it challenges actors to use their imaginations while performing. She also found it easy to play a television reporter due to her being a self-admitted "news junkie." Unable to find wind machines powerful enough to mimic hurricane-force winds, Sertner brought in a jet engine to aim at the actors and props during necessary scenes. Three dimensional storyboards, called animatics, were used to allow the filmmakers to see what a scene would look like before shooting, using a digital version of the actors. The various weather scenes blended together stock footage of real natural disasters with the computer-generated shots, with care taken to match up the details of the various scenes. Release Category 6 was initially aired in the United States on CBS as a two-part, four-hour miniseries. The first part aired on Sunday, November 14, 2004, and the second followed on Wednesday, November 17, 2004. It was later aired in Australia on February 12, 2005. The miniseries was first released to Region 1 DVD by CBS Television on February 15, 2005. On February 13, 2007, Lions Gate Entertainment released it, together with fellow disaster miniseries 10.5, as a two feature set. The full miniseries aired in Jamaica on Television Jamaica in 2017. Reception The miniseries was highly successful for CBS, as 19.4 million viewers tuned in to the first part of the film and made it the channel's best-rated Sunday night movie in over two years. The second part was watched by 17 million viewers, the highest number of viewers for the channel on a Wednesday night for the fall season. Together, the two parts helped to push the channel to the top spot for the year's November sweeps week. Despite the high ratings, the film was generally panned by critics, except for almost universal praise for the high-budget special effects. New York Magazine'''s John Leonard found it lacking compared to the feature film The Day After Tomorrow, though he did feel it had a certain "raffish zombie charm." Charlie McCollum of the San Jose Mercury News called it a "third-rate disaster flick — with lame dialogue, voodoo science and wooden performances — spread out over two nights and four seemingly endless hours." Aaron Barnhart of the Kansas City Star agreed, feeling the filmmakers spent their budget on special effects to the detriment of the film's dialog. He called the film an "assault on common sense" for positing the idea