It's a typically dry afternoon in Sun Valley, in an industrial area near the Burbank airport where the pavement is scorched and the air is speckled with construction dust.

Tucked behind a 12-foot-high ficus hedge, however, inside a Willy Wonka-like facility teeming with invention, Jim Doyle is making it rain.

A sheet of water cascades from the ceiling with a thunderous roar inside a dark, garage-like space called Area 9. Water rushes out of wide-mouthed hoses on the cement floor, flooded with half an inch. The cinder block walls, painted black, are coated with mist and a damp, acrid scent conjuring wet laundry hangs in the air. An inflatable shark dangles from the ceiling.

This is the demonstration and testing lab at the L.A. headquarters of WET, a design firm where Doyle, who just finished a new fog effect for an upcoming Los Angeles ballet, has helped create some of the most ambitious and lavish water displays in the world.

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The Bellagio fountain and the Mirage volcano in Las Vegas were both designed by WET, as were fountains at Los Angeles' Music Center, the Grove and Americana at Brand, as well as the 2002 Olympic-flame caldron in Salt Lake City.

Doyle was head engineer on the Olympics project. Designed to look like an icicle, the glass caldron was lighted with fire from within; small jets bathed the caldron from the outside, cooling it, which also made it appear to be melting.

"Water, fire, fog, smoke, ice, I do it all," Doyle says. "Who doesn't love those things?"

Doyle spent nearly 20 years as a special effects designer for films — he created Freddy Krueger's iconic, razor-sharp glove in "A Nightmare on Elm Street." He also invented liquid-nitrogen fog, initially used during musical numbers in children's television shows to replace dry ice, which, he says, can be toxic over long exposures.

"I got the idea on 'Thriller,' the graveyard scene," Doyle says of his work on Michael Jackson's groundbreaking video. "We were going through liquid nitrogen like crazy. I thought: 'There's gotta be a better way of doing this.'"

His design and use of the so-called dry fogger won him an Academy Award for Technical Achievement in 1992.

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Feeling that he'd hit an industry peak after his Oscar, Doyle began searching for new opportunities. WET founder Mark Fuller had worked with Doyle at what is now Walt Disney Imagineering and brought him into WET. Doyle's now been with the company for 17 of its 27 years.

His newest creation — technically a freelance project he worked on during nights and weekends at WET, a practice Fuller encourages — is a fog effect for the ballet piece "Azimuth."

As part of Glorya Kaufman Presents Dance at the Music Center's 10th-anniversary season, the San Francisco-based Alonzo King LINES Ballet is collaborating with Hubbard Street Dance Chicago on the Los Angeles premiere of "Azimuth." Created by King, the piece combines classical ballet and contemporary dance.

The first of "Azimuth's" nine sections leads with Doyle's cone-shaped fog effect, which rises with the curtain as the dancers twirl in its midst.

The effect is ethereal, says Doyle, who thinks of fog almost as a paintbrush. Working with King as well as "Azimuth" lighting designer Axel Morgenthaler, it took Doyle about four weeks to create the effect, including the parts that were discarded.

"It's very clean, very short," Doyle says, and "isn't at all intrusive" to the dance.

King says the fog effect was particularly in sync with "Azimuth," which is something of a three-dimensional meditation on transcendence.

"Azimuth is a maritime measure in a spherical coordinate system," King says. "Its origin sprang from people reacting to working with liquid and the need to navigate through liquid, which can obscure sight. So without meaning to be literal, fog had all the correct qualities for the piece."