King of His Domain

What allure could this have for world-class director who, between writing and producing his own movies, seemed to have a lot on his plate?

"You get to have access to the best visualization toys in the known universe," Cameron dead-pans. "You don't get rich. That's a given. You provide a service." Officially launched in fall '93, Digital Domain became upon its opening the largest visual-effects ;studio in Los Angeles and the second largest in the world (only the San Francisco-based Industrial Light & Magic is bigger).

Though it flies the flags of an effects facility, Digital Domain is, in fact, a full-service digital-production house, providing not only compositing and computer-generated imagery but also motion-control stages and blue and green screens. In addition, the shop has its own camera department, model shop and stages.

The firm hit the ground running. Its first project, Cameron's "True Lies," got under way even as equipment was being delivered and the facility was staffing up. The firm proved fast on its feet, spearheading many technical breakthroughs on that project and achieving the ultimate compliment with an Academy Award nomination for visual effects on that debut film.

The company's second project, Neil Jordan's "Interview With the Vampire,” made it down to the Oscar-nomination wire as one of seven films out of more than 200 considered by the Academy's special effects branch membership.

"Among our three business groups we've been at the top of the charts in almost everything we've done," says Ross, referring to the company's lauded work in the commercials and music-video fields.

The Jeep spot "Snow Covered," one of about 30 commercials the firm has worked on, won the Grand Prix at the Cannes Film Festival last year, while the firm's first music video – the Rolling Stones' land-of-giants romp for "Love Is Strong” – was at press time up for a Grammy.

The company plans to expand into games and ride films, the first of which – “T2 3-D” – is going into production for Universal Studios.

"We've satisfied our creative benchmarks, which is ultimately what this is about,” says the former president of ILM who is now president of and partner in Digital Domain. In addition to partner Winston – a creature-effects-ani-mator extraordinare and longtime associate of Cameron's ("The Terminator,” "Aliens," "T2”) – other key DD team players include Rob Legato, who joined from Paramount ("Star Trek: The Next Generation” TV series); Boss Films alumni John Bruno and Pat McClung; Michael Gibson, late of Rhythm & Hues; and former ILMer Jay Riddle.

The company has a software-development department of 13, most of them computer-science PhDs, Ross explains. Basically, their task is to invent what it takes to realize a filmmaker's wildest visions on the screen. But, Ross emphasizes, the biggest software developments have always been a function of story. “It always starts with the script," he says. "The next step is bringing those visions to life. We have the tools to deliver that and the team to make sure there are magnificent images at the end of the day."

Cameron has stated that his intention was to fashion a director-friendly visual-effects house, one that took the mystery out of the process, making it more intuitive and less intimidating. As effects become more and more integral to a film's production – and often its success – Cameron says he's getting "a lot of curiosity from directors who aren't associated generally with visual effects. They're realizing that in order to fully realize their craft they've got to be conversant in these techniques.”