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Titanic
Back to Titanic
Article by Don Shay
 
Titanic is an apt title for the latest film from director James Cameron, denoting not only the subject matter of the picture, but the scope of the endeavor, as well. On his odyssey to bring the story of the 1912 maritime disaster to the screen, Cameron went to the bottom of the North Atlantic to photograph the actual Titanic wreck, then reconstructed the celebrated ship, almost full-size — and sank it! — at a studio built expressly to house the massive production.
 
Titanic
Ship of Dreams
Article by Don Shay
 
Convinced that total verisimilitude was essential for Titanic, Cameron challenged Digital Domain and visual effects supervisor Robert Legato to blur the line between full-size photography and miniature work by constructing an enormous model of the ship, then placing it in a digital ocean environment and populating it with computer generated people to capture, in intimate detail, the expansive elegance of the liner at sea and the horror of its untimely demise.
 
Titanic
Titanic Aftermath
Article by Jody Duncan
 
During principal photography and into postproduction, as the visual effects workload for Titanic increased from 150 shots to more than 500, a production-level effects department was established to assign and monitor the overflow workload, which was farmed out to seventeen separate facilities collectively contributing everything from complex compositing and miniature photography to matte paintings and computer animation.
 
 
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