From Vashi Nedomansky’s explanation of a short about Mad Max: Fury Road, George Miller and John Seale‘s crosshairs cinematography and the editing of Margaret Sixel: “The most popular editing tendency for action scenes and films over the last ten years has been the ‘Chaos Cinema’ approach — a barrage of non-congruent and seemingly random shots that overwhelm the viewer with a false sense of kinetic energy and power. It follows, by contrast, that one of the many reasons Mad Max: Fury Road works as an action film is the almost soothing shooting and editing style. By using ‘eye trace‘ and ‘crosshair framing‘ techniques during the shooting, Sixel could keep the important visual information vital in the center of the frame. Because almost every shot was center-framed, comprehending the action requires no hunting of each new shot for the point of interest. The viewer doesn’t need three or four frames to figure out where to look. It’s like watching an old hand-drawn flip book whiz by. The focus is always in the same spot.”

Mad Max: Center Framed from Vashi Nedomansky on Vimeo.

To be fair someone needs to do an analysis of James Wan‘s method in the making of Furious 7. Was he as rigorous and exacting about eye trace and crosshair framing in the shooting of that godawful film (I don’t remember that he was but maybe), or was it the relentlessly nonsensical action choreography?