Dean Semler needs to return........nope, it's John Seale

Discuss the facts, the rumours, plot ideas, merchandising ideas, whatever...

Re: Dean Semler needs to return........nope, it's John Seale

Postby boomerang » Tue Aug 21, 2012 7:46 am

I was looking at the dirt covered vehicles as well. I would think that there was so much pre-production and rehearsal time that the trucks and props got filthy by the time the cameras rolled.
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Re: Dean Semler needs to return........nope, it's John Seale

Postby biolumen » Sat Sep 08, 2012 10:49 pm

John Seale on the set of Fury Road.

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http://www.cinematographer.org.au/cms/n ... p?ID=20702
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Re: Dean Semler needs to return........nope, it's John Seale

Postby biolumen » Fri Oct 26, 2012 12:56 am

John Seale on the equipment list for Fury Road.

JOHN SEALE ACS ASC’S EQUIPMENT LIST FOR
FURY ROAD...

Just before John Seale ACS ASC disappeared into the
Namibian desert to shoot Fury Road, he e-mailed me this
brief note, short listing what he was arming himself with
to capture the 4th Mad Max fi lm. I believe that second
unit had 16 cameras and was purchasing a few more. For
comparison, check out David Eggby’s equipment list for
the fi rst Mad Max fi lm... it’s a hoot. Dick Marks.

Hi DM. I’ve have been involved in a change over of
cameras from 3D to 2D. We now have this basic camera
list... although testing continues!

• 4 x Alexa Pluses... 3 x Alexa M’s (to be delivered
soon)... 4 x Canon 5D’s or the equivalent... 8 x
small Nikon/Olympus crash cameras.

• There is a truck load of cranes, tracking vehicles
etc... including the new Ultimate Arm Edge, which
goes with the 5.6 litre Toyota Tundra, with desert
tyres and stabilized 24’ (7m) arm... which we hope
to wear out.

• There are 2 x ‘truggies’, which are specially built
dune buggies with Libra Head mounts, front and
back.

• We are looking into an “Octocopter” for the whole
shoot, to do the close aerials and helicopter for
higher altitude shots.

• We are building two sizes of ‘pole cams’... the
larger with a self leveling head. About four of those

• Grips have a formidable array of mounts and tracks
for use on the ‘war rig’.

• Electrics have a full truck of the usual day and
tungsten lights, enough to do the desert wide shots
at night and the interiors of the rig for day.

• There is a full ‘sim trav’ hydraulic rig to emulate the
prime mover ‘war rig’ and other dedicated vehicles.

• We have two complete ‘war rigs’ and one break
away rig for ‘sim trav’ work.

In a nut shell, that’s the broad brush strokes of the
equipment package.

A lot is still being tested for shutter speeds and frame
rates and post facilities... after all, most of the cameras
can be bought at the local photo store. However, they are
proving that in a fast edited fi lm, their quality is certainly
reasonable.

Cheers John

http://www.cinematographer.org.au/_dbas ... sue_55.pdf
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Re: Dean Semler needs to return........nope, it's John Seale

Postby Chase Bansi » Fri Oct 26, 2012 7:55 pm

biolumen wrote:John Seale on the equipment list for Fury Road.

JOHN SEALE ACS ASC’S EQUIPMENT LIST FOR
FURY ROAD...

• There is a truck load of cranes, tracking vehicles
etc... including the new Ultimate Arm Edge, which
goes with the 5.6 litre Toyota Tundra, with desert
tyres and stabilized 24’ (7m) arm... which we hope
to wear out.


Cheers John

http://www.cinematographer.org.au/_dbas ... sue_55.pdf

Image
Cool to get the info on this beastie. Does kinda fit in with the other vehicles though...
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Re: Dean Semler needs to return........nope, it's John Seale

Postby biolumen » Mon Nov 26, 2012 10:26 pm

MM4_2xPics_v1.2.jpg
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Kennedy Miller’s reboot of the Mad Max story is shooting in Namibia and South Africa, starring Tom Hardy in the role made famous by Mel Gibson.

Fresh from supporting DIT roles on Trance and Rush, Marc-Jason Maier was initially recruited to run the highly complex Action Unit with DoP David Burr. With his command of the ArriRaw and Truelight on-set colour management workflow, he was quickly promoted to work with Main Unit DoP John Seale (The Rum Diary, The Tourist, Prince of Persia).

“I've been consolidating the Alexa/Codex experience gained over the past year and learning new ways to get the maximum benefit out of these cameras. Being John Seale’s first digital film, this has been a real test of my strength as a DIT.” - Marc-Jason Maier, DIT.

For copyright reasons we cannot show any images from set, but here are some of Marc’s location van, dubbed affectionately “The Quantas Lounge” by the mainly Australian crew.

http://www.4klondon.com/news/
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Re: Dean Semler needs to return........nope, it's John Seale

Postby biolumen » Fri Feb 01, 2013 10:12 pm

Mad Max Fury Road - Completes Principle Photography

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After shooting for nearly six months in the desert of Namibia, NSW members John Seale ACS ASC and David Burr ACS recently completed principle photography on the much anticipated Mad Max Fury Road.

In roles reprised from previous films John was once again at the helm of main unit and David in charge of second unit.

In support, and led by A camera focus puller Ricky Schamburg and 2nd AC/Coordinator Michelle Pizanis, an international camera department numbering thirty seven was drawn from Australia, New Zealand, South Africa and the USA - a large camera department by any standards.

Working in such close quarters for an extended period of time and in sometimes harsh conditions can obviously bring out the best and sometimes the worst in people but by all reports this camera crew worked well together from week one to week twenty three - a testament in part to the leadership qualities of both John and David.

This was John's first foray into the digital world and he chose to shoot with ARRI Alexa of which he had ten at his disposal - six Alexa Plus and four of the new Alexa M. Also in his camera arsenal were a selection of "semi disposable crash cameras", Canon 5D11's and Olympus OM-D E-M5's.

Hopefully ACS NSW will be able to coax John and David along to one of the very popular 3rd Thursday Drop Ins to share some of their experiences of working on this big budget high octane film.

Mad Max Fury Road is due for release in late 2013.

http://www.cinematographer.org.au/cms/n ... p?ID=20843
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Re: Dean Semler needs to return........nope, it's John Seale

Postby biolumen » Fri Feb 15, 2013 11:23 pm

Some photos of the camera department.

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http://www.facebook.com/media/set/?set= ... 371&type=3
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Re: Dean Semler needs to return........nope, it's John Seale

Postby kennerado » Sat Feb 16, 2013 1:48 am

A couple more you missed, pretty serious gear!
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Re: Dean Semler needs to return........nope, it's John Seale

Postby biolumen » Fri Mar 15, 2013 11:20 pm

Picture of 3D camera that was built for Fury Road and successfully tested out at Broken Hill. It wasn't used, though, due to the decision to post convert the movie to 3D.

pridefx.com_communities_8_004_008_122_268_images_4550246082(2).jpg
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FURY ROAD HOSTILE ENVIRONMENT
3D CAMERAS BY PRIDE STUDIOS

For the feature film ‘Mad Max IV - Fury Road’ Pride Studios was engaged to develop a 3D camera system.

The brief was to develop a system that provided a fast and accurate set-up that did not interfere with the film making process.

The solution for this problem was to develop a system that used post convergence technology , and physically separate the cameras and their housings from the data processing units.

Pride Studios developed a robust and bullet-proof camera housing and control system to accomplish this.

The system was required to maintain precise tolerances that would withstand the rigors of operating in a hostile environment including ambient temperatures of up to 50C, thick dust, and high shock and vibration loads when mounted onto high speed tracking vehicles, cranes, and helicopters.

Including the post convergence solution allowed Pride Studios to design a compact and robust front end which facilitates mounting on various platforms and rigs for use in action sequences.

Comprehensive camera trialing and testing conducted at Broken Hill has proved that the system performs flawlessly.


CAMERA FEATURES
* High strength lightweight (18 kilos) fully enclosed beam splitter and camera housing unit.
 
* Low profile alloy liquid cooling jackets for camera temperature control.
 
* Positive pressure air system for internal dust protection.

http://pridefx.com/#/3d-cameras/4553441983
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Re: Dean Semler needs to return........nope, it's John Seale

Postby biolumen » Tue Apr 16, 2013 9:17 am

Why Mad Max: Fury Road wasn’t shot in 3D

BY BRENDAN SWIFT APRIL 16, 2013

Mid-last year, the cinematographer and tech guru tasked with building the stereoscopic cameras for Mad Max: Fury Road, Paul Nichola, revealed a little more about the machinations behind the scenes which led to the scrapping of the 3D shoot at an AFTRS Friday on my Mind session. (I found the tape.)

Back in 2010, there were industry rumours that filmmaker George Miller was building his own stereoscopic cameras to shoot Mad Max: Fury Road in 3D. Those rumours turned about to be true but then, as we all know, the production hit multiple stumbling blocks and delays and the 3D shoot became one of the casualties.

Nichola says he met with Miller in mid-2009 and convinced the director that conducting 3D convergence off-set would allow them to build a smaller, simpler stereoscopic camera.

“Basically, in my meeting with George, he said I don’t want 3D to get in the way – that was his brief. And I thought ‘alright that’s a great brief,” Nichola said.

“The whole Fury Road philosophy was all about ‘it’s not computer graphics – it’s real’. So we were really there and throwing cars and people around the place. So he felt that shooting real would enhance the value. It’s what Mad Max was about – people still talk about [how] you felt people might get hurt and they probably did.”

The new small, modular camera system was locked down in September 2010 during tests in Broken Hill – the original location for the shoot. “We ran through the paces and went through all the possibilities,” Nichola said, noting that the camera system was “bullet-proof” and worked up to three kilometres away to shoot driving stunts.

However, at some point a decision was made to scrap the 3D shoot. The production had been delayed a number of times and shifted from Broken Hill to Namibia and South Africa, ostensibly because the Australian location had become to lush after rain.

“George called it ‘Sophie’s Choice’ – I don’t think it was as dramatic as that but for me it felt pretty bad. It came very suddenly and the thing with these things is you never know where it began and you can probably go mad trying to work out the source or the first murmurs. But I think the feeling was, basically, they had to squeeze the schedule which was known and had been known for some time and the feeling was that he wanted to shoot with more cameras and that meant that the whole paradigm changed. So he removed 3D to buy eight cameras basically.”

Fury Road was ultimately shot by legendary cinematographer John Seale ASC ACS on ARRI ALEXA Plus cameras, ARRI ALEXA M cameras (for the interior of trucks), Canon 5D cameras (for stunt situations) and Olympus P5 cameras (as pure “crash” cameras).
Nichola said it was unlikely the decision to not shoot in 3D was about cost.

“I don’t know if I’d say it was about cost because I’m sure it’s costing them more now because they’re paying real money for all of this stuff. They already paid for this stuff [the cameras they built] so it was all in place. Because I did put it to them, I said, ‘are you trying to buy more time?’ and they said ‘we can’t buy more time so we’re trying to fit more in’.”

http://picha.com.au/why-mad-max-fury-ro ... hot-in-3d/

I'm curious to know if this played a part in Semler leaving the project. And if not, what was it?
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