We’ve looked, elsewhere, at how the use of point-of view shots made the original Mad Max movies compelling–here, in Vashi Nedomansky’s recent piece, we discover a secret of the success of George Miller’s ‘Mad Max: Fury Road‘: the editing. Or, more specifically, the framing. Each shot is center-framed, meaning that the eye’s intended focal point will always be in the center of the frame. Nedomansky has helpfully added crosshairs to make us see this a bit more clearly, along with a voice-over from John Seale, the film’s director of photography.
Watch: ‘Mad Max: Fury Road’: It’s All in the Framing
Watch: ‘Mad Max: Fury Road’: It’s All in the Framing
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"we discover a secret of the success of George Miller’s ‘Mad Max: Fury Road’: the editing. Or, more specifically…….the framing."
So…… your title was wrong in this context? You meant to say "cinematography"?
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You Do Realize you Shoot To Edit,
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Usually you want to make the cut invisible, so you want to start the next frame with the focal point at the same point of the screen as the last one ended. The result is less irritation for the viewer.
In "shot – reverse shot" dialogue scenes, this is given up for the intended dynamic of the dialogue (left – right).
In fast cut action scenes, though, the focus is kept as central as possible, so the editor has some freedom without losing the invisibility of the cut, but, well, this is rather old news. Just watch again the chase scene between Hackman under the tube train in "French Connection", shot over several weeks, 45 years ago (you can find it on youtube).
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