John Seale came out of retirement to shoot Fury Road and created one of the most visually aggressive blockbusters ever made. The palette is built on a deliberately exaggerated orange-and-teal complementary split. Seale shot primarily during magic hour and used heavy filtration to maintain the warm cast even under midday sun.
The Mad Max: Fury Road look, scene by scene
Mad Max: Fury Road is bold and saturated: orange desert under teal sky by day, cool blue-silver at night, and a massive orange sandstorm in between. The colour was pushed hard in the grade to make the world feel heightened.
Desert day
Bright orange sand against teal-blue sky. Maximum contrast between warm and cool.
Many of Fury Road's night scenes were filmed during the day and darkened and tinted blue afterwards. You can do something similar: shoot in daylight, underexpose and use the Blue Night recipe.
Recipes
Fury Road Day
The iconic orange desert with teal sky, maximum complementary contrast
Best light: Strong sun in desert or sandy landscapes with blue sky. Overdone in grey weather.
Film SimulationVelvia/Vivid
GrainOff
Color ChromeStrong
CC FX BlueStrong
White BalanceShade
WB ShiftR+4 / B-3
Dynamic RangeDR200
Highlight+0
Shadow+0
Color+3
Sharpness+1
Noise Reduction-1
Clarity+2
ISOISO 200-400
Why these settings
Velvia/Vivid, Color +3
Bold, saturated colour.
Shade WB, R+4 / B-3
Pushes sand and skin towards orange.
Color Chrome FX Blue Strong
Keeps the sky deep and teal-blue.
Blue Night
The cool blue-silver night sequences, moonlit sand and chrome
Best light: Underexposed daylight or moonlit scenes. Too cold for warm light.
Film SimulationEterna/Cinema
GrainWeak/Small
Color ChromeWeak
CC FX BlueStrong
White BalanceDaylight
WB ShiftR-3 / B+4
Dynamic RangeDR400
Highlight-1
Shadow+2
Color-1
Sharpness+0
Noise Reduction-3
Clarity-1
ISOISO 1600-3200
Why these settings
R-3 / B+4
Strong blue-silver tint.
Eterna/Cinema, Color -1
Soft, muted colour.
DR400, Shadow +2
Protects highlights while keeping darkness deep.
Sandstorm
The massive storm sequence — blown-out orange, zero visibility, fire
Best light: Dust, smoke or haze with strong backlight. Not for clear scenes.
Film SimulationClassic Chrome
GrainStrong/Large
Color ChromeStrong
CC FX BlueOff
White BalanceShade
WB ShiftR+6 / B-5
Dynamic RangeDR400
Highlight-2
Shadow+4
Color+1
Sharpness-3
Noise Reduction-4
Clarity-4
ISOISO 1600-6400
Why these settings
R+6 / B-5
Extreme orange shift.
DR400, Highlight -2, Shadow +4
Glowing highlights with deep shadows.
Grain Strong/Large, Clarity -4
Gritty, soft, chaotic feel.
Kit list
Mad Max: Fury Road · 2015 · DP John Seale
The recipe handles colour and tone. These handle what a recipe can't.
For this look
warm & nostalgic
NEEWER 43" reflector with grip
Bounce low sun back into faces. The gold side adds the honeyed fill these warm recipes are built around.
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Did you nail the look? What to look for
Strong orange-teal contrast in daytime
Saturated, heightened colour
Blue-silver night scenes
Dust and haze in the air
Bold, centred action compositions
Mad Max: Fury Road recipes — FAQ
Which Fujifilm film simulation is best for a Mad Max: Fury Road look?
Velvia for the saturated desert scenes, Eterna for blue night scenes and Classic Chrome for dusty storm scenes.
How do I do day-for-night like Fury Road?
Shoot in daylight with the sun behind or to the side, underexpose by one to two stops and use the Blue Night recipe.
Which Fujifilm cameras can use these recipes?
All settings work on current X-Trans V bodies such as the X-T5, X-S20, X-T50 and X100VI. The X-T4, X-S10, X-Pro3 and X100V run them as well, and X-T3-era bodies can use them if you skip Clarity and Color Chrome FX Blue. Every body renders slightly differently, so take a few test shots and adjust.
Who was the cinematographer of Mad Max: Fury Road?
John Seale, who came out of retirement for the film and was nominated for the Academy Award. George Miller directed.