Customer Reviews

Digital Domain: The Leading Edge of Visual Effects

5 star:		(6)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(3)

 

 

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.

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.

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.

Digital Domain has provided some of the finest special effects in the movie world, and this provides the first inside look at the works of a company noted for creating stunning scenes. Their techniques, special effects, and processes are demonstrated visually in frame-by-frame deconstructions which are involving and most illuminating. Highly recommended for any involved in film art.

This is simply a beautiful book about incredibly talented and creative people, and the special effects they create. It is quite detailed, without getting to technical or boring. If you enjoy special effects movies (or movies in general) and wants to know more about how bluescreen, compositing, CGI and more is done, this is the book for you. It gives you a wonderful insight into the creative team that is Digital Domain. Essential buy!

Like ILM , Digital Domain is one of the best and most tradicional houses of F/X in movie industry.
I own in my collection all ILM books and this one too. For Professionals and fans of F/X worth have it.

I ordered this book through one of Amazon's sellers. It's used, packed in a paper bag, and surprisingly not damaged beyond normal wear and tear.

The book it's self is great, especially if you are into Digital Domains's vfx.

Good basic information on how vfx are done. This is not a "how to" software book and never meant to be. It's much more of a behind the scenes picture book, and it's great at that. You can learn a lot from the pictures alone if you are knowledgeable in vfx. The text provides an easy to understand description of how the basic techniques are used to solve problems. However by now (2010) this book is starting to get dated as computers and vfx progress so quickly.

Some people think this book is just an advertisement for Digital Domain. IT IS NOT. no more so then the ILM books were for ILM.

I am very happy I bought this book, even though I work professionally in vfx. However I would not buy this book new as it's not worth the $60. I got mine for $13 and that was awesome! Would probably pay up to $40 for it.

Digital Domain is James Cameron's special effects firm in Venice, California. The book is a story of their challenges and success in creating the new worlds of techno-media where we are immersing ourselves within the story because of the power of special and visual effects. Titanic, Terminator and more -- are used as examples. Visually gorgeous, great cover and lots of terrific information. Focuses JUST on Digital Domain but does introduce us to the world of visual effects that is being created as you read this by the melding of art and science in the new multimedia environment. Beyond the technology there is a brilliance that is influencing all of our communication today -- from the rise of the SCREENAGER who uses multiple communications devices and techniques to the interactive experience that even shopping has become. Shoppertainment, infotainment, edutainment and more -- all are being changed by firms and innovators like Digital Domain and ILM of course. Not easy to read but great to thumb through and then focus on later.

As a book, this is an interesting, if often glowing report of the Digital Domain saga. Anyone who spends that much time around talented, creative and hardworking people is bound to leave biased by that experience...it is a healthy and positive bias born from the atmosphere production engenders.

I would caution those who slate authors and their work to use a spell check before running their ill-informed mouths. (see the previous review).

This book is just another way to make money off of wan-a-be Animators still in high school. It's a walking billboard for the company but your better off buying a magazine on special effects if you really want to know how things are done. About the same amount of content anyway.

They spend most of time patting themselves on the back, name-dropping and high 5-ing each other instead of actually revealing any new techniques. Gee, how long has blue screen been around, like 50 years? Oh, I'm sorry, you use green instead, how innovative.