American Cinematographer - June 2015 - 42
Q
Max Intensity
The Edge vehicle captures an explosive chase sequence.
mounted with Alexa Plus cameras, two
custom-built
vehicles
dubbed
"Truggies" mounted with Libra heads
and Alexa Pluses (one front-mounted
and the other rear-mounted), a
purpose-built "Ledge" mount that
either carried a Libra head or a handheld Alexa M, and numerous Canon
5D Mark IIs with the Technicolor
CineStyle setting. The 5Ds were given
at least a fighting chance with their
placement in Habbycam cages, which
enabled them to be rigged anywhere on
42
June 2015
the vehicles, including with a Libra
head running on a short track underneath the War Rig. "We knew the 5Ds
were often going to get wiped out," says
Burr, "but they were used in positions
where only a six-, eight- or 12-frame cut
was needed, like the often-cited eyeball
shot in the first Mad Max, so the difference in image quality to the Alexas
wasn't a major concern."
Burr has high praise for the
production's extensive stunt crew.
"Other than the use of the Edge, coverAmerican Cinematographer
age of the stunt sequences wasn't particularly out of the ordinary, as the action
itself was so fantastic and varied," he
recalls. One sequence involved stunt
performers on top of 20' oscillating
poles swinging from one fast-moving
vehicle to another as they try to retrieve
the Wives from the War Rig. Each pole
vehicle had a driver, a climber and two
performers acting as counterweights to
get the pole oscillating. Months of
rehearsal enabled the stunt crew to
perform their choreographed sequences
while the vehicles traveled at speeds up
to 50 miles an hour. The action was
primarily captured with a combination
of Edge arms and traditional camera
placement, with the Canon and
Olympus cameras thrown in "to add
some spice," according to Burr.
Action-unit key grip J.P.
Ridgeway and the stunt-rigging department commandeered a picture vehicle
as a base for a 30'-high tri-truss tower
with a platform on the top, and Norris
operated a bungee-supported Alexa M
as the vehicle moved at speed. "Guy got
some great shots, except there was a
degree of float," recalls Burr. "That was
solved by mounting the Edge suspension arm and a stabilized Libra head on
the tower. [That] wasn't something we
used every day, but it was a great piece of
equipment when high angles were
ยข
required."
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
American Cinematographer - June 2015 - 10
American Cinematographer - June 2015 - 11
American Cinematographer - June 2015 - 12
American Cinematographer - June 2015 - 13
American Cinematographer - June 2015 - 14
American Cinematographer - June 2015 - 15
American Cinematographer - June 2015 - 16
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
American Cinematographer - June 2015 - 26
American Cinematographer - June 2015 - 27
American Cinematographer - June 2015 - 28
American Cinematographer - June 2015 - 29
American Cinematographer - June 2015 - 30
American Cinematographer - June 2015 - 31
American Cinematographer - June 2015 - 32
American Cinematographer - June 2015 - 33
American Cinematographer - June 2015 - 34
American Cinematographer - June 2015 - 35
American Cinematographer - June 2015 - 36
American Cinematographer - June 2015 - 37
American Cinematographer - June 2015 - 38
American Cinematographer - June 2015 - 39
American Cinematographer - June 2015 - 40
American Cinematographer - June 2015 - 41
American Cinematographer - June 2015 - 42
American Cinematographer - June 2015 - 43
American Cinematographer - June 2015 - 44
American Cinematographer - June 2015 - 45
American Cinematographer - June 2015 - 46
American Cinematographer - June 2015 - 47
American Cinematographer - June 2015 - 48
American Cinematographer - June 2015 - 49
American Cinematographer - June 2015 - 50
American Cinematographer - June 2015 - 51
American Cinematographer - June 2015 - 52
American Cinematographer - June 2015 - 53
American Cinematographer - June 2015 - 54
American Cinematographer - June 2015 - 55
American Cinematographer - June 2015 - 56
American Cinematographer - June 2015 - 57
American Cinematographer - June 2015 - 58
American Cinematographer - June 2015 - 59
American Cinematographer - June 2015 - 60
American Cinematographer - June 2015 - 61
American Cinematographer - June 2015 - 62
American Cinematographer - June 2015 - 63
American Cinematographer - June 2015 - 64
American Cinematographer - June 2015 - 65
American Cinematographer - June 2015 - 66
American Cinematographer - June 2015 - 67
American Cinematographer - June 2015 - 68
American Cinematographer - June 2015 - 69
American Cinematographer - June 2015 - 70
American Cinematographer - June 2015 - 71
American Cinematographer - June 2015 - 72
American Cinematographer - June 2015 - 73
American Cinematographer - June 2015 - 74
American Cinematographer - June 2015 - 75
American Cinematographer - June 2015 - 76
American Cinematographer - June 2015 - 77
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
American Cinematographer - June 2015 - 82
American Cinematographer - June 2015 - 83
American Cinematographer - June 2015 - 84
American Cinematographer - June 2015 - 85
American Cinematographer - June 2015 - 86
American Cinematographer - June 2015 - 87
American Cinematographer - June 2015 - 88
American Cinematographer - June 2015 - 89
American Cinematographer - June 2015 - 90
American Cinematographer - June 2015 - 91
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American Cinematographer - June 2015 - 93
American Cinematographer - June 2015 - 94
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American Cinematographer - June 2015 - 96
American Cinematographer - June 2015 - 97
American Cinematographer - June 2015 - 98
American Cinematographer - June 2015 - 99
American Cinematographer - June 2015 - 100
American Cinematographer - June 2015 - 101
American Cinematographer - June 2015 - 102
American Cinematographer - June 2015 - 103
American Cinematographer - June 2015 - 104
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American Cinematographer - June 2015 - 112
American Cinematographer - June 2015 - 113
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American Cinematographer - June 2015 - 115
American Cinematographer - June 2015 - 116
American Cinematographer - June 2015 - Cover3
American Cinematographer - June 2015 - Cover4
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