American Cinematographer - June 2015 - 44
Q
Max Intensity
Top: The crew
moves into
position to capture
a scene between
Joe (Hugh KeaysByrne) and
Furiosa. Bottom:
Joe in pursuit of
Max, Furiosa and
their comrades.
For a high-to-low-angle shot of
the approaching Armada, a GF-6 crane
supporting an Alexa Plus on a wirelessly
controlled Libra head operated by Burr
was lowered into a purpose-built hole in
the Namibian desert. The hole was
walled with reinforced blocks on a
concrete base. The starting camera position was over 15' in the air as the
Armada approached at speed - led by
the Gigahorse, a double-bodied 1959
Cadillac with two supercharged 502
V8s atop a monster-truck chassis.
44
June 2015
Dynex cables ran from a bridle on the
GF6 through holes in the concrete wall,
through underground piping to a rig
approximately 50' away, where a
connected platform dolly sat on 25' of
fast track. At the right moment, actionunit grip Brett McDowell pushed the
dolly forward, which in turn lowered the
crane to slightly below ground level,
finishing with the camera looking up at
the vehicles roaring overhead.
When a three-week night shoot
on the Namibian coast was changed to
American Cinematographer
day-for-night, it required some counterintuitive thinking from Seale. "The
visual-effects guys were always shooting
stills on location and then mucking
about with the image," recalls the cinematographer. "One day, visual-effects
supervisor Andrew Jackson showed me
an image he'd taken in the middle of the
day and thought might work for the
upcoming day-for-night shoot. It
looked great to me, but when Andrew
said it had been taken in the middle of
the day and it had been shot two stops
overexposed and pulled back, and that's
how he wanted me to do the whole
sequence - well that's a shattering
thing to say to someone who has been
doing exactly the opposite all his life."
Jackson explained that if the sequence
was overexposed without clipping the
highlights, there would be enough
retention of the dark-toned truck and
wardrobe after the image had been
pulled down in post to selectively bring
up the shadow areas without any digital
noise or artifacts.
"The result doesn't look like
'normal' day-for-night," Seale notes.
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 - 40
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American Cinematographer - June 2015 - 45
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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
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