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. 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.
But the intense Namibian shoot, and further filming in Sydney, was only half the story in the creation of Fury Road’s insane stunt action and post-apocalyptic landscapes. 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. 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.