American Cinematographer - June 2015 - 40
Q
Max Intensity
was being used. The cameras were
employed inside the cabin with the
15mm and 16mm lenses made by
Sasaki. "Dan had refocused the lenses so
the hyperfocal distance at T5.6 was
from the front element to 9 feet, so
everything in the cabin would be sharp,"
recalls Seale. To suspend the Alexa Ms
from the cabin's ceiling, Kuiper repurposed track, bungee and pulley systems
from American yachting supplies
company Harken. "The track could run
in any direction [along the] x, y and z
axis," explains Kuiper. "The camera
operators were also able to take their
cameras off one picture-vehicle rig and
move straight onto another."
Compact LED light bars,
supplied by the Australian company
Enttec, were fitted into the interior of
the truck's cabin. Conway notes, "At the
time, Enttec Aleph units were the
smallest and brightest LEDs we could
find. While smaller adhesive strip lighting was available, nothing had enough
output for our needs. I went for the
daylight spot units that were the most
heavily populated." A laminated Minus
Green and 251 diffusion gel was put on
each of the 600mm-long units, which
were mounted to the cabin ceiling to
light the Wives in the backseat, with
additional units positioned above the
windscreen to light anyone in the front
seats. The LEDs were also attached
vertically down the pillars between the
front and rear doors to provide a ¾ back
edge light on the actors. The cab was lit
to a shooting stop of T5.6.
Four
360-watt,
140-light
Creamsource Doppio LED units and
two 155-watt, 60-light Mini Doppio
units made by Australia's Outsight
Lighting were attached to scaffold rigs
outside the cabin and pushed through
the windows or handheld when
required for side key or fill. As needed,
backlight was provided by an Arri M40.
Cinematographer David Burr,
ACS; driver Dean Bailey; arm operator
Mike Barnett and camera operator
Brooks Guyer were integral to Fury
Road 's action unit, which shot elaborate
stunt sequences covered by Edge arms
Camera and
lighting setups
for a scene in
which Rictus
Erectus
(Nathan Jones)
rides atop a rig
driven by Nux
(Nicholas
Hoult).
40
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
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
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American Cinematographer - June 2015 - 53
American Cinematographer - June 2015 - 54
American Cinematographer - June 2015 - 55
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American Cinematographer - June 2015 - 58
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American Cinematographer - June 2015 - 60
American Cinematographer - June 2015 - 61
American Cinematographer - June 2015 - 62
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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
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American Cinematographer - June 2015 - 116
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