In early 2010 I knew two things about Mad Max Fury Road. Pre-production was coming to an end and once shooting began, few of the vehicles would survive.
I’d been a 2nd AC on Mad Max Beyond Thunderdome and saw first hand the fate suffered by the majority of Aunty Entity’s Armada as they chased down the train stolen from Bartertown by Max, Pig Killer and the kids.
30 years later chances were there would be many more vehicles and much, much, more carnage.
I had an idea to shoot as many of the Mad Max Fury Road vehicles as possible before they were transported to set and their eventual fate.
I contacted Associate Producer and 1st AD P.J. Voeten. He saw the merit in the idea and took it to Director George Miller and Producer Doug Mitchell.
I received a phone call inviting me to the production office, it was a yes and I was handed the script to read.
I wanted to photograph the vehicles in their pristine state. Straight off the assembly line, similar to any other brand new model car, bike or truck. The difference was, each one of these vehicles was unique. More than that, each of them was a work of art that demanded to be recorded.
The Mad Max franchise is Australian movie making royalty. These cars, trucks, and bikes could not be shipped off without recognising the time and effort invested in their journey from concept to creation.
These images are a testament to the design mastery of the Art Department matched by the engineering skills of the mechanics charged with bringing them to reality.
I put together a team starting with Gaffer, Richard Mason from TRC Lighting. We discussed the concept and lighting style of the shoot then he bought in electrics Chris Follett, Beau Moulson and Gaffer Paul Johnson. 1st AD Scott Lovelock joined us along with members of the Art Department.
I think the results speak for themselves 75 vehicles shot over three weeks in a purpose-built studio. Highlighting both their individuality as singular concepts and commonality, as members of the various tribes within the film.
Wide shots combined with closer details prove their status as works of art. Works of art shot before the dirt before they faced their fate on the dusty plains of Nambia.
In early 2010 I knew two things about Mad Max Fury Road. Pre-production was coming to an end and once shooting began, few of the vehicles would survive.
I’d been a 2nd AC on Mad Max Beyond Thunderdome and saw first hand the fate suffered by the majority of Aunty Entity’s Armada as they chased down the train stolen from Bartertown by Max, Pig Killer and the kids.
30 years later chances were there would be many more vehicles and much, much, more carnage.
I had an idea to shoot as many of the Mad Max Fury Road vehicles as possible before they were transported to set and their eventual fate.
I contacted Associate Producer and 1st AD P.J. Voeten. He saw the merit in the idea and took it to Director George Miller and Producer Doug Mitchell.
I received a phone call inviting me to the production office, it was a yes and I was handed the script to read.
I wanted to photograph the vehicles in their pristine state. Straight off the assembly line, similar to any other brand new model car, bike or truck. The difference was, each one of these vehicles was unique. More than that, each of them was a work of art that demanded to be recorded.
The Mad Max franchise is Australian movie making royalty. These cars, trucks, and bikes could not be shipped off without recognising the time and effort invested in their journey from concept to creation.
These images are a testament to the design mastery of the Art Department matched by the engineering skills of the mechanics charged with bringing them to reality.
I put together a team starting with Gaffer, Richard Mason from TRC Lighting. We discussed the concept and lighting style of the shoot then he bought in electrics Chris Follett, Beau Moulson and Gaffer Paul Johnson. 1st AD Scott Lovelock joined us along with members of the Art Department.
I think the results speak for themselves 75 vehicles shot over three weeks in a purpose-built studio. Highlighting both their individuality as singular concepts and commonality, as members of the various tribes within the film.
Wide shots combined with closer details prove their status as works of art. Works of art shot before the dirt before they faced their fate on the dusty plains of Nambia.
