Led by VFX supervisor Henry Badgett, alongside CG supervisor Dave Cook and 2D supervisor Graham Day, BlueBolt has revealed it delivered 138 VFX shots to help recreate the vibrant 1930s pre-war era of Focus Features’ Downton Abbey: The Grand Finale. Here’s a breakdown of how it happened.
Led by overall VFX Supervisor Angela Barson and BlueBolt VFX Supervisor David Scott, BlueBolt created an exceptionally varied range of VFX to support Robert Egger’s dark gothic vision for Nosferatu and match DOP Jarin Blaschke’s unique, Academy-award nominated lighting style. BlueBolt tackled complex full CG environments including the fictional city of Wisburg, Orlok’s castle, his ship…
Led by VFX Supervisor Henry Badgett, BlueBolt delivered 280 VFX shots as main vendor, for the Disney+ Original murder-mystery series Shardlake. BlueBolt’s work was focused on invisible world building environment work including a CG monastery, the principal setting for the story. Both the exterior and interior of Saint Donatus Monastery needed to be established in…
BlueBolt created the VFX for the third series of MRC/Hulu’s hit satirical comedy drama series The Great. Led by VFX supervisor David Scott, BlueBolt delivered 369 VFX shots for season three; recreating 18th-century Russia with crowd duplication in key settings, squib hits, and muzzle flashes, in addition to CG butterflies and a comet. The focus…
BlueBolt recently completed work on “Seven Kings Must Die”, the feature-length, final chapter of Carnival Films/Netflix’ popular historical drama The Last Kingdom, having created visual effects for all five previous seasons, as the sole VFX studio. BlueBolt have delivered more than 3,500 VFX shots over the past eight years, working in close collaboration with producers Carnival…
The BlueBolt team, led by VFX Supervisor Kyle Goodsell and VFX Producers Sam Dubery and Panos Theodoropoulos, created dramatic VFX across the series. Being the primary vendor for the futuristic London environments, BlueBolt created fly-over scenes depicting a dilapidated London with some striking additions to the skyline; vast statues of the Greek Gods towering over…
Led by VFX supervisor David Dowie Dunn, the BlueBolt team used subtle effects to take modern day Brighton back to the 1950s, delivering 152 seamless VFX shots for the feature. Read more on the BC website here.
