Calling Mad Max: Fury Road an exciting race can be the euphemism of the year. This fast pace probably comes from the fact that an hour and 45 minutes of the two-hour film is essentially a high-octane chase scene, which is also accompanied by many relatively fast editing cuts. In fact, the film consists of about 2,700 individual shots, which, on average, for two hours, average 2. 66 seconds per shot. In faster sequences, this average is much lower.
While absurdly fast cuts are often used as a device to deliberately disorient the viewer (a technique that has been known as cinematic chaos), it is safe to say that in Mad Max: Fury Road, the viewer never feels particularly disoriented, even in its most chaotic moments and faster scenes. In another excellent blog post, Vashi Nedomansky shares an excerpt from the covered film with a framing guide and commentary from filmmaker John Seale ACS. And in this excerpt, we have the technical reason behind which the film does not disorient the viewer despite its dizzying speed, and this reason is simple: intentionally centered frames.
- Essentially.
- These specific frames keep your eyes focused on the appropriate areas of the frame at all times.
- The areas of the framework in which the most important actions are carried out.
- While viewers inevitably need time to process the visual information of each new one.
- Plane that is presented to them.
- With this technique.
- This time is greatly reduced by keeping constant any action focused on an area of the image taken after shooting.
- In fact.
- This allowed Margaret Sixel.
- The film’s editor.
- To scale quickly and really speed up the rhythm of the film.
- In crazy territory without leaving the audience in the dust.
When Mad Max: Fury Road premiered in theaters earlier this year, it was a huge success thanks to its practical effects and exciting stunts. Now let’s take a look at the cinematography of the film.
Although Mad Max’s previous films were shot by Dean Semler, director George Miller chose award-winning Australian cinematographer John Seale to work on the lens of Mad Max: Fury Road. And although Seale was retired at the time, the show was too good After jumping aboard at the end of an extensive pre-production process, Seale packed his bags and headed to the film’s main location in the Namibian deserts, where he then celebrated his 70-year-old niger during production.
In a new Variety Video Artisans, Seale talks about the filming process of Mad Max: Fury Road, the fact that he received no script, but more than 3500 storyboards, and why he chose to shoot with multiple cameras, although George Miller prefers a one-bedroom approach:
One of the interesting details of the interview with Seale is his theory of what he calls films (and so on, in Portuguese). These films are improvised, where the director and cinematographer can make creative decisions on set and make changes if necessary. For Seale, Mad Max: Fury Road was exactly the opposite of one, what if it were a movie?Everything in this film was thoroughly and rigorously planned, and for the film to work as planned by Miller, the shot had to run exactly like in the script. The main lesson here is that some movies are “What if?”And others certainly As a cinematographer, it is important to know what type you are working with, as this will inform you about your approach to film, preparation and production.