained character, a period piece (wraparound grips didn't become popular until the great pistol technique argument was kicked off by folks like Cooper, Weaver, and Chapman in the late 50's-early 60's), character fatigue or injury (where a steady shot is more important than recovery for follow-up shots), or any number of other reasons.

I can recognize the teacup isn't the best grip out there. But it's there for a reason. And knowing why and how lets me and my performers come to a more informed choice, and ultimately, a more nuanced story.

~J.

Been a busy time the last month and change.

The biggest for anyone reading this is the move of the site over to the current digs, which are much, much easier on my limited coding skills. Between a host and a wysiwyg editor that even a savage like me can understand, I got this place up and running in an afternoon, where the old site would have taken me weeks. As an unfortunate consequence, the old email (Jay at Jaythebarbarian dot com) no longer exists. It was mostly a redirect anyway, and there's a handy button at the top that will accomplish the same thing.

Went up to Cincinnati OH to T.A. at the Cease & Desist workshop. Fun was had all round, saw a lot of old friends and made some new ones. Actually went up a day early to go shooting with some friends. Ready Line outside Cincy is a brand new facility with a really nice setup.

Did some work on Public Enemy #1 (an action-comedy short) and a music video for a film school bud of mine, along with a day of military advisement for a production of Ruined.  

Gig-wise, its been a tad slow lately. But I haven't minded, as that means I've had the time to photograph and catalog my rental stock page. Local business has already picked up, and made the "Jay, do you have a ...?" questions answerable with a quick url.

And in the coming soon section, the Theatrical Firearms Handbook, penned by Kevin Inouye over at Fight Designer. Definitely looking forward to this one.

Spent the last several days in the shop, making about a dozen viking-style round shields. By the end I may well have enough to build a literal wall.

~J.

Oh yeah, my new business cards came in the other day, too.

For those who don’t recognize the byline, Tucker Thayer was the most recent victim of a fatal firearm accident involving shooting blanks in a theater or film setting.

There’s a lot of news articles and a court brief involved in this, so let me outline the major players first:

Tucker Thayer: 15 years old. Died of a gunshot wound to the head in the light and sound booth of the Desert Hills High School Theater.

Michael Eaton: Drama teacher at Desert Hills H.S. and director of the production.

Officer Stacey Richan: St. George, Utah police officer, assigned to DHHS as a resource officer.

Robert Goulding: Vice Principal of DHHS

David Amodt: Father of the production’s stage manager.

In the fall of 2008, DHHS was putting on a production of Oaklahoma. Wanting a realistic sound effect, Eaton asked Richan and Goulding for permission to use a gun that fired blanks. All agreed, under the provision that an adult would be the only person to transport, posses, and fire the gun used, that adult supervision would be in place at all times, and that the weapon would be transported in a locked case with no other access other than the adult mentioned above.

(Though there has been some confusion on this point, all three were acting within Utah state law by having a weapon on school property with these rules in place. While I haven’t looked at the laws of the City of St. George or Washington County, Utah law considers firearms possession lawful if “approved by the responsible school administrator” (Goulding, in this case), and “the item is present or to be used in connection with a lawful, approved activity and is in the possession or under the control of the person responsible for its possession or use.” (Utah Code, 76-10-505.5 (4) (b-c). So, while it wasn’t necessary and proved to be ultimately tragic, possession under the rules they established together was legal.)

Amodt volunteered use of his personal .38 revolver. At first, all of the above rules were followed. Then, at some point, he began allowing Tucker to shoot the gun during rehearsals, and Tucker knew the combination to the gun’s lockbox at some point as well.

On November 5, 2008, Amodt could not attend rehearsal, sending his wife with the gun in his place (after gaining Goulding’s permission by phone). Mrs. Amodt put the case in her daughter’s pack, accompanying her to rehearsal. Along the way, they encountered Richan(pg 4-5), who indicated that Eaton knew the rules and all was well.

On November 15, 2008, Amodt and his daughter left her pack (with the gun case inside it) inside the booth. Both left the booth, attending to other tasks. Soon afterwards, Tucker entered the booth and shot himself in the temple with a blank. The expanding gas cloud drove skull fragments into Tucker’s brain, and he died later that night.

In May of 2009, Thayer’s parents filed a lawsuit against Eaton, Richan, Goulding, Amodt, Washington County Schools, and the city of St. George.

In December of 2009, Goulding and Eaton tried to be dismissed from the lawsuit, citing the Utah governmental Immunity Act. The case is currently being looked at by the Utah supreme court.

Amodt and the Thayers settled sometime between 2009 and 2011.

On February 2, 2012, a judge dismissed Richan and the city of St. George from the suit.

The rest of the case is still ongoing.

Something of note here is that Tucker was an accomplished shooter. As a Boy Scout, he held 2 shooting merit badges and was a range instructor the previous summer. But he wasn’t familiar with either pistols or blanks.

But what I do not see is any indication that cast and crew were shown the dangersinvolved in using that weapon as part of the show.

In the end, if nothing else, 2 big things need to be remembered as a result of this tragedy.

#1: Complacency kills.

Those two words were painted just at the edge of “the wire” on every single base when I was fighting overseas, and they applied here. Had the adults involved in this tragedy followed their own rules, and followed them diligently, Tucker would still be alive.

#2: If you’re going to do it, do it right.

One of the things that scares the piss out of me about the theater scene today is the rapid increase in firearm use without a corresponding increase in firearms education. Despite the considerable efforts of some, movements to add firearms education to an actor’s skill set are few and far between. University programs are understandably reluctant, given that we live in an age that’s post-Columbine, post-NIU, post-VA Tech, and so on. The professional world is not much better, with far too many of the U.S.’s major theatrical cities also being some of the most unfriendly to firearm owners in the country. Even if actors in cities like L.A., NYC, D.C., or Chicago are willing to pursue their own education, onerous laws make it expensive and difficult at best and damn near impossible at worst to do so.

Here’s to hoping the future changes for the better.

So I’m doing utility stunts on this little indie movie, and it’s a fairly standard scene: our hero takes on a half-dozen walking pieces of sword fodder and proceeds to kick six kinds of ass. Your truly is goon #5. And on one particular take, the young lady playing goon #4 is either repositioned or didn’t clear the space quickly enough or any of a dozen other things, but the end result of which is the back of my noggin impacting directly with her tailbone. The first words out of my mouth when the director yelled “cut” is the title of today’s episode.

One of the most significant bits of news coming in lately was The Rolling Stone article featuring General Stanley McChrystal and his staff and the subsequent media and political shitstorm that ensued, resulting in General McChrystal resigning his command over U.S. forces in Afghanistan. General David Patreus is stepping down as commander of U.S. Central command to replace McChrystal.

I’ll admit I’ve steered somewhat away from this topic, as it relates to real-world combat and not to stage or screen, but an event like this that lit up the international media is definitely worth noting on here. So I’ll leave my commentary at this: However much of an incredible warrior and commander General McChrystal is, and how much his strategies have aided U.S. efforts in Afghanistan, he still serves at the pleasure of the President. And the President wasn’t pleased. For me to go into further detail would devolve this blog into the ramblings of yet another disgruntled veteran who needs to get more comfortable on his barstool.

The U.S. Supreme court has now ruled that the second amendment is a fundamental right by a 5-4 majority. This comes on the heels of a ruling 2 years ago that stuck down Washington D.C.’s handgun ban. The gun law that kicked off this decision was a similar ban on handguns held by Chicago and one of its suburbs. This is pretty much guaranteed to fire off a typhoon of litigation across the U.S. as different states, cities and counties determine how much regulation individual firearm use can be made, and for what reason.

Why is this a big deal? Because for those of us who make action art, restrictions on the ability to own and use weapons has major repercussions on what we can create. Look at the website of any weapons vendor online, and you’ll see a list of “cannot ship to” areas. And on each and every one of these sites, the same names crop up over and over: California, New York, New Jersey, Connecticut, Massachusetts. All states with restrictive weapons laws, whether on firearms, blades, or even imitation weapons like Airsoft. And all too often I find that the biggest hurdle between independent action artists and the tools they use to do the job isn’t their status as mental patients, convicted felons, or any of the “common sense” restrictions involved in some of the more sane gun control laws.

Instead, it’s money. Pure and simple. Liscences and fees and permits that will let someone cut through the red tape to have a blank-fire pistol on their stage or on their set. Doesn’t leave a whole lotta room for the would-be Robert Rodriguezes of the world with barely enough change in their pocket for film and blanks. Going over the pros and cons of heading out to L.A. or NY with my fellow actors, I pointed out that in my niche, I benefit from living in the south, with their more relaxed weapons laws.

I’m hoping that the recent SCOTUS decision will result in more thoughtful and reasonable weapons laws as opposed to simple blanket bans. Wishful thinking, I’ll admit, but it’s nice to imagine.

I’ll leave you with some more fun from the rockbox. A crossdressing Taliban commanderwas killed by ISAF forces in Afghanistan when he attacked troops.

Popping smoke,

~J~