BlueBolt’s VFX Supervisor Henry Badgett and CG Supervisor Dave Cook explained to Trevor Hogg how BlueBolt created 138 shots featuring a long opening tracking shot through a vibrant early 1930’s Piccadilly Circus and recreated the splendour and crowds of Raceday at Royal Ascot.

Read their in-depth interview in this VFX Voice feature.

We’re very excited to welcome award winning, veteran VFX Supervisor Ben White to BlueBolt.

Tracy McCreary, BlueBolt Managing Director commented:“We’re really excited to welcome Ben to BlueBolt. Ben is a highly skilled and respected supervisor with a brilliant eye and an open, positive energy that complements our senior creative team perfectly. Ben’s appointment underlines our continued commitment to delivering BlueBolt’s hallmark quality to our clients’ productions, from concept to final delivery.”

Ben White, VFX Supervisor said:“I’m delighted to be joining the team at BlueBolt. They have a well earned reputation for delivering beautiful work across streaming and film projects and are backed up by an incredibly strong management team.Their ongoing success in a challenging VFX market is no coincidence"

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BlueBolt Co-Chief Technology Officer Tom Mawby has been promoted to CTO, Ben Starkey to Head of Systems and Priam Sampaio has joined BlueBolt as Head of Pipeline.

BlueBolt VFX Supervisor David Scott and Production VFX Supervisor Angela Barson revealed to Trevor Hogg how they and the BlueBolt team created the meticulous VES Award-nominated VFX for Robert Egger’s acclaimed horror masterpiece Nosferatu. Read their in-depth interview in this VFX Voice feature.

We were thrilled that our work on the BBC’s Wolf Hall: The Mirror and the Light was featured in The Telegraph in December. Our VFX Supervisor David Dunn and VFX Producer Sam Dubery explained to India McTaggart how BlueBolt were entrusted with the meticulous digital enhancement of Henry VIII’s Hampton Court tapestries and Holbein’s portrait of Anne of Cleves - to restore them to how they would have looked in Tudor times.

BlueBolt’s Tiago Faria chats to VFX Wire about his latest projects - including the incredible True Detective: Night Country - and how he got started in the VFX industry.

Watch our breakdown and read about how BlueBolt delivered 126 VFX shots for Ridley Scott’s epic depiction of the rise and fall of Napoleon Bonaparte in Broadcast’s Post Production Uncovered.

BlueBolt VFX Supervisor David Scott reveals how the dramatic icy lake sequences were created in his interview with Trevor Hogg for VFX Voice.

Tamy sat down for an in-depth chat with PostPerspective’s Randi Altman, sharing what it takes to head up a great DMP team, her thoughts on AI, her passion for historical architecture (and gardening!), how she got started in VFX and of course, what she’s learned along the way.