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From Armageddon, Dante’s Peak, Interview with a Vampire, and Apollo 13 to Titanic, The X-Men, Fight Club, and the record-breaking The Grinch Who Stole Christmas, Digital Domain has been on the cutting edge of effects production. Founded in 1993 by industry veterans James Cameron, Stan Winston, and Scott Ross, this studio has produced some of the most spectacular special effects ever seen in cinema.
Digital Domain: The Leading Edge of Visual Effects provides an exclusive, first-ever look at the Academy Award–winning production company at the forefront of the Hollywood special effects industry. Readers will discover dozens of cutting-edge special effects techniques, ranging from model-making and CGI morphing to digitally created virtual sets and “synthespians.” Unique, frame-by-frame deconstructions demonstrate how the most sophisticated special effects are achieved, and stunning case examples from the company’s work illustrate basic effects from conception to completed sequences.
Plus, dozens of previously unpublished, behind-the-scenes photos reveal the expert artistry needed to create these groundbreaking effects, as well as the various ways digital imaging is combined with the work of set designers, model makers, and production artists to achieve brilliant results.
Digital Domain also includes an interesting overview of the future of movie technology—including the almost certain elimination of film stock—as well as the recent blurring between the traditional “cinema” experience and the growing new market for theme park rides and PC game simulators.
- Sales Rank: #2909953 in Books
- Brand: Brand: Billboard Books
- Published on: 2001-10
- Original language: English
- Number of items: 1
- Dimensions: 1.09" h x 9.42" w x 11.67" l, 3.61 pounds
- Binding: Hardcover
- 256 pages
- Used Book in Good Condition
About the Author
Piers Bizony, author of 2001: Filming the Future, is rapidly becoming known as an internationally successful author of books on space exploration. He lives in London, England.
Most helpful customer reviews
21 of 23 people found the following review helpful.
A rejoinder to a previous review...
By A Customer
As a former employee of Digital Domain, and one of the people who worked with Piers Bizony to develop his book, I find it necessary to respond to the vituperative review posted earlier, entitled, "Digital Campaign - its like 250 pages of add copy!"
That rather misguided review calls into question the author's integrity as a journalist. It's a totally ridiculous notion that Piers Bizony was "used" in some kind of marketing scheme cooked-up to repair Digital Domain's image.
The book was originally conceived and begun in 1996. It was in development for almost five years. Piers was given free reign in developing the form, theme and tone of the book. He maintained editorial control throughout the process. It was never intended as some kind of tawdry expose of the underbelly of the company. Nor was it EVER envisioned as some kind of "revisionist" history of the company. In point of fact, the book has been embraced by many former Digital Domain employees for the book's balance - and for having refrained from becoming a "revisionist" ode.
Based upon his prior interest in visual effects, from working with Stanley Kubrick on his "2001" book, and also his appreciation of Digital Domain's efforts on "Apollo 13," Piers chose to document a portion of the company's work, admittedly its higher profile accomplishments, to give a non-industry, non-technical audience an idea of the processes involved. More than anything, the book is a salute to the hundreds of artists who've worked at Digital Domain.
Although it's blood-sport in Hollywood to savage people and companies who've attained certain status, the reviewer in fact reveals a predisposition which one might imagine is informed by either their own personnel bad experiences at the company or a really naive prejudice against the company.
No one at Digital Domain has ever failed to honestly admire the accomplishments of the standard-bearers of the effect's industry. You will not find greater appreciation for the accomplishments of both ILM and Pixar anywhere else in the industry.
By simplistically citing some of the company's supposed failed efforts, does that call into question Digital Domain's place in the effects industry? I think not. The production problems of two of the cited films are nearly legendary in the industry. They had nothing to do with the film's visual effects. And Digital Domain should not be stigmatized because it was hired to work on poorly conceived projects. Even ILM would be the first to admit they are generally only as good as the projects and scripts they serve.
And the reviewer's notion that somehow the company's best days are behind them is equally ill informed. The book covers work up through the year 2000. Since that time, Digital Domain has produced effects work on many of the highest profile films and highest grossing films. "How The Grinch Stole Christmas" was the HIGHEST grossing film of 2000. At the same time, the company handled a large chunk of "X Men." More recently, the company delivered great work for director Ron Howard's "A Beautiful Mind" - the likely Academy Award winner for Best Picture for 2001. It also delivered great work for "Lord of the Ring" - another likely candidate for Best Picture and likely winner for Best Visual Effects. Currently, Digital Domain recently delivered "Time Machine" - some of the most beautiful imagery in the company's history!
The reviewer drags out some old news, as it pertains to Jim Cameron's departure from the company. Why is that even remotely of interest or of the slightest relevance? Piers did NOT use Mr. Cameron's name more than to state that he was the director of a number of the company's major achievements. This is a book about the artists. And should one question the accomplishments of Digital Domain's artists one would only need look into the ranks of every other effects company in the industry.
If there is a certain patina to the book, it simply reflects the company's desire to work on cool projects. In a de-facto sense, the company has been driven by the directors and studio clients who've brought in challenging projects - director's like Neil Jordan, Ron Howard, Luc Besson, David Ficher, Bryan Singer, the Coen brothers, etc. etc.
As to the reviewer's ludicrous Enron comment, Digital Domain is a privately held company that produces some of the best work in the industry - and has been self-sustaining FOR YEARS!! They make money. They are not subsidized by anyone, or anything other than their own ability to stay in business.
No one should underestimate the difficult nature of visual effects. Just like the industry at large, it's a tough business. But Digital Domain, like every other company in the industry, is essentially held captive by the forces at work that rule the industry. It's also an incredibly challenging and rewarding part of the business - but clearly not for those with thin skin or easily bruised egos.
5 of 5 people found the following review helpful.
Good book for Visual Effects Fans, but...
By A Customer
This is a good book for special effects and visual effects fans, especially for those who have seen the movies that are showcased by the author. I have only two gripes. There are some nice pictures that are split in two and should maybe have been printed in a gatefold (the way the excellent ILM books did). Also, many photos are really grainy, and the printing, which is at best mediocre, doesn't really help. If you're a regular reader of Cinefex quarterly, you're going to be disappointed, but overall, a good "coffee table" book.
3 of 3 people found the following review helpful.
Nice coffee table book
By J. Hill
If you know anything about visual effects this book isn't going to open some secret doors of knowledge.
With that said, this book has some wonderful photos and shot breakdowns. Even knowing "how" they did it it's still nice to enjoy the craftsmanship that's been put into these shots.
If you own The Art of the Matrix, or either of the ILM hardcovers this book would be a nice addition to your collection.
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