#Mad max fury road cast digital copy software#

вЂњWe had to assemble strips together,вЂќ notes Wood, вЂњand then George didnвЂ™t quite like the black staining thatвЂ™s all over the Blue Mountains, so we had to re-color them and re-texture them, to try and keep it as authentic as possible.вЂќ Similar photogrammetry acquisition was also carried out at Jenolan Caves south of Sydney for what would become interior regions of the Citadel. In fact, Iloura spent significant time re-working the cliff textures and geometry to form the Citadel to the required final look. Iloura did all the Citadel work вЂ“ there was a lot of work taking the raw material, chopping it up and bending it around and re-building it.вЂќ вЂњWe started using it to build textured terrain models, and then, experimenting with the software, it was incredible for building anything you wanted. вЂњThis was four years ago when no one had heard of Photoscan,вЂќ adds Jackson.

#Mad max fury road cast digital copy software#

The software they give you with the plane was Photoscan.вЂќ Original plate вЂ“ inside the Citadel. You just map out the area on the ground, you throw it into the air and it flies up and flies in a grid taking photos every two meters and then comes back and lands where it was launched. вЂњIt was a little one meter wingspan plane with a compact camera,вЂќ explains Jackson. The use of photogrammetry techniques for the Citadel location, and for others in the film, was actually inspired by JacksonвЂ™s initial use of an on-set aerial photography drone from Sensefly that he had intended to employ just for ground reference photos. We didnвЂ™t have one cloudy day for a week and a half, but the day we went was just perfect.вЂќ We had the chopper standing by for 10 days waiting for the right conditions. It has real lighting but because it was shot in overcast conditions you can add more key light. вЂњI took a helicopter and we flew backwards and forwards with a high res stills camera. вЂњThere are cliffs there that are 200 feet tall and sheer and just amazing,вЂќ he says. Jackson considered reference locations in Jordan, including the famous Wadi Rum mountains, but ultimately found suitable cliffs in the Blue Mountains west of Sydney. вЂњI just always want to use real surfaces and textures and shape as much as we possibly can.вЂќ CG geo. вЂњIвЂ™ve got an absolute aversion to people painting rocks,вЂќ says Jackson, in explaining why a photogrammetry approach was employed. The Citadel location was produced via a combination of principal photography in Namibia, shooting in Sydney and visual effects work from Iloura informed by actual rock cliffs photographed in Australia and re-worked using photogrammetry. FuriosaвЂ™s вЂWar RigвЂ™ is lowered to the ground while Joe provides the citizens a miserly douse of fresh water through pipes in the Citadel. Additional work was completed by Method Studios and BlackGinger, with early previs delivered by The Third Floor.ДЄt a rocky outcrop in the desert known as the Citadel, cult leader Immortan Joe (Hugh Keays-Byrne) rallies his citizens and readies a group, headed by Imperator Furiosa (Charlize Theron), to collect gasoline from a nearby location. An in-house postvis and VFX crew set up at production company Kennedy Miller Mitchell, dubbed Fury FX, was also crucial in planning and realizing hundreds of effects shots. Jackson was aided by visual effects producers Holly Radcliffe, with Iloura taking on the lionвЂ™s share of digital work вЂ“ more than 1500 shots overseen by visual effects supervisor Tom Wood and producer Fiona Crawford вЂ“ that ranged from detailed environments, a heavy-simвЂ™d toxic storm to intricate 2D compositing.

Even more plate manipulation would also be carried out by colorist Eric Whipp, weaving in a distinctive graphic style for the film with detailed sky replacements and unique day for nights.

Hundreds of visual effects artists, led by overall visual effects supervisor Andrew Jackson, would spend considerable time crafting more than 2000 visual effects shots and helping to transform the exquisite photography into the final film that at times feels almost like a single car chase.

Here, DOP John Seale would use multiple digital cameras to capture incredible practical stunts with more than 150 vehicles conceived by production designer Colin Gibson, then rigged, driven and crashed thanks to the efforts of key crew including special effects supervisors Andy Williams and Dan Oliver and supervising stunt co-ordinator Guy Norris.Д«ut the intense Namibian shoot, and further filming in Sydney, was only half the story in the creation of Fury RoadвЂ™s insane stunt action and post-apocalyptic landscapes. When George Miller looked to return to the world of Mad Max with his new Fury Road, the director began a lengthy development period that saw several false starts but ultimately culminated in a six-month long shoot in the Namibian desert.