#Mad max fury road rating movie

Not really a sequel or reboot, Fury Road is most accurately described as another instalment in the post-apocalyptic chronicles of Max Rockatansky (Hardy), who is tormented by brief, vivid flashbacks of past atrocities which he failed to prevent. To be sure, Fury Road’s more-is-more approach should translate to considerable dollars around the world, but the one mystery is whether the film’s dark, unyielding tone will scare off some viewers, cutting into commercial prospects. release should cater to hard-core action buffs and those smitten with the original trilogy, which starred Mel Gibson.

#Mad max fury road rating movie

Starring Tom Hardy and Charlize Theron - movie stars, to be sure, but not exactly box-office dynamos - this Warner Bros. Playing out of competition in Cannes, Fury Road will open across most of the globe by May 15. Preferring practical effects whenever possible, Miller has crafted an action movie that’s stupendously physical, blessedly lacking the disheartening weightlessness that mars a lot of CGI-heavy blockbusters Consequently, Fury Road is perhaps best appreciated as an objet d’art: as a kinetic, oddly distancing whirlygig that pummels you into awed submission. Character drama and emotional investment take a backseat to orgiastic car chases, as director George Miller (returning to his franchise for the first time in 30 years) pours his heart and soul into some truly visionary and gonzo sequences of vehicular carnage.

Together with some lens whacking, you will create a drugged-out or punch drunk experience.Ĭinematographer Mihai Mălaimare Jr.The chase is on - and on and on - in Mad Max: Fury Road, a bulldozer action movie that’s relentless, thrilling, exhausting and numbing in equal measure. OTOH, the opposite happens to: if the reality is confused, you may want to use an obtuse shutter angle, such as 270-degrees, or 24fps * 270/360 = 1/32 shutter speed. If your story does that, then it’s a good time to use the technique. This technique is used quite a bit especially when you want to capture pieces of dust particle from an explosion, like in Saving Private Ryan and The Hurt Locker - among dozens and dozens of other films.Īdditionally, its worth mentioning, that you can add the motion blur in post, but you cannot take it away.Īnd also the feeling this creates is of a heightened reality: things are moving slowly and we are able to see each frame, each spec of dirt passing by. So for slowmo choppiness you want 60fps * (90/360 shutter angle) = 1/240. The “choppy look” comes from the shutter angle. The shutter angle is what we do not have, well not really, on digital cameras. We calculate motion shutter speed as Frame Rate * Shutter Angle. Would the 60 fps footage I didn’t alter the speed on look bad because of premiere frame dropping to get it to 24fps? Would I be able to interpret it at like 70fps to get the choppy motion in a 24p sequence or would it not look the same as native 24?Ģ. If I wanted the option to slow down OR speed up could I just shoot the entire thing in 60 or higher?ġ. But if I decided I wanted to instead slow the action and still export it at 24 it wouldn’t be smooth slow motion cause the clip only had 24 frames per second to work with. I’ve shot some test footage at 24fps and interpreted it to like 26-33 and get the nice sped up choppy effect. I’ve like scoured the Internet and can’t find any consistent opinions on this.

What frame rate do you think they shot in to be able to have the option to do both? So, it says in the quote from my first post that he decided in post-production to either slow or speed the frame rate. The Canon EOS 7D Mark II will allow 1080 at 60fps, while the EOS 60D would only allow you 60p in 720.Īlright sorry for posting 3 in a row I’m on mobile and don’t see an edit post button. The Panasonic GH4 will actually do 48fps in VFR mode (which means no sound capture on camera). The A7S Mark II, for instance, will do 1080 at 120fps. And that depends on what DSLR you’re shooting with. To get the quality of slow motion like you saw in Fury Road you would need to shoot at a bone fide higher frame rate. Yes for the latter and not really for the former. “Is this something I could do with a dslr? Say by shooting in 24 and then interpreting/conforming it to 26+ to make it sped up/choppy and down to 21-23 to make it slower?” I would assume mostly 48fps, perhaps in certain cases (I cannot remember the movie well enough to remember how slow the slow motion goes) as high as 120fps (the limit of the Alexa XT). You can speed up from 24fps, you just can’t slow down as easily (not without using post interpolation work, such as the Twixtor plugin).

“What frame rate did he likely SHOOT in to be able to both slow down and speed up?”