American Cinematographer - June 2015 - 34

Q

Max Intensity
ASC, ACS signed on to shoot. Fury
Road was initially intended to be a 3D
project that would employ 4K Dalsachip cameras designed by Paul Nichola.
"I continued testing and prepping these
systems, until one Monday morning
George announced that we'd now be
shooting 2D with a 3D post-conversion," Seale recalls. "I hadn't shot a digital
film, so when George asked what camera
I'd like to shoot on, I replied, 'Well, I'm a
Panavision man, George - always have
been. I'll see what they have.' Producer
and first assistant director P.J. Voeten
leaned over and whispered, 'Alexas.' So I
added, 'Probably Alexas, George.'"
Fury Road carried four Arri Alexa
Ms and six Alexa Pluses into production.
ArriRaw was recorded to Codex units,
with a Log C ProRes 4:4:4 backup
recorded to SxS cards. Ten Codex CDX3010 onboard recorders, four transfer
stations and 30 512GB onboard data
packs rounded out the camera package.
The lens package included Seale's
favored kit of Panavision Primo zooms
- five 15-40mm T2.6, two 17.5-75mm
T2.3, four 19-90mm T2.8 and two 24275mm T2.8 - as well as two LWZ2
17.5-34mm T2.8 zooms, two LWZ1
27-68mm T2.8 zooms, and two 2x
extenders. The only prime lenses were
four 'mini-lenses,' including a 16mm T2
and a 15mm T4, built by ASC associate
Dan Sasaki, Panavision's vice president of
optical engineering, using old elements
and parts. Apart from IR filters
employed when necessary, no filtration
was used on the lenses. "We carried a kit
of polarizers, but as they can alter flesh
tones and the skies were either white or a
deep, deep blue, they stayed in the box,"
notes Seale.
Two Alexa Pluses were regularly
rigged on Steadicams, usually with a
15-40mm or an LWZ. Pluses mounted
on Performance Filmworks' Edge arms
carried either a 19-90mm or a 17.5-
75mm lens. Other Alexa Pluses and Ms
were typically fitted with SmallHD
onboard monitors. Canon EOS 5D
Mark IIs and Olympus OM-D E-M5s
were used as crash cams, in addition to
being operated by stunt performers and

Top: The Edge
arm helped
capture elaborate
chase sequences.
Middle: Max is
strapped to the
business-end of a
War Boys vehicle.
Bottom: A
tracking vehicle is
equipped with a
front-mounted
camera.

34

June 2015

American Cinematographer



American Cinematographer - June 2015

Table of Contents for the Digital Edition of American Cinematographer - June 2015

Contents
American Cinematographer - June 2015 - Cover1
American Cinematographer - June 2015 - Cover2
American Cinematographer - June 2015 - 1
American Cinematographer - June 2015 - 2
American Cinematographer - June 2015 - Contents
American Cinematographer - June 2015 - 4
American Cinematographer - June 2015 - 5
American Cinematographer - June 2015 - 6
American Cinematographer - June 2015 - 7
American Cinematographer - June 2015 - 8
American Cinematographer - June 2015 - 9
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American Cinematographer - June 2015 - 14
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American Cinematographer - June 2015 - 17
American Cinematographer - June 2015 - 18
American Cinematographer - June 2015 - 19
American Cinematographer - June 2015 - 20
American Cinematographer - June 2015 - 21
American Cinematographer - June 2015 - 22
American Cinematographer - June 2015 - 23
American Cinematographer - June 2015 - 24
American Cinematographer - June 2015 - 25
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American Cinematographer - June 2015 - 27
American Cinematographer - June 2015 - 28
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American Cinematographer - June 2015 - 30
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American Cinematographer - June 2015 - 33
American Cinematographer - June 2015 - 34
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American Cinematographer - June 2015 - 78
American Cinematographer - June 2015 - 79
American Cinematographer - June 2015 - 80
American Cinematographer - June 2015 - 80a
American Cinematographer - June 2015 - 80b
American Cinematographer - June 2015 - 80c
American Cinematographer - June 2015 - 80d
American Cinematographer - June 2015 - 80e
American Cinematographer - June 2015 - 80f
American Cinematographer - June 2015 - 80g
American Cinematographer - June 2015 - 80h
American Cinematographer - June 2015 - 81
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