FURY ROAD 3D | Combining Live action and CG Rumour.

[Tyderium]

Fingers crossed Semler is on board for this.

[biolumen]

I actually thought the new Death Race was quite good. I did think a lot of the car stuff was poorly filmed though - they went for a lot of that close-up, shaky camera stuff, which basically tries to make it look like there is more action going on, and in my mind, always fails. I actually thought it looked really poor on the big screen, and ended up looking better on home video, and that was probably the reason. I just find all that shaky stuff hard to follow, and prefer nice wide / long shots that give you the scale of what's going on (like in Road Warrior).

Death Race director Paul W.S. Anderson is a big fan of the Mad Max movies, but check out what he said about Miller and The Road Warrior.

Q: You talk about Road Warrior and I was watching Mad Max the other night and one of the differences between that sequence, in the beginning of Mad Max where there’s the big chase scene and action sequences of today is that in today’s films the cutting is so much quicker, not even 30 frame edits and I noticed there’s a much more modern cutting style in the race sequences in Death Race. I think I’m a little bit older than the average teenager going to these action movies, I grew up watching those late 70’s, early 80’s action movies like you did and there’s a part of me that longs for some of those longer shots. How do you feel about that; the different styles of cutting?

PA: I think if George Miller were making Road Warrior now, it would be cut like Death Race. I don’t think he’d be having those long held shots because I think an audience’s attention now – I mean MTV was revolutionary in the way that people assimilate information. I think it showed that people pick up on things very quickly and you don’t need to hold something on screen for that long. You know, I was watching – I can’t remember which William Friedkin movie it was – and it had flash frames in it. Back in the day, it was flash frames – subliminal imagery and you look at it now and it’s on screen for a long time! It’s on screen for like twelve frames.

[Bad cop]

I am convinced (on pure speculation) that Fury Road is just going to be Thunder Dome meets the remake of Death Race 2000.

the new "Death Race" is actually a prequel. The director stated so in the commentary. Based on the featurettes I watched all the stunts were about 95% practical.

Also I think the animation will be similar to that of "Tales Of The Black Freighter" featured in "Watchmen".

[Mad_Maximus_88]

My GOD!

Death Race director Paul W.S. Anderson is a big fan of the Mad Max movies, but check out what he said about Miller and The Road Warrior.

Q: You talk about Road Warrior and I was watching Mad Max the other night and one of the differences between that sequence, in the beginning of Mad Max where there’s the big chase scene and action sequences of today is that in today’s films the cutting is so much quicker, not even 30 frame edits and I noticed there’s a much more modern cutting style in the race sequences in Death Race. I think I’m a little bit older than the average teenager going to these action movies, I grew up watching those late 70’s, early 80’s action movies like you did and there’s a part of me that longs for some of those longer shots. How do you feel about that; the different styles of cutting?

PA: I think if George Miller were making Road Warrior now, it would be cut like Death Race. I don’t think he’d be having those long held shots because I think an audience’s attention now – I mean MTV was revolutionary in the way that people assimilate information. I think it showed that people pick up on things very quickly and you don’t need to hold something on screen for that long. You know, I was watching – I can’t remember which William Friedkin movie it was – and it had flash frames in it. Back in the day, it was flash frames – subliminal imagery and you look at it now and it’s on screen for a long time! It’s on screen for like twelve frames.

And that is why you make shit films Paul Anderson.
Your action scenes are slapped together in the edit suite from 4 different units with absolutely no thought or consideration to the kinetic flow.

Break apart Millers sequences - shot by shot - and you recognize very quickly its all about "compression and release". Those "long shots" work because they are each full of content and context. Giving the audience space to breath - an understanding the geography of the action space before thrusting your head in it once more.

Miller's shots are expertly composed and storyboarded prior to execution.

Anderson's are built in an edit suite with the hours footage gathered from his second unit.
This is a VW Golf GTi commercial from Paul Anderson.

http://www.youtube.com/watch?v=GytkdVh-Nps

[Tyderium]

Break apart Millers sequences - shot by shot - and you recognize very quickly its all about "compression and release". Those "long shots" work because they are each full of content and context. Giving the audience space to breath - an understanding the geography of the action space before thrusting your head in it once more.

Well put. The rapid fire editing style employed by so many these days for long durations can be nausea inducing in the hands of the wrong director. Tiresome and disorientating.

[MWFV8]

My comments about Death Race was more about potential story.

I was concerned that Fury Road is just going to revolve around Thunderdome style track for cars. I could almost picture cheesy cgi shots of Max's Intercepter spinning round 360 degrees while he smugly shoots competitors with his shotgun *chokes back vomit*

But that was before reading yesterday about a prequel looking strong.

Sorry to steer the thread off course so much.

My hope is that Cgi in FuryRoad is used more so to create the environment that real action is shot in. It would certainly be a good way to create the dystopia we image unfolding. Green screening has really come on in recent years, see this video for example.

http://www.youtube.com/watch?v=FXICe9zCQk4

As for Paul Anderson, how he went from Event Horizon to the shit he churns out now begs belief. Resident Evil: Apocalypse was so terrible to watch I'd have rather pulled a arrow through my arm.

[Taipan]

Absolutely Tyderium!
That reminds of watching Transformers 2, where not only there were heaps of CGI junk fighting eachother in mid air, but with impossible camera angles for solid 3 minutes by the end of which you start to question if you're watching a movie but rather a collection of polygons scattered all around with fireballs in between. If there's something I hate about action movies is trying to pump 'awesomness' for no reason at all.

But still, imagine opening shot of RW where camera pulls out of the blower. That would blow everyone away in 3D. So in that respect I think It would be a good idea to incorporate 3D in a movie like this, but very sparsely, because Mad Max movies are raw in every aspect, so there's no need to flash shiny things every 5 seconds. All I need is dusty rims, low mounted cameras and horsepower.

[Peter Barton]

PA: I think if George Miller were making Road Warrior now, it would be cut like Death Race. I don’t think he’d be having those long held shots because I think an audience’s attention now – I mean MTV was revolutionary in the way that people assimilate information.

Thanks for posting this - very interesting. I guess we'll get to see soon enough how George Miller would cut Road Warrior if he made it now. I am somehow doubting that it will be cut like Death Race (fingers crossed that it won't be anyway!).

The thing these directors forget is that MTV is a 3 to 4 minute format. That type of cutting works for that format because you're trying to condense an entire story into under 5 minutes. And you're framing it to be viewed in the home. That's why that type of cutting looks so poor in a 90 minute feature on a 40 foot high screen. You can't assimilate 90 minutes of information that way, too hard to follow. As I said, Death Race to me looked really average when I saw it in the cinema, and it wasn't until I saw it again on DVD at home that I apprecited it more. In the cinema, I actually thought they'd been limited by small scale sets or something, and I was seeing limitations. Then I saw some shots from the stills photographer, and realised everything looked fine - I wondered why the stills photographer hadn't shot the feature, his shots were framed much better!

The only true cinematic car chase I've seen in the last 10 years would be Matrix Reloaded. Looked awesome in the cinema, and just as good at home. Take a look at that one - lots of nice, long, wide shots. None of that shaky quick cut rubbish. And it looks awesome. That's how it should be done.

[MFP 2020]

Remember when CGI was the hot new gimmick in the movies, with all those impossible camera moves? Fortunately, they fell out of favor shortly after their zenith, in the helicopter scenes in "Val Kilmer's Batman" (whatever it was called). Whenever I see some new "modern" trick that will rapidly become a cliche, I'm reminded of Ian Malcolm's line from "Jurassic Park": "Yeah, but your scientists were so preoccupied with whether or not they could, they didn't stop to think if they should."

[biolumen]

Uh-oh.

Miller pointed to what he called "the most advanced motion-capture studio in the world" at the vast CarriageWorks precinct in the inner city suburb of Eveleigh, a new studio reportedly set up under a deal in which Miller's production company leases the premises from the NSW government for a year.

Motion-capture technology enables people's movements to be filmed then fused onto computer-generated characters to enhance their real-life naturalism.

Miller, who came to prominence as the director of Mad Max three decades ago, will also use the studio to work on his planned fourth instalment in the franchise, Fury Road.

http://www.smh.com.au/news/entertainmen ... 45772.html