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Coming to the Aid of a Sinking Ship

Jul 1, 1997 12:00 PM, by Michael Speier


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The Titanic was eminently known as much for its intricate opulence as for its extreme detail. In the James Cameron-directed, Paramount Pictures megafilm Titanic, the recreation of the doomed vessel falls squarely on the shoulders of Los Angeles-based Digital Domain, a facility familiar with big-budget studio projects.

However, just as important to the film's production and post schedules are the smaller houses working to help complete the massive undertaking. One facility is Vision Crew Unlimited, L.A., whose motion control, miniature, and model work on other DD projects like Dante's Peak and The Fifth Element have helped them become one of the preeminent special visual effects houses for feature films.

"Our relationship with [Digital Domain] has been a blessing," says Evan Jacobs, who, along with Jon Warren and Doug Miller, co-founded VCU in late 1994. Feature work is quickly becoming a force here, as filmmakers are realizing the benefits to in-camera effects."

For Titanic, VCU created deck detail for the 44-foot model ship, including lifeboats, cranes, portholes and ventilators. "Jim [Cameron] wanted a museum," says Jacobs. "We happily obliged, going so far as to design interiors for the lifeboats."

Jacobs senses an ever-growing future for miniature and model work as more effects-laden films like Titanic are produced. "A lot of wide-range effects houses find it difficult to make money on their miniature divisions," he says. "By working predominantly with these kinds of effects, we become a specialty house, and we can focus our attention."

VCU's current slate also includes sequences for New Line Cinema's Mortal Kombat: Annihilation. "New Line liked the idea of miniatures, because once they're built you can shoot as much film as necessary. Digitizing it would have meant time and money spent for each different perspective and getting locked in. Doing it this way provided a real run-and-gun feel."


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