Issue link: https://digital.copcomm.com/i/1512164
frozen Austrian mountain lake because it was very large and flat. We built the Austrian army camp including the Crown Prince's royal tent on one side of the lake, and a simple fishing village on the opposite shore occupied by a seemingly inferior contingent of the French Infantry as bait to lure the Austrian-Russian cavalry to attack them, all below Napoleon's hidden cannons concealed above them on the hilltop. Once in range, the French opened up with artillery and infantry fire driving them out onto the frozen lake. Explosive cannonballs break the ice and the men and horses fall into the frozen lake. Battle of Waterloo To stage this famous battle, the location needed to have a specific scale and topography, one which is well known to military historians and has been widely studied and depicted in many paintings. Because the logistics involved with staging such a complex sequence, we needed to find somewhere near to London within the "peripheral zone" with two long opposing ridges and with just enough distance between them to accommodate the complex troop and cavalry movements, and where G. WATERLOO: WELLINGTON'S BATTLE LINE. ARTILLERY POSITIONS ATTACKED BY FRENCH INFANTRY. PRODUCTION STILL BY AIDAN MONAGHAN. Arthur Max, Production Designer Denis Schnegg (UK), Tamara Marini (Malta), Super vising Art Directors Charlo Dalli, Senior Art Director Alexis McKenzie Main, Claudio Campana, Chris Evans-Wilson, Aline Leonello, Dario Nolé, Daniel Nussbaumer, Harr y Pain, Suzanna Smith, Art Directors Petra Bolagh, VFX Art Director Cesco Bonello, Matt Francis, Romain Hémeray, Dario Nolé, Chris Straessle, Joseph Swift, Lotta Wolgers, Steven X. Haber, Kristina Zimmermann, Olga Sidletska, Jasper Fitzgerald, Assistant Art Directors Francesca Del Cupolo, Set Designer David McHenr y, Marcus Levers-George, Monica Paisley, Magdalena Kronenberg-Sewer yn, Angelica Sacrepaye, Draughtspersons Kim Frederiksen, Simon Gustafson, Scott McInnes, Oscar Potter, Jessica Sinclair, Concept Artists Jim Stanes, Rhiannon Fraser, Gina Brown, Matthew Hindle, Carol Kupisz, Graphic Artists Elli Griff (UK), Celia Bobak (Malta), Set Decorators we would be allowed to dig up the landscape indiscriminately. The map above is the historic Order of Battle superimposed onto our location. Obviously, we couldn't achieve these actual numbers, so a large-scale model was built to work out the action for various battle movements and to indicate the positioning of all the digital elements to follow in post-production. ADG E F G