Miller was not only able to review shots, he could edit material to determine what further coverage was needed. Sometimes we sat on them to get our shot." RF interfaces were used with the Alexa cameras to transmit images to a command vehicle for monitoring by director George Miller. If we were on the move, the boxes were bolted down so that they were out of the way and didn’t fall off. They had inlet and outlet areas to keep air circulation going. They built special boxes to put everything in. “There is a certain amount of paraphernalia needed to shoot digitally,” Seale said, “but our crew was used to that. Shooting digitally with Codex offered an advantage over shooting on film as it avoided the need to reload cameras with film negative in the blowing winds of the desert. They came straight through with flying colours and, in post, they are very happy with the results.” And during the day, we had dust storms, dust flying everywhere. Once again, we were a little worried about desert heat and desert cold. “Everyone said Codex was the recording solution that we had to have. “The choice to go with Codex was definite for the quality of the recording and post production considerations,” Seale said. That, the cinematographer noted, made Codex an obvious choice as only Codex recorders were capable of reliably capturing ARRIRAW.
In order to provide maximum image quality and flexibility for post production manipulation, Seale and his crew chose to operate the ALEXA cameras in ARRIRAW mode. On this film, the end result controlled the execution.”
#MAD MAX FURY ROAD CAST BAIT FULL#
Intercutting between overcast and full sun wasn’t going to be a problem. We knew that the film would be cut very quickly, so there wouldn’t be time to analyse every shot. “Our edict was ‘just shoot it.’ Continuity of light wasn’t really a question. “The DI and the post work is so explicit almost every shot is going to be manipulated in some way,” Seale explains. Fury Road took a different route due to the film’s heavy use of visual effects. ”The original Mad Max is remembered for its gritty look. “When we when drove up (to a location) we could start shooting, rather than break down the camera at one site and rebuild it at the next.
“We kept two kick cameras built the whole time, and two ultra-high vehicles rigged the whole time,” recalls camera co-ordinator Michelle Pizanis. While one scene was being shot, the next was being prepped. The relatively large number of cameras and recorders helped the camera crew to remain nimble. The ALEXAs were supported by 11 Codex Onboard recorders. Seale’s crew was outfitted with six ARRI ALEXAs and a number of Canon 5Ds, with the latter used in part as crash cams in action sequences. Our time loss through equipment was minimal.” “Everything that our crew did in pre-production in Sydney and took to Namibia worked very, very well for the entire time. “We were using a lot of new gear.” Seale adds. They were ready and put together full precaution kits of rain covers, dust covers and even heat covers to take the heat off the cameras in the middle of the day.” “So I was a bit worried, but I had a fantastic crew of people who had done that…had worked with digital cameras in jungles, deserts, dry, wet, heat, moist, whatever. “I’d shot plenty of film-negative films in deserts and jungles under severe conditions, but never digital,” notes Seale. Frequent sandstorms and intense heat required special precautions by the camera crew. The coastal deserts of the African country are among the most formidable in the world, featuring sand dunes measuring 1000 feet high and 20 miles long.
However, several years of unusually heavy rainfall caused the desert in the area to bloom with wild flowers making it unsuitable for the film's wasteland setting, so production was moved to Namibia. Originally, Fury Road was intended to be shot near Broken Hill in New South Wales, Australia.
0 kommentar(er)
