Mad Max: Fury Road cinematographer John Seale talks to Filmmaker Magazine about shooting the action-packed blockbuster 10 years in the making. The fourth film in the long-dormant Mad Max franchise involved a lot of challenging shooting conditions, including many car chases.
Says Seale, “In the initial instance when [director George Miller] was building his own 3D cameras from scratch to facilitate the use of them inside the cab of the truck, it had to be small enough to go through the side window of the truck. There wasn’t a 3D camera built that small in the world, so George started literally eight years ago to build his own cameras and they were awesome things. The chip wasn’t the best. The sensor didn’t have a good range. That was causing a bit of angst. When you have five gorgeous girls in the backseat you want to make them look good. It defeats the purpose of having them there if you can’t light them with a softer light. For some reason about two or three weeks after I came on in pre-production George suddenly said at our meetings, ‘We’re not going 3D. We’re going 2D.’ He shattered everybody a little bit but it certainly freed us up. The liberty of the 2D cameras was incredible because the ALEXA sensor was much better and the ALEXAs are good battle proven cameras.”
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