VFX supervisor Henry Badgett discusses how the company created 126 VFX shots for sequences involving Napoleon's 1793 Siege of Toulon and his violent suppression of the Paris Riots two years later
By Jenny Priestley
Published: December 13, 2023
VFX supervisor Henry Badgett discusses how the company created 126 VFX shots for sequences involving Napoleon's 1793 Siege of Toulon and his violent suppression of the Paris Riots two years later
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London-based visual effects studio BlueBlot delivered 126 VFX shots for Ridley Scott's Napoleon, including sequences around the 1793 Siege of Toulon and the suppression of the Paris Riots two years later.
Henry Badgett, VFX supervisor at BlueBolt, worked with overall VFX supervisor Charley Henley to interpret Scott's storyboards and ensure BlueBolt's work recreated the immersive, visceral tone required. The company said its VFX work for both sequences was also informed by reference paintings and engravings of the events from the period.
For the Siege of Toulon, BlueBolt created 90 shots split between the daytime before' and the dramatic nighttime battle. Filming of the battle was done at several locations in Malta, including a set build surrounded by blue screen. BlueBolt's brief was to tie the separate locations together with 3D and DMP environment work, to replicate crowd, to add the British fleet in the harbour (including CG sailors) with a fully rigged recreation of the British fleet in the Mediterranean including HMS Victory and to enhance the battle with a wide range of FX work which climaxes with the explosion of the ammunition-carrying ship.
The FX and lighting work were key as the FX explosions and flashes also needed to light the scene, vastly more than if it were daytime, explained Badgett. As a result the timing and animation of these mortar explosions were crucial and needed careful execution, also requiring off-screen as well as on-screen explosions to achieve the immersive feel of the dramatic battle.
The team at BlueBolt brought their experience from numerous past projects with CG historic ships, building a hero model for each of the six or seven classes of ship and from there making three or four variations of each of those to form the fleet, before adding intricate period rigging, sails and flags with rope and cloth sims. To help with this, we received reference from an element shoot in which production built 1/16th scale miniatures that were then attacked by cannon balls from the SFX department and set on fire.
The Paris riots scenes were shot at Greenwich Naval College in London. BlueBolt was asked to extend the environment, replicate the crowd, add CG crowd and then apply riot-control cannon grapeshot fire into the crowd.
BlueBolt animated the crowd with motion capture performed by stunts from a session at the Imaginarium in Ealing Studios. The crowd was asked to wave large flags, some of which were replaced by 3D simulations to allow for violent tearing from the cannon shot. The shots were finished with 2D element dressing for cannon fire, smoke, torn fabric floating in the air and two types of blood a misty blood vapour and a wet blood spray. The crowd are seen throwing various 3D bottles and stones which were individually hand animated.
Napoleon not only boasts significant VFX set pieces but also integrates subtle VFX throughout the cut, added Badgett. These small touches collectively contribute to creating the immersive and atmospheric experience of Ridley Scott's Napoleon and we are proud to have been part of it.
Napoleon premiered in cinemas on 22nd November and will be available on Apple TV+ in 2024.
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VFX supervisor Henry Badgett discusses how the company created 126 VFX shots for sequences involving Napoleon's 1793 Siege of Toulon and his violent suppression of the Paris Riots two years later
