Digital Domain: The Leading Edge of Visual Effects

by Piers Bizony

Book Overview

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... This description may be from another edition of this product.

• Format: Hardcover
• Language: English
• ISBN: 0823079287
• ISBN13: 9780823079285
• Release Date: January 2001
• Publisher: Billboard Books
• Length: 250 Pages
• Weight: 3.65 lbs.
• Dimensions: 1.1" x 9.4" x 11.7"

Customer Reviews

Great book

It's a great book, (sure for one who does the job, or who got fired after Titanic, funky George, it ain't a manual)They explain basics as 8 and 32 bit images, why green and why blue, motion control, 3Dskeletons, modelling etc... very clear and simple BUT with bloody great pictures, loads and loads and that's what we all want to see,my boy loves the book,the singing baby,(cfr SIRevolv)is missing,frontcover is very nice,Peolpe making these 'Company Books' should put a (multizone)DVDwith interesting making-offs, with interesting making-offs, with interesting making-offs , with interesting making-offs.... .

Highly recommended for any involved in film art

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.

A rejoinder to a previous review...

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 recent

Beautiful book!

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!

friggin awesome

digital domain rocksbuy this bookthey should hire me!