THE DAY AFTER TOMORROW
- While gurus prep 'Peter,' 'Tomorrow'... Cheplic, Matt // Variety;8/3/2003, Vol. 391 Issue 10, pA1
Focuses on the film 'The Day After Tomorrow,' directed by Roland Emmerich, to be released on Spring 2005. Overview of the film; Description of the film's special effects and art direction; Significance of digital technology to filmmaking.
- THE DAY AFTER TOMORROW. Frankel, Daniel // Daily Variety;1/11/2005, Vol. 286 Issue 10, pA3
Features the special effects used in the film's â€œThe Day After Tomorrow.â€ Conflict between the producer of the film, Fox and Digital Domain (DD), resulting to a decision by Fox to pull out finished and unfinished shots made by DD and give them to other special effects firms; Box...
- Prod'n pace hobbled by ambitious f/x. Wolff, Ellen // Variety;8/3/2003, Vol. 391 Issue 10, pB2
Focuses on the production of special effects for motion pictures in the U.S. Challenges associated with creating special effects; Style applied by Digital Domain in making the visual effects for the film 'Day After Tomorrow'; Overview of the film 'Sharkslayer,' from DreamWorks'.
- Film: Making heavy weather. Allen, Myles // Nature;5/27/2004, Vol. 429 Issue 6990, p347
Reviews the motion picture "The Day After Tomorrow," directed by Roland Emmerich.
- DIRECTOR TO NEW YORK: Drop Dead! Cluff, Kira // Newsweek;6/7/2004, Vol. 143 Issue 23, p16
Reviews the motion picture "The Day After Tomorrow," written and directed by Roland Emmerich.
- 'Tomorrow' at Orphanage. Graser, Marc // Daily Variety;4/15/2004, Vol. 283 Issue 8, p20
Reports on the production of the movie "The Day After Tomorrow" at Orphanage in Los Angeles, California. Growth of the company from a small boutique handling effects sequences on independent films and telemovies to a company that can tackle studio tent-poles requiring hundreds of shots;...
- Scaling Up. Hope, Michele // Computer Graphics World;Sep2004, Vol. 27 Issue 9, p38
The article presents information on Orphanage, a San Francisco-based special effects studio. The company's nearly 200 artists immerse themselves in the art of making explosions look more devastatingly real on screen. The credits of the company include the creation of 2D and 3D special effects...
- The grand illusion. Robertson, Barbara // Computer Graphics World;Jan98, Vol. 21 Issue 1, p22
Focuses on Venice, California-based Digital Domain's use of computer graphics to create the special effects for the motion picture `Titanic.' Challenges faced by Digital Domain artists in making the ship Titanic believable; Creation of realistic three-dimensional water and three-dimensional...
- The Sleigh and the Rocks and the Whos and their Socks. Robertson, Barbarra // Computer Graphics World;Dec2000, Vol. 23 Issue 12, p20
Features the work of Digital Domain in providing the visual effects using computer graphics for the film 'How the Grinch Stole Christmas,' from Universal Pictures. Creation of photorealistic real worlds; Use of Alias/Wavefront's Maya to create terrain; Use of Side Effects' Houdini for...