We worked with Mark Sexton, Peter Pound, two other fine storyboard artists I'd worked with in the past. I asked if he wanted to come down and work on it. I got in touch with Brendan McCarthy, a wonderful artist who had sent me some terrific drawings of Mad Max. We said "here." She had to find the two hours that made up THAT. It was dumped in the lap of Margaret Sixel, the editor, who happens to be my partner, who was back in Australia. Here you just run the cameras, so there's a lot of wasted footage. for every explosion you had to get your crew out, the guy who started the camera, you've got to get them out. In the old days, with a high-speed camera, you'd burn up your celluloid in very quick time, here you can run it for 40 minutes at a time. With digital cameras you can just run them through. That's three weeks continuous, watching without sleep. Plus, you didn't have to wait for it-you pull off a stunt, check your cameras, and there you go.īecause of the digital cameras we shot - this is ridiculous - we shot 480 hours of footage. Even if you did it really well, people wouldn't know it.
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