The Alexa camera has such great dynamic range which was amazing for a film like this, as I was very rarely struggling to find detail in a shot.

We had someone from Deluxe provide several options for LUTs which we chose after testing. We used an LUT to convert the C-Log into P3 colour space, which also had a bit of a film emulation baked into it. The film was shot on the Arri Alexa in Raw. Every time I worked on a shot, I kept saying to myself 'make it look like a graphic novel'. Once there was a rough cut of the film, we looked at the scenes and worked out how we could break up the visuals to create some variety in looks and also how to differentiate the landscapes and story points. Watching 2 hours of de-saturated desert tones would be dull. Which is again the reason for going with a rich colourful palette. Each shot was sharpened independently and often we sharpened just certain parts of the frame more than others to help draw attention to specific areas.īecause the film mostly takes place out on the desert road, we knew it could get visually boring very quickly. We liked how it made the image look sharp and how it often brought out some grit in the image. In general, one of the aspects of the look was to apply a lot of sharpness. We didn't want to make an overly plastic or fake looking saturated image, there needed to be some sort of rawness in the look as well. The one thing I was very conscious of was to make sure there was some sort of 'grit' to the image. I watched all the original films again before starting just to get some grounding of the series. When it came to the night scenes, we experimented with silvery looks and photo-realistic looks but found that the graphic rich blue night look was the best option for the film. The other aspect was to keep each frame as graphic as possible. The human brain focuses about 80% attention on a character's eyes, so we wanted make sure they were clear and vivid in every shot

We knew we didn't want to make yet another film like that, so we had to find a way to make it saturated and rich. George has been watching 30 years of other post-apocalyptic films and noticed that they all use the same bleached and de-saturated look. The main reason for this is quite interesting. It was amazing to get such an open brief which was essentially 'it should be saturated and graphic, and the night scenes should be blue'. I came on board with the production in early 2014, and I met with George Miller, the director, and talked about what the look could be like.

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