
feature · 20152h 1mAU
Mad Max: Fury Road
An apocalyptic story set in the furthest reaches of our planet, in a stark desert landscape where humanity is broken, and most everyone is crazed fighting for the necessities of life. Within this world exist two rebels on the run who just might be able to restore order.
Verified
At a glance
- Director
- George Miller
- Cinematography
- John Seale
- Editor
- Margaret Sixel
- Music
- Tom Holkenborg
- Costume
- Jenny Beavan
- Primary camera
- ARRI ALEXA Mini
- Format
- 2.39:1 · ARRIRAW ALEXA MTheatrical
- Locations
- Namibia (Namib Desert)
Production
Studios
- Warner Bros. Picturesdistributor
Department
Camera
- John SealeDirector of Photographyprimary
- Mark GoellnichtSteadicam Operatorprimary
- Peter BelcherCamera Operatorprimary
- Daniel NicholsCamera Operator
- Luca MercuriCamera Operator
- Simon HardingCamera Operator
Department
Electric / Lighting
- Shaun ConwayGafferprimary
- Paul JohnstoneGaffer
Department
Sound
Recognition by craft
Recognition
Awards (0 won, 2 total)
- Status: NOMAcademy AwardBest Cinematography2016Cited source (opens in new tab): [src]
- Status: NOMAcademy AwardBest Cinematography2016John Seale
Locations
Shooting locations
Namib Desert
Sun plannerErongo · Namibia · -22.958, 14.505
Wasteland exteriors
- Civil dawn
- 05:20 UTC
- Sunrise
- 05:44 UTC
- Magic-hour AM
- 05:44 UTC → 06:17 UTC
- Magic-hour PM
- 15:55 UTC → 16:28 UTC
- Sunset
- 16:28 UTC
- Civil dusk
- 16:53 UTC
Sun events shown for today, UTC. Maps © OpenStreetMap contributors.
Color
Pipeline
Camera color science → IDT → working space → ODT → deliverable. Production-wide default first; scenes that diverge below.
- Camera logARRI ALEXA LogC3 + Canon EOS C500 LogC + Black Magic Cinema Camera ProRes
- Camera gamutARRI Wide Gamut (primary unit) + Canon CinemaGamut (alt unit)
- IDTACES (multi-camera reconciled at Iloura DI in Melbourne)
- Working spaceACEScc (pre-cct era)
Stunts
Curated set-pieces · 2
Sequence-level rigging detail — pole-cats, decelerators, picture-car modifications, named coordinators, and the SAG-AFTRA / BSR safety bulletins observed on set. Click through for the full breakdown.
Pole-cat swing-between-vehicles sequence
4.0 minDetail →Performers ride long carbon-fibre poles fitted to picture vehicles, swinging cab-to-cab while the convoy travels at speed. The pole-cat rig was designed in collaboration with Australian rigger Glenn Suter (ARK Stunts) — a rear-mounted carbon-fibre pole, counterweighted at the base, with the performer harnessed to a sliding ring along the pole length. A safety cable ran from the harness to a winch-controlled tether mounted on the chase vehicle.
DrivingWireworkRiggingWar Rig rollover
1.5 minDetail →The War Rig rollover sequence — the multi-axle truck collapsing onto its side mid-convoy — was performed practically using the actual picture-car War Rig with internal roll-cage reinforcement and a counterweighted impact rig. Multiple cameras (eight to twelve, depending on take) covered the sequence; reset between takes took roughly 24 hours.
Stunts
2 crew · 1 doubling · 1 company
The stunt department on this production: credited crew, actor-double pairings, and the companies whose members brought them onto the show. Click any name to jump to their full filmography + doubling history.
War Rig cab work, the cannon-roll, and the chase choreography. Coordinated under Guy Norris.
Contributing stunt companies
Post-production
Lab & finishing
- Company 3color grading — Eric Whipp at the Iloura facility (Melbourne) before its absorption into Method/Company 3.
Production
Scenes & Equipment
Namibia (Namib Desert)
Related
Similar productions
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Related
Thematically similar
By embedding cosine-similarity — surfaces films with comparable subject matter and tone, regardless of whether crew credits overlap.
Provenance
Sources
- [1]John Seale, ASC, ACS on Mad Max: Fury RoadprimaryAmerican Cinematographer · 2015-05-01












