Budgeted at over $100 million, the Fox/Disney project was already eligible for France’s 30% tax rebate by the time production wrapped in February 2020. When the new scheme passed in April – and with it, a retroactive window that opened eligibility to projects shot within that calendar year – the Hollywood brass felt encouraged to seek out Paris-based VFX house Mikros Image. When all was said and done, the American producers had an up $300,000 on paper for the $2.6 million they spent in Gaul.
“We represented France, so we had to prove that we could offer a workable solution,” said Beatrice Bauwens, who served as VFX and post director at Mikros Image before the VFX firm merged with MPC Episodic in September 2021. “[At Mikros,] we had to prove that we could handle €2 million worth of VFX in France.”
“We never thought that we couldn’t handle it,” Bauwens continued, speaking at a panel organized by Paris Images. “But there was quite some pressure owing to Ridley Scott. Many of our VFX artists started work in this field because of him, so failing wasn’t an option.” With houses in Montreal and London handling other post-production tasks, Mikros focused on environments, digital mattes, crowd-scenes, and landscapes, working throughout the year and delivering its final shot in April 2021.
As she reflects on her work on the project – which has subsequently led to new bids from international projects – Bauwens smiles when thinking of one visual in particular. “I think Ridley loved the shot where we see the Notre-Dame cathedral being built,” says Bauwens, whose own office faces the very monument. “The only let-down was that Ridley Scott never actually came to our office.
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