Jackson was aided by visual effects producers Holly Radcliffe, with Iloura taking on the lion’s share of digital work – more than 1500 shots overseen by visual effects supervisor Tom Wood and producer Fiona Crawford – that ranged from detailed environments, a heavy-sim’d toxic storm to intricate 2D compositing. 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. 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. 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.īut 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. 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.
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