Filmmaking Techniques

Filmmaking Technical crew

2008-09-21T10:42:00.002+05:30

A film crew or Fimmaking Technical Crw is a group of people hired by a production company for the purpose of producing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. Crew are also separate from producers, those who own a portion of either the film company or the film's intellectual property rights. A film crew is divided into different departments, each of which specializes in a specific aspect of the production.

Production
“Production” is generally not considered a department as such, but rather as a series of functional groups. These include the "front office" staff such as the Production Manager, the Production Coordinator, and their assistants; the accounting staff; the various Assistant Directors; and sometimes the Locations Manager and his or her assistants. The Director is considered to be a separate entity, not within the departmental structure.
Executive Producer is usually an investor in the project or just a credit that the filmmaker gave to someone who paid for the credit. You can have as many executive producers as you want but generally keep it to a minimum.

Producer
A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project.

Production Manager
The production manager supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the production manager's responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.

Unit Manager
The unit manager fulfills the same role as the production manager but for secondary "unit" shooting. In some functional structures, the unit manager subsumes the role of the Transport Coordinator.

Production Coordinator
The Production Coordinator is the information nexus of the production, responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.

Film Director
The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, he or she is ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred.

First Assistant Director
The first assistant director (1st AD) assists the production manager and director. The ultimate aim of any 1st AD is to ensure the film comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focussed on their work. He or she is in charge of overseeing the day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the entirety of relatively minor shots, at the director's discretion.

Second Assistant Director
The second assistant director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD may also direct background action and extras in addition to helping the 1st AD with scheduling, booking, etc. The 2nd AD is responsible for creating Call Sheets that let the crew know the schedule and important details about the shooting day. In Canadian and British functional structures there are 3rd ADs and even Trainee ADs; in the American system there are 2nd 2nd ADs.

Production Assistant
A production assistant assists the first assistant director with set operations. Production assistants, almost always referred to as PAs, also assist in the production office with general tasks.

Script Supervisor
Also known as the "continuity person", the script supervisor keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. He or she makes notes on every shot, also keeping track of props, blocking, and other details to ensure that continuity is maintained from shot to shot, and from scene to scene. The Script Supervisor's notes are given to the Editor to expedite the editing process. The script supervisor works very closely with the director on set.

Stunt Coordinator
Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the director.

Art Department
The Art Department in a major feature film can often number hundreds of people. Usually it is considered to include several sub-departments: the art department proper, with its art director, set designers and draughtsmen; sets, under the set decorator; props, under the propmaster; construction, headed by the construction coordinator; scenic, headed by the key scenic artist; and special effects.

Production Designer
A production designer is responsible for creating the physical, visual appearance of the film - settings, costumes, properties, character makeup, all taken as a unit. The production designer works closely with the director and the cinematographer to achieve the 'look' of the film.

Art
Within the overall Art Department is a sub-department, called the Art Department, which can be confusing. This consists of the people who design the sets and create the graphic art.

Art Director
The art director reports to the production designer, and more directly oversees artists and craftspeople, such as the set designer and set decorator, who carry out the production design.

Assistant art director
The first, second and third assistant art directors carry out the instructions of the art director. Their work often involves measuring locations, creating graphics and paper props, collecting information for the production designer and drawing sets. Sometimes a set designer is also the first assistant art director; in this capacity, he or she manages the work flow and acts as the 'foreman' of the drawing office.

Set Designer
The set designer is the draftsman, often an architect, who realizes the structures or interior spaces called for by the production designer.

Illustrator
The illustrator illustrates visual representations of the designs to communicate the ideas imagined by the production designer.

Sets
Set Decorator
The set decorator is in charge of the decorating of a film set, which includes the furnishings and all the other objects that will be seen in the film. He works closely with the production designer and coordinates with the art director. In recognition of the set decorator's importance, the Academy Award for Art Direction is given jointly to both the production designer and the set decorator.

Buyer
The buyer is the number two person in the set department below the set decorator. The buyer locates, and then purchases or rents the set dressing.

Set Dresser
The set dressers apply and remove the "dressing," i.e., furniture, drapery, carpets—everything one would find in a location, even doorknobs and wall sockets. Most of the swing gang's work occurs before and after the shooting crew arrives but one set dresser remains with the shooting crew and is known as the on-set dresser. In some countries, such as England and Ireland, the set dressing department is referred to as dressing props department.

Props
Props Master
The property master, more commonly known as the props master, is in charge of finding and managing all the props that appear in the film. The propsmaster usually has several assistants.

Props builder
The props builder, or more frequently propmaker, as the name implies, builds the props that are used for the film. Props builders are often technicians skilled in construction, plastics casting, machining, and electronics.

Armourer
The armourer is a specialized props technician who deals with firearms. In most jurisdictions this requires special training and licenses.

Construction
Construction Coordinator
The construction coordinator oversees the construction of all the sets. The coordinator orders materials, schedules the work, and supervises the often sizeable construction crew of carpenters, painters and labourers. In some jurisdictions the construction coordinator is called the construction manager.

Head Carpenter
The head carpenter is the foreman of a "gang" of carpenters and laborers.

Scenic
Key Scenic
The key scenic artist is responsible for the surface treatments of the sets. This includes special paint treatments such as aging and gilding, as well as simulating the appearance of wood, stone, brick, metal, stained glass--anything called for by the production designer. The key scenic artist supervises the crew of painters, and is often a master craftsperson.

Greens
Greensman
The greensman is a specialised set dresser dealing with the artistic arrangement or landscape design of plant material, sometimes real and sometimes artificial, and usually a combination of both. Depending on the scope of the greens work in a film, the greensman may report to the art director or may report directly to the production designer. If a significant amount of greens work is required in a film, then the Greens may be an identifiable sub-department, with its own team - often of a size numbering double figures - and hierarchy (eg. Greensmaster, Greens Supervisor, Foreperson, Leading Hand, Laborers). Specialists from other areas of the Art Dept. (eg. Fabricators, Sculptors, Painters/Scenics) may also be drafted to work exclusively on Greens.

Hair and make-up
Make-up Artist
Make-up artists are beauticians that apply makeup to anyone appearing on screen. They concentrate on the area above the chest, the face, the top of the head, the fingers, hands, arms, and elbows. Their role is to manipulate an actors on screen appearance whether it makes them look more youthful, larger, older, or in some cases monstrous. There are also body makeup artist who concentrate their abilities on the body rather than the head.

Hairdresser
The hair stylist is responsible for maintaining and styling the hair of anyone appearing on screen. He or she works in conjunction with the makeup artist.

Wardrobe
Costume Designer
The costume designer is responsible for all the clothing and costumes worn by all the actors that appear on screen. He or she is also responsible for designing, planning, and organizing the construction of the garments down to the fabric, colors, and sizes. The costume designer works closely with the director to understand and interpret "character," and counsels with the production designer to achieve an overall tone of the film.

Costume Supervisor
The Costume Supervisor works closely with the designer. In addition to helping with the design of the costumes, the he or she manages the wardrobe workspace. He or she is responsible for supervising the construction or sourcing of garments, the hiring and firing of support staff, the budget, paperwork, and department logistics.

Key Costumer
The Key Costumer is employed on larger productions to manage the set costumers, and to handle the Star's wardrobe needs.

Costume Standby
The Costume Standby is present on set at all times. It is his/her responsibility to monitor the quality and continuity of the actors and actresses costumes before and during takes. (S)he will also assist the actors and actresses with dressing. This person is also known as a 'set costumer'.

Art Finisher
An Art Finisher may be employed during the pre-production stage to "break down" garments. This specialised job includes making new clothing appear dirty, faded and worn. They are also known as breakdown artists.

Buyer
On large productions a Buyer may be employed to source and purchase fabrics and garments. A buyer might also be referred to as a shopper. This distinction is often made when the lead actor in a production has control over their wardrobe, and they may personally hire this person.

Cutter/Fitter
A costume technician who fits or tailors costumes, usually on-set. They can also be called cutters, seamstresses or tailors. Some celebrity actors have favorite cutters, and larger productions may hire several and have them on set at the same time, particularly in period film projects that might have complicated or extremely expensive extras wardrobe.

Camera
Director of Photography
The director of photography is the chief of the camera and lighting crew of the film. The DP makes decisions on lighting and framing of scenes in conjunction with the film's director. Typically, the director tells the DP how he or she wants a shot to look, and the DP then chooses the correct aperture, filter, and lighting to achieve the desired effect.

Cinematographer
The term cinematographer has been a point of contention for some time now. It is usually synonymous with "director of photography," though some professionals insist that it only applies when the director of photography and camera operator are the same person.

Camera Operator
The camera operator uses the camera at the direction of the cinematographer, director of photography, or the film director to capture the scenes on film. Generally, a cinematographer or director of photography does not operate the camera, but sometimes these jobs may be combined.

First Assistant Camera (Focus Puller)
The first assistant camera (1st AC) is responsible for keeping the camera in focus as it is shooting.

Second Assistant Camera (Clapper Loader)
The second assistant camera (2nd AC) operates the clapperboard at the beginning of each take and loads the raw film stock into the camera magazines between takes, if there is no additional specifically desiginated film loader. The 2nd AC is also in charge of overseeing the meticulously kept notebooks that records when the film stock is received, used, and sent to the lab for processing. Additionally, the 2nd AC oversees organization of camera equipment and transport of the equipment from one shooting location to another.

Loader
The loader is the designated film loader. He transfers motion picture film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After exposure during filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport to the laboratory. It is the responsibility of the loader to manage the inventory of film and communicate with the 1st AC on the film usage and remaining stock throughout the day. On small production crews, this job is often combined with the 2nd AC. With the prevalence of digital photography, this position is often eliminated.

Camera Production Assistant (camera intern)
Usually a volunteer or trainee in the camera department, the camera PA assists the crew with menial details while learning the trade of the camera assistant, operator or cinematographer.

Digital Imaging Technician ("DIT")
On digital photography productions the digital imaging technician is responsible for the coordination of the internal workings of the digital camera. Under the direction of the cinematographer or director of photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to creatively or technically manipulate the resulting image.

Steadicam operator
A Steadicam operator is someone who is skilled at operating a Steadicam rig (the genericized trademark for a camera stabilization rig).

Motion Control Technician/Operator
This technician operates a motion control rig, which is essentially a 'camera robot' that is able to consistently repeat camera moves for special effects use. Motion control rigs are typically rented with an experienced operator.

Production Sound
Production Sound Mixer
The production sound mixer is head of the sound department on set, responsible for recording all sound during filming. This involves the choice and deployment of microphones, operation of a sound recording device, and sometimes the mixing of audio signals in real time.

Boom Operator
The boom operator is an assistant to the production sound mixer, responsible for microphone placement and movement during filming. The boom operator uses a boom pole, a long, special piece of equipment made from light aluminum or carbon fiber, that allows precise positioning of the microphone above or below the actors, just out of the camera's frame. As well as the Placement of Radio Mics and other Microphones 'Hidden' on set. In France, the boom operator is known as the perchman.

Utility Sound Technician
The utility sound technician has a dynamic role in the sound department, most typically pulling cables, but often acting as an additional boom operator or mixer when required by complex filming circumstances. Not all films employ a utility sound technician, but the increasing complexities of location sound recording in modern film have made the job more prevalent. This role is sometimes credited as "cable man" or "python wrangler."

Grip
Grips are trained lighting and rigging technicians. The main responsibilities of a grip are to work closely with the electrical department to put in the lighting set-ups necessary for a shot. On the sound stage, they are responsible for moving and adjusting major set pieces when something needs to be moved to get a camera into position. They may belong to the International Alliance of Theatrical Stage Employees.

Key grip
The key grip is the chief grip on a set, and is the head of the set operations department. The key grip works with the director of photography to help set up the set and to achieve the correct lighting and blocking.

Best boy (Grip)
The best boy grip is the chief assistant to the key grip. They are also responsible for organizing the grip truck through out the day.

Dolly grip
The grip in charge of operating the camera dolly is called the dolly grip. He/she places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders.

Electrical
Gaffer
The gaffer is the head of the electrical department, responsible for the design and execution of the lighting plan for a production. Sometimes the gaffer is credited as "Chief Lighting Technician".

Best boy (Electrical)
The best boy electric is the chief assistant to the gaffer.

Lighting Technician
Lighting technicians are involved with setting up and controlling lighting equipment.

Editorial
Film Editor
The film editor is the person who assembles the various shots into a coherent film, with the help of the director. Film editors may belong to the American Cinema Editors (A.C.E.)

Colorist
With a photochemical process, the color timer adjusts the color of the film via printer lights for greater consistency in the film's colors. With a digital intermediate process, the colorist can use digital tools in manipulating the image and has greater creative freedom in changing the aesthetic of a film.

Negative Cutter
The negative cutter cuts and splices the negatives as directed by the film editor, and then provide the assembled negative reels to the lab in order for prints (positives for projection) to be made.

Visual Effects
Visual Effects Supervisor
The visual effects supervisor is in charge of the visual effects department. Visual effects refer to post-production alterations to the film's images. They are not to be confused with special effects, which are done during production (on set).

Compositor
A compositor is a visual effects artist responsible for compositing images from different sources such as video, film, computer generated 3-D imagery, 2-D animations, matte paintings, photographs, and text.

Inferno, Flame
These artists operate an Inferno or Flame visual effects system. These systems are manufactured by Discreet (now a division of Autodesk).

Roto, paint
These artists may rotoscope the footage, manually creating mattes for use in compositing. They may also paint visual information into or out of a scene, such removing wires and rigs, logos, dust busting, scratch removal, etc.

Matte Painter
These artists draw/paint entire sets or extend portions of an existing set.

Sound/Music
Sound Designer
The sound designer, or "supervising sound editor", is in charge of the post-production sound of a movie. Sometimes this may involve great creative license, and other times it may simply mean working with the director and editor to balance the sound to their liking.

Dialogue Editor
Responsible for assembling and editing all the dialog in the soundtrack.

Sound Editor
Responsible for assembling and editing all the sound effects in the soundtrack.

Re-recording Mixer
Balances all of the sounds prepared by the dialogue, music and effects editors, and finalizes the films audio track.

Music Supervisor
The music supervisor, or "music director", works with composer, mixers and editors to create and integrate the film's music. In Hollywood, a music supervisor's primary responsibility is to act as liaison between the film production and the recording industry, negotiating the use rights for all source music used in a film.

Composer
The composer is responsible for writing the musical score for a film.

Foley Artist
The foley artist is the person who creates and records many of the sound effects for a film.

Screenplay Writing

2008-09-20T09:59:00.008+05:30

Welcome to Movie lovers and Screen Writers, Directors also Filmmakers into my new outlined articles on Film and Television screenplay writing. Today I am going to tell you or introducing to you a common rules and regulations in screen-writing methods, such filmmaking and television genres. Most of Filmmakers and technicians are using these methods worldwide, especially in Hollywood.

Screenplay or Script Writing

A screenplay or script is a written plan, authored by a screenwriter, for a film or television program. Screenplays can be original works or adaptations from existing works such as novels.
The major components of a screenplay are action and dialogue, with the "action" being "what we see happening" and "dialogue" being "what we hear" (i.e., what the characters utter). The characters, when first introduced in the screenplay, may also be described visually. Screenplays differ from traditional literature conventions in ways described below; however, screenplays may not involve emotion-related descriptions and other aspects of the story that are, in fact, visual within the end-product.

Screenplays in print are highly formal, conforming to font and margin specifications designed to cause one page of screenplay to correspond to approximately one minute of action on screen; thus screen directions and descriptions of location are designed to occupy less vertical space than dialogue, and various technical directions, such as settings and camera indication are set apart from the text with capital letters and/or indentation. Professional screenplays are always printed in 12-point Courier, or another fixed-width font that appears like typewriter type.

In the United States, the Writers Guild of America, East (WGA) has final control on who may be awarded screenwriting credit for a screenplay in a union production. The WGA is one of several organizations in the U.S. and worldwide which recognize screenplays with awards.
A script for television is sometimes called a teleplay.

Sample Screenplay Script

Spec script
A spec script is a "speculative" screenplay, one that the Variety slanguage dictionary defines as being "shopped or sold on the open market, as opposed to one commissioned by a studio or production company."
Spec scripts are written for various reasons:
by writers, who hope to have a script optioned and eventually purchased by producers or studios;
by writer/directors, who want to direct a film themselves;
by amateur writers hoping to convince a literary agent to represent them or a producer to hire them.
Spec scripts have not always held as much cachet in the business as they do now. Ernest Lehman describes how his original script for North by Northwest was unusual at that point in his career:

Originals were not smiled upon in those days, believe it or not. There was very little interest in originals in those days. [...] Studios, distributors wanted the assurance of someone else having thought a property worth publishing[...] In those days, if you went to a party in the Hollywood community and somebody would ask, "What are you working on, Ernie?" and you replied, "I'm doing an original now," the response would be "Oh." [...] Like they were a little embarrassed[...] If you were working on something that you were going to create all by yourself, they'd secretly think, "He's in bad shape. Working on an original." That definitely was the climate at one time in this town.

Attracting producers
The process of 'going out' with a spec script can be an extremely tense and nerve-wracking one for a writer. If the writer has an agent, the agent will identify a number of prospective buyers who may range from small independent producers to executives working in the major studios, and attempt to build up 'heat' under the script. The script is sent out simultaneously to all the prospective buyers, usually to be read over the weekend, in the hope of attracting a bidding war.
If the script sells, the writer may receive a payment of anything from a few tens of thousands of dollars to several million. If not, the script is sometimes dead in the water because it is now in the databases of the studios and development executives, and has been marked as having been 'passed' on.

However, most of the hundreds of thousands of spec scripts penned each year are written by unknowns who are trying to attract attention and find it difficult to generate the kind of “buzz” that more established scribes count on to sell their scripts. (See the screenwriting documentary Dreams on Spec.)

Sample script
A sample script is usually not intended for production, but to showcase the screenwriting skills of the author, in hopes of attracting the attention of an agent or producer. Often a spec script which fails to sell goes on to be a sample script.

Shooting script
A shooting script is the version of a screenplay used during the production of a motion picture. Shooting scripts are distinct from spec scripts in that they make use of scene numbers (along with certain other formatting conventions described below), and they follow a well defined set of procedures specifying how script revisions should be implemented and circulated.

Overview
When a screenplay is approved for production, the scenes are assigned numbers which are included in the script alongside the scene headers. The numbers provide a convenient way for the various production departments to reference individual scenes.
After a shooting script has been widely circulated, any rewrites are distributed on revision pages. This avoids having to print and distribute an entirely new draft for every set of revisions. Revision pages are distributed on colored paper (a different color for each set of revisions), with the revisions themselves marked by asterisks. The progression of colors varies from one production to the next, but a typical sequence would be: blue, pink, yellow, green, gold, salmon, cherry, white, and then back to blue.

In some cases, usually before the start of principal photography, an entirely new "white draft" will be distributed in lieu of colored revision pages. The pages in a white draft are renumbered from scratch, while the original scene numbers are maintained.

Preserving scene and page numbers
When revisions are made to a shooting script, they must be accomplished in a way that doesn't disturb the pre-existing scene numbers. For example, if a new scene is to be inserted between scenes 10 and 11, the new scene will be numbered 10A. Every scene thus retains its own unique number throughout the course of the production. When a scene is omitted, its number is preserved in the script along with the phrase (OMITTED). This effectively retires the number so that it can't be reused by a new scene inserted later at the same location.

Page numbers in a shooting script are handled in a similar way. When revision pages are distributed, the page numbers must flow sequentially into the pre-existing page numbers. For example, if page 10 is revised such that it now occupies a page and a half, the revisions will be distributed on two pages numbered 10 and 10A. These two pages will replace page 10 in the outstanding drafts. Conversely, if pages 15 and 16 are shortened such that they now occupy a single page, the revisions will be distributed on a single page numbered 15-16.

Scene continued
When a numbered scene is split across pages, (CONTINUED) appears at the bottom of the prior page, and CONTINUED: appears at the top of the subsequent page. This continued indicator appears along with the number of the scene being continued and a bracketed count of how often the scene has been continued thus far, e.g. 107 CONTINUED: (2). The number is usually omitted when it's equal to one.

Dialogue continued
When dialogue is split across pages, (MORE) appears below the portion of dialogue on the first page, similar to a parenthetical but indented the same as the character's name. On the subsequent page, the remaining dialogue is headed by the character's name, which is extended by an abbreviated continued indicator, e.g. JOHN (CONT'D).
When a character speaks more than once consecutively, with only action separating the speeches, (continuing) parentheticals can be used in the subsequent speeches. (continuing) parentheticals are positioned the same as standard ones: below the character's name and indented from the dialogue. Some writers indicate consecutive dialogue by including (CONT'D) beside the character's name (the same as for dialogue split across pages). Many writers choose not to indicate consecutive dialogue at all.

Dialogue continueds apply to both spec and production scripts. They are mentioned here because of the confusion that arises over the many uses of continued.

The revision slug
A slug (header) appears at the top of every revision page, aligned vertically with the page number. The revision slug typically includes the date the revisions were circulated, the color of the pages in parentheses, and usually, the name of the production or some other descriptive information. Every set of revisions is distributed along with a title page that includes a list of the revision slugs for every set of revisions distributed thus far.

Revision marks
Script revisions are marked with asterisks in the right hand margins of the revision pages. When many revision marks are present on a single page, or within a single paragraph or scene, the marks may be consolidated into a single mark. For example, if all the lines in a given passage of dialogue are marked, the marks can be consolidated into a single mark appearing alongside the name of the speaker above the dialogue. In the case of scenes, this single "consolidation mark" appears alongside the scene header. For pages, the consolidation mark appears beside the page number.

Screenwriting software
Most screenwriting software applications include functions for handling the formats and procedures described above, with varying degrees of automation.
Screenwriting software applications are word processors specialized to the task of writing screenplays. The need for such programs arises from the presence of certain peculiarities in standard screenplay format which are not handled well by generic word processors. A good example would be the formatting and revision-tracking requirements of shooting scripts. The page-break constraints imposed by standard screenplay format are also difficult to implement using standard word processors.

Most of the major screenwriting programs are standalone desktop applications. These include Celtx, DreamaScript, Final Draft, Montage, Movie Magic Screenwriter, Movie Outline, and Sophocles.

Some new solutions are web applications and run in a web browser with no software to install. These include ScriptBuddy, Scripped and Zhura.
Many other programs are available as add-ins for generic word processors such as Microsoft Word. Examples include Dr. Format and Script Wizard. There is also a package for LaTeX called screenplay.

Some screenwriting applications, such as Celtx and Sophocles, also incorporate production scheduling and budgeting capabilities. Others, such as Zhura, provide additional collaborative editing tools.

History
The first screenwriting software was a stand alone script formatter, Scriptor, from Screenplay Systems. It took a text file generated by a word processor and inserted the proper page break tags.

When used in conjunction with a TSR program such as SmartKey or ProKey -- keyboard utilities that assigned a sequence of commands to keystroke combinations -- the "dot commands" that Scriptor required could be inserted semi-automatically.
Additionally, keyboard macros could be programmed to properly indent and enter abbreviations -- allowing a user to customize the working of the word processor.
SmartKey was popular with screen writers from 1982-1987, after which word processing programs had their own macro features.

An update to Scriptor understood the style sheets used in Microsoft Word for DOS. And so the need for key macro programs was lessened.
Scriptor's limitation was that once formatted it was difficult to re-import the resulting text back into a word processor for further editing.
The next generation of screenplay software hooked into Microsoft Word. Warren Script Application was initially released as a set of style sheets for Word for DOS. It was updated for Word for Windows circa 1988.

gScript, a shareware script formatter / template, as released via CompuServe in 1989. It was included on the disk accompanying the book "Take Word for Windows to the Edge," published by Ziff-Davis in 1993. It has since been updated and released commercially as ScriptWright.
This third generation of screenplay software consists of the standalone script writing programs such as Movie Magic Screenwriter, Final Draft, Scriptware.

The latest generation adds online storage and collaboration. New partnerships, such as that recently announced between Movie Magic Screenwriter and Scripped, may lead to online and offline synchronization.

List of Screenplay Writing software
BPC-Screenplay - Screenwriting software Microsoft Windows
Celtx - An open source project on Mac OS X, Microsoft Windows, and Linux.
Final Draft - Screenwriting software Mac OS X, and Microsoft Windows. Considered the industry standard.

Montage software - Popular screenwriting software for Mac only.
Movie Magic Screenwriter - Integrated professional screenwriting software. Available on Mac and Microsoft Windows.

Movie Outline - Professional script writing and story development software for Mac and PC.
ScreenCraft Screenwriting Software - Windows based screenwriting software for MS Windows.
Scripped - Free professional browser-based screenwriting text editing software.
Zhura - Free online professional screenwriting software. Features public and group collaboration.

Model Screenplay: Titanic
Hi friends here I am giving first seven Scenes Screenplay from famous Hollywood film “Titanic”.

Titanic

A screenplay by James Cameron

Cast: KATE WINSLET... Rose DeWitt Bukater
LEONARDO DICAPRIO... Jack Dawson
KATHY BATES... The Unsinkable Molly Brown
BILLY ZANE... Caledon Hockley
BILL PAXTON... Brock Lovett
Written and Directed by: JAMES CAMERON

1 BLACKNESS
Then two faint lights appear, close together... growing brighter. Theyresolve into two DEEP SUBMERSIBLES, free-falling toward us like expresselevators.
One is ahead of the other, and passes close enough to FILL FRAME, lookinglike a spacecraft blazing with lights, bristling with insectilemanipulators.
TILTING DOWN to follow it as it descends away into the limitless blacknessbelow. Soon they are fireflies, then stars. Then gone.

CUT TO:

2 EXT./ INT. MIR ONE / NORTH ATLANTIC DEEP
PUSHING IN on one of the falling submersibles, called MIR ONE, right up toits circular viewport to see the occupants.
INSIDE, it is a cramped seven foot sphere, crammed with equipment. ANATOLYMIKAILAVICH, the sub's pilot, sits hunched over his controls... singingsoftly in Russian.
Next to him on one side is BROCK LOVETT. He's in his late forties, deeplytanned, and likes to wear his Nomex suit unzipped to show the gold fromfamous shipwrecks covering his gray chest hair. He is a wiley, fast-talkingtreasure hunter, a salvage superstar who is part historian, part adventurerand part vacuum cleaner salesman. Right now, he is propped against the CO2scrubber, fast asleep and snoring.
On the other side, crammed into the remaining space is a bearded wide-bodynamed LEWIS BODINE, sho is also asleep. Lewis is an R.O.V. (REMOTELYOPERATED VEHICLE) pilot and is the resident Titanic expert.
Anatoly glances at the bottom sonar and makes a ballast adjustment.

CUT TO:

3 EXT. THE BOTTOM OF THE SEA
A pale, dead-flat lunar landscape. It gets brighter, lit from above, as MIRONE enters FRAME and drops to the seafloor in a downblast from itsthrusters. It hits bottom after its two hour free-fall with a loud BONK.

CUT TO:

4 INT. MIR ONE
Lovett and Bodine jerk awake at the landing.

ANATOLY

(heavy Russian accent)

We are here.

EXT. / INT. MIR ONE AND TWO

5 MINUTES LATER: THE TWO SUBS
skim over the seafloor to the sound ofsidescan sonar and the THRUM of big thrusters.

6 The featureless gray clay of the bottom unrols in the lights of the subs.
Bodine is watching the sidescan sonar display, where the outline of a hugepointed object is visible. Anatoly lies prone, driving the sub, his facepressed to the center port.

BODINE

Come left a little. She's right in front of us, eighteen meters. Fifteen.Thirteen... you should see it.

ANATOLY

Do you see it? I don't see it... there!

Out of the darkness, like a ghostly apparition, the bow of the shipappears. Its knife-edge prow is coming straight at us, seeming to plow thebottom sediment like ocean waves. It towers above the seafloor, standingjust as it landed 84 years ago.
THE TITANIC. Or what is left of her. Mir One goes up and over the bowrailing, intact except for an overgrowth of "rusticles" draping it likemutated Spanish moss.
TIGHT ON THE EYEPIECE MONITOR of a video camcorder.
Brock Lovett's facefills the BLACK AND WHITE FRAME.

LOVETT

It still gets me every time.
The image pans to the front viewport, looking over Anatoly's shoulder, tothe bow railing visible in the lights beyond. Anatoly turns.

ANATOLY

Is just your guilt because of stealing from the dead.
CUT WIDER, to show that Brock is operating the camera himself, turning itin his hand so it points at his own face.

LOVETT

Thanks, Tolya. Work with me, here.
Brock resumes his serious, pensive gaze out the front port, with the cameraaimed at himself at arm's length.

LOVETT

It still gets me every time... to see the sad ruin of the great shipsitting here, where she landed at 2:30 in the morning, April 15, 1912,after her long fall from the world above.
Anatoly rolls his eyes and mutters in Russian. Bodine chuckles and watchesthe sonar.

BODINE

You are so full of shit, boss.

You want Titanic Film full Screenplay ?

Documentory film on "Shirdi Sai Baba Life History" (Exclusive Video)

2008-09-18T09:59:00.007+05:30

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2008-08-30T08:47:00.009+05:30

'Independence Day' Screenplay [Part 3]

2008-08-08T16:23:00.005+05:30

EXT. JASMINE'S HOUSE – CONTINUOUS
Steve picks up the morning paper and opens it. He doesn't notice the DOZENS of neighbors quickly packing up and rushing to get away as he reads the paper oblivious.

JASMINE (O.S.)

You want milk with your coffee?

Jasmine appears behind him, her view, too, obscured by the open newspaper. Suddenly another HELICOPTER room overhead.
Annoyed, Steve lowers his paper.
STEVE AND JASMINE'S POV
As the paper is lowered we SEE the helicopter SWOOP down. As it flies away we SEE... THE ALIEN CRAFT
Covering all of Los Angeles. This is the first time we see the entire craft. It is stupendous. Steve's jaw hits the floor. The milk goes CRASHING as Jasmine SCREAMS.

CUT TO:

INT. STAIRWELL – DAY
Running for all he's worth, David sprints down the stairs.
INT. COMPACT CABLE OFFICE – CONTINUOUS
Dashing off the stairs, David stops seeing that the room is now completely empty. The wall of monitors play for no one.
David walks up to one, adjusting the volume.
T.V. - CNN BROADCAST - (DISTORTED BROADCAST SIGNAL)
A space ship logo spins next to the words VISITORS: CONTACTCRISIS. Wolf Blitzer comes on screen live from the Pentagon.

WOLF BLITZER

Pentagon officials are reporting more ships have just arrived over the capitals of India, England and Germany.

As he speaks we get quick glimpses of the other ships.

MARTY (O.S.)

I know, babycakes. Calm down.

David spins around at the sound of the voice but the room is still empty. David leans down and looks under a desk where he finds Marty still on the phone with his wife.

DAVID

Tell her to get the kids and leave town.

MARTY

What happened?

DAVID

(yells)

Just do it!

Marty realizes David is dead serious.

MARTY

Babycakes, pack the kids up and take them to your mother's. Don't ask. Go. Mary hangs up, crawls out from under the table.

MARTY (cont'd)

Okay, why did I just send my family to Atlanta?

DAVID

Remember I told you that the signal hidden within our satellite signal is slowly recycling down to extinction.

MARTY

Not really...

DAVID

That signal. It's a countdown.

MARTY

(confused)

A countdown to what?

DAVID

Think. It's like in chess. First you strategically position your pieces. Then, when the timing's right. You strike.

David motions to the television.

BLITZER

...there are additional unconfirmed sightings over Japan, the Mediterranean, and China...

DAVID

They are positioning themselves all over the world and using this one signal to synchronize their efforts. In approximately six hours the signal will disappear and the countdown will be over.

MARTY

Then what?

DAVID

Checkmate.

Marty takes a beat to digest. Then, grabbing the phone....

MARTY

I gotta call my brother, my bookie, my lawyer... fuck my lawyer...

David also grabs a phone. Suddenly the bank of monitors synchronize into one enormous image across the entire video wall; the President addressing the nation.
INT. PRESS ROOM, WHITE HOUSE – SAME
The President stands at the podium giving his address.
PRESIDENT WHITMORE
My fellow Americans, a historic and unprecedented event has taken place. The question as to whether or not we are alone in the universe has been answered...
ANGLE - SIDE ENTRANCE TO PRESS ROOM
As Constance watches the President, she unconsciously mouths the words of his speech, after all, she did write them. A
PRESS AIDE tugs on her sleeve. She tries to wave her off.

PRESS AIDE

He says he's your husband.

Her expression drops. She takes the phone from her.

CONSTANCE

What do you want?

DAVID

(filtered)

You have to leave the White House.

CONSTANCE

This is not the time or the place to have this same old discussion.

INT. COMPACT CABLE OFFICES – SAME

DAVID

You don't understand. You have to leave Washington.

INT. SIDE OFFICE, WHITE HOUSE – DAY
Impatient, Constance tries to get off the phone.

CONSTANCE

In case you haven't noticed, we're in a little bit of a crisis here. DAVID

(filtered)

I've worked with embedded loading. They're communicating with a hidden signal. They're going to attack...

CONSTANCE

You're being paranoid.

DAVID

(filtered)

It's not paranoia. The embedding is very subtle. It's probably been overlooked... Constance hangs up. Her face betrays mixed emotions.

INT. COMPACT CABLE OFFICES – SAME
David stares at the phone, pissed. Something on T.V.
catches his attention. Through the snowy image he SEES...

PRESIDENT WHITMORE

(filtered)

...My staff and I are remaining here at the White House while we attempt to establish communication...

Hanging up the phone, David sprints for the exit.

PRESIDENT WHITMORE (cont'd)

...so remain calm. If you are compelled to leave these cities, please do so in a safe and orderly fashion.

SMASH CUT TO:

CABS SLAMMING TOGETHER - NEW YORK CITY STREETS
The rush to get away creeps slowly as cars jam the streets in total grid-lock. David pedals his bike furiously through traffic
EXT. GEORGE WASHINGTON BRIDGE - NEW YORK – DAY
The mass exodus has reached the bridge. Total congestion.
David fights his way through.
EXT. CLIFFSIDE, NEW JERSEY – LATER
The New York skyline behind him across the Hudson, David jumps off his bike, and races towards a row of tract houses.
EXT. MOISHE'S TRACT HOUSE - SECONDS LATER
David BANGS on the door. It flies open. Moishe is holding a hunting rifle, pointing it at David.

DAVID

Pops!

MOISHE

The television said they've started with the looting already Vultures. DAVID

You still got the Olds?

MOISHE

You want to borrow the car? You don't have a license.

DAVID

That's okay. You're driving.

CUT TO:

INT. JASMINE'S HOUSE – DAY
Steve, wearing his Marine flight officer uniform, shoves the last of his things into his duffel bag. We notice there are small figurines of dolphins everywhere. Jasmine hovers nervously behind him.

JASMINE

You can't go. Call them back.

STEVE

Baby, you know how it is. I have to report to El Toro right away.

JASMINE

You said you were on leave for the Fourth.

STEVE

They cancelled it. Why are you acting like this?

Jasmine grabs the blinds and yanks them away. We SEE the alien craft through the window.

JASMINE

Why? That's why. That thing scares the piss out of me.

EXT. DEBROW HOUSE – CONTINUOUS
Dylan sits behind the wheel pretending to drive. Steve grabs him, pulling him out. He reaches into his duffel, grabs a small brown paper bag.

STEVE

Here. I got these for you. Be careful with them.

Dylan opens the bag; fireworks. Jasmine walks over.

DYLAN

Cool.

Steve tosses his gear into the back, opens his door.

JASMINE

Wait. I have to tell you something.

STEVE

What?

JASMINE

(loses her nerve)

Be careful.

STEVE

Look, after your shift tonight, why don't you grab Dylan and come stay with me on base.

JASMINE

Really? You don't mind?

STEVE

(smiling)

Naw. I'll just tell my other girlfriends they can't come over tonight.

Pissed, she hits him. He loves it.

JASMINE

You know, you're not as charming as you think you are.

STEVE

Yes, I am.

JASMINE

Dick-weed!

STEVE

Butt-munch.

They kiss. Steve hops into his car and peels out. Jasmine takes the bagfromDylan.

JASMINE

I'll take these.

DYLAN

Mommmmmm...

CUT TO:

EXT. JERSEY - HIGHWAY - LATER THAT DAY
A perfectly preserved '68 Olds drives cautiously down the highway. Around him we see other cars packed to the gills as they make their escape from New York.
INT. OLDS – SAME
Not the most confident driver, Moishe holds the steering wheel close to his chest.

MOISHE

It's the White House, for crying out loud. You can't just drive up and ring the bell.

DAVID

Can't this thing go any faster?

MOISHE

You think they don't know what you know? Believe me, they know. She works for the President. They know everything.

DAVID

They don't know this.

MOISHE

And you're going to educate them? Tell me something, you're so smart how come you spent eight years at M.I.T. to become a cable repairman?

DAVID

Dad...

MOISHE

All I'm saying is they've got people who handle these things, David. They want HBO, they'll call you.

CUT TO:

INT. HOTEL LOUNGE, LOS ANGELES - LATE AFTERNOON
Mrs. Whitmore is at a house phone. Behind her we see several news crews waiting for interviews.

PRESIDENT WHITMORE

(filtered through phone)

I want you out of there.

MARGARET

You're staying there to keep people calm. It's the right thing to do. I'm not going to let them criticize you for it.

INT. WHITMORE BEDROOM - WHITE HOUSE – SAME
The President sits on his bed, his daughter lays next to him, watching T.V. The signal distortion is getting worse.

PRESIDENT WHITMORE

Okay, fine but the second your interviews are done, I have a helicopter ready to take you to Nellis Air Force...

MARGARET

(filtered)

How's the munchkin?

PRESIDENT WHITMORE

She's glued to the T.V., just like the rest of the world. I love you too. Here she is...

He hands Patty the phone as General Grey and Nimziki appear in the doorway. The President walks over to them.

GENERAL GREY

More ships keep arriving, fifteen in total so far.

NIMZIKI

This is crazy. We're loosing our first strike capabilities!

GENERAL GREY

We're trying to communicate with them on all frequencies but we're getting nowhere. Atlantic Command is working on a type of visual communication.

PRESIDENT WHITMORE

What the hell are they up to?

CUT TO:

EXT. TRAILER PARK –
A long crowded highway of people trying to escape from Los Angeles can be seen in the distance. The huge space craft hovering behind them.
Miguel is on the roof of the trailer, adjusting the T.V. antenna trying to get a picture. Suddenly the image clears and we SEE a group of people in a crowded hallway.

REPORTER

(filtered)

...a local crop duster was arrested today attempting to land at Edwards Air Force Base...

On the T.V. we SEE Russell being escorted to a police car.

Mortified, Miguel can't believe what he's seeing.

RUSSELL

They've got to do something. I was abducted by space aliens ten years ago. They did all kinds of experiments on me. They've been studying us for years, learning our weakness. We've go to do something before they kill us all!

TROY (O.S.)

Just as Troy starts to climb up, Miguel changes the channel to Mrs. Whitmore. Troy sits down next to Miguel.

MRS. WHITMORE

(filtered)

...we need to remain calm. As more people decide to leave the cities, safety is key...

MIGUEL

Troy, you remember Uncle Hector, from Tucson?

TROY

He's got that SEGA Saturn CD, 64 bit, right?

MIGUEL

Yeah. What would you think if we went there to live for a while?

TROY

That'd be cool!

Miguel thinks for a second, makes a decision.

MIGUEL

Pack up, we're going.

Miguel jumps down from the roof. Troy climbs down the ladder.

TROY

(yelling after him)

What about Dad?

ALICIA AND OLDER BOY

Kissing. It's getting hot. Alicia laughs, pushes him away

OLDER BOY

This could be our last night on Earth. You don't want to die a virgin, do you?

ALICIA

What makes you think I'm a virgin?

The Older Boy is taken off guard. Before he can answer the tarp they were hiding under is ripped away. Miguel stands there.

MIGUEL

Come on, we're going.

ALICIA

I'm not going anywhere...

Miguel grabs her by the wrist and pulls her away.
EXT. FREEWAY - OUTSIDE WASHINGTON – NIGHT
We see the long highway leading to Washington, the space ship hovering above it. One side of the freeway is packed solid, the other completely empty, save for one car...
INT. MOISHE'S OLDS – NIGHT
Moishe looks to the other side of the freeway, jam packed. On his side, they are the only car for miles.

MOISHE

The whole world is trying to get out of Washington and we're the only schmucks trying to get in.

As Moishe drives, David distracts him as he unpacks his backpack unloading his laptop. He grabs a CD.

MOISHE (cont'd)

What the hell is that?

DAVID

This, pops, is every phone book in America.

MOISHE

You think an important person like Constance is going to be listed?

DAVID

She always keeps her portable phone listed, for emergencies. Sometimes it's just her first initial, sometime her nickname...

David starts to look it up. Suddenly...
DOZENS OF CARS HEADING STRAIGHT FOR THEM
In the attempt to get out, hundreds of cars have been re- directed by the military to use the opposite side of the highway.

MOISHE

Oh my God!

Moishe SWERVES violently to avoid collision, barely missing the oncoming traffic. Dodging right to left, Moishe hangs on for dear life.
A Military Office, assisting in diverting the cars turns just in time to see the Olds whiz by.
David and Moishe are bounded around the inside of the car as Moishe tries to veer through traffic.
Suddenly A TRUCK blocks off their only escape route.
Moishe turns HARD and drives up onto the right shoulder.
OVERHEAD ANGLE - OLDS AND TRAFFIC
The Olds is the only car in headed that direction. Using the shoulder, swerving to miss barricades, they drives off an exit ramp.

DAVID

Nice driving, pops!

Dangerously close to a heart attack, Moishe is, for once, at a loss for words. Over their adrenaline pumped faces...

MALE VOICE (V.O.)

...put your hands together for Sabrina!

CUT TO:
INT. STRIP CLUB - LOS ANGELES – NIGHT
A bikini-clad Sabrina twirls gracefully on the stage. As she comes to a stop we reveal Sabrina is actually Jasmine. She looks out into the audience and her expression DROPS. REVERSE ANGLE - JASMINE'S POV - EMPTY CLUB
Five strippers and eight customers. All crowded near the television watching the news.
ANGLE T.V. - ROOFTOP - LOS ANGELES
Helicopter footage of people gathered on the rooftops of downtown Los Angeles holding up drawings of space aliens.

NEWSCASTERS

(filtered)

...from the "it could only happen in California" file, hundreds of UFO fanatics have gathered on the rooftops of downtown Los Angeles, welcoming the new arrivals...

INT. DRESSING ROOM – CONTINUOUS
Jasmine storms into the dressing room. Wiping off her makeup, she sits down next to TIFFANY who watches the same report on a small b&w.

JASMINE

I can't believe I even came in tonight. What was I thinking? TIFFANY

(re: T.V.)

Isn't this cool? And you thought I was nuts. Oh, look, I brought mine with me. Tiffany holds up a drawing of a space alien.

JASMINE

You're not thinking of joining those idiots?

TIFFANY

I'm going over there soon as I'm off. Wanna come?

Jasmine turns to Tiffany, dead serious.

JASMINE

Tiffany, I don't want you to go up there. Promise me you won't.

(Tiffany pouts)

Promise!

TIFFANY

I promise.

JASMINE

Okay. I'm gone. I'm outta town for a while.

Her boss MARIO enters and walks over to his private office in back. He opens the door and finds Dylan playing with his dog, Boomer.

MARIO

What the hell's your kid doing here?

Jasmine rushes past picking up Dylan and carrying him away as she heads for the exit. Boomer follows.

JASMINE

You try to find a sitter today.

MARIO

Where do you think you're going? You leave, you're fired.

JASMINE

(out the door)

Nice working with you, Mario.

CUT TO:

EXT. WASHINGTON D.C. – NIGHT
The streets are nearly deserted. Millions of small lights on the underbelly of the craft cast strange reflections on the streets below. The Olds drives on its way towards the Capitol building.
INT. OLDS – CONTINUOUS
David types frustratedly on his laptop.

MOISHE

Not listed, huh?

DAVID

I just haven't found it yet. I tried C. Halbrook, Connie Halbrook, Spunky Halbrook...

MOISHE

Spunky?

DAVID

College nickname.

MOISHE

You try Martin?

DAVID

She didn't take my name when we were married.

Moishe shrugs. David gives it a shot. Finds it. The machine

BEEPS.

MOISHE

(sarcastic)

So what do I know?

CUT TO:

INT. LOCKER ROOM - EL TORO MARINE CORPS STATION – NIGHT
A crowded locker room. Steve enters.

MALE VOICE (O.S.)

Where the hell've you been?

STEVE

Ah, were you guys waiting for me?

Several Marines throws towels at Steve as he makes his way to his locker. His best friend, JIMMY, sits next to him.

JIMMY

Can you believe it? This is serious shit, Stevie. They've recalled everyone!

As Steve sits he SEES some envelops stuck into the side of his locker.

STEVE

Well, the mail's still working.

He flips through the envelops and FREEZES when he sees one with the NASA insignia on it. Jimmy snatches it away from him.

JIMMY

Junk mail. You don't want this.

Steve quickly snatches it back, right it open and reads. From the disappointment on his face we can tell it's bad news.
Realizing, Jimmy puts a hand on Steve's shoulder.

JIMMY

I don't believe it. They make you learn how to fly everything from an Apache to a Harrier and still they turn you down? What else do they want you to learn?

STEVE

How to kiss ass.

Steve crumples at the letter and tosses it. Angrily he opens his locker. Pasted on the locker door we see photos of Jasmine next to the photos of the space shuttle, Apollo Missions, and a
NASA insignia bumper sticker.
As Steve stuffs his jacket into the locker, something falls out. Before Steve can grab it, Jimmy snatches it up first.

JIMMY

(embarrassed)

Jasmine has this thing for dolphins. I had them make it...

STEVE

I thought you said you were doing to break it off.

Steve snatches it back, embarrassed.

JIMMY (cont'd)

Steve, listen to me, you're never gonna get to fly the space shuttle if you marry a stripper.

Steve knows he's right. He's torn.

CUT TO:

EXT. WHITE HOUSE - MOMENTS LATER – NIGHT
The Olds stops near the White House. From here we can SEE tanks and armed patrols. A small group of protesters have gathered, upset about the military hardware. Signs: "Don't provoke" "Violence begets Violence
INT. ODS – CONTINUOUS
David adjusts a small portable satellite, connecting it to his
phon and laptop computer.

MOISHE

So, you want to ring the bell or should I?

David flips open the phone, dials the number on the screen.

DAVID

Perfect, she's using it.

MOISHE

It's perfect the line is busy?

DAVID

Yes. I can use he signal to triangulate her exact position in the White House.

MOISHE

You can do that?

Shooting his father a look.

DAVID

(sarcastic)

All cable repairmen can.

INT. WHITE HOUSE - HALLWAY - MOMENTS LATER
Constance is just finishing a call on her cellular phone.

CONSTANCE

...Sally, take my cat with when you leave. No I'm staying here at the White House. Take care. The moment she hangs up, it RINGS. Surprised, she answers.

CONSTANCE

What?

DAVID

(filtered)

Connie, don't hang up.

CONSTANCE

David? How'd you get this number?

DAVID

Walk to the window. Right in front of you.

Constance looks up to the large glass windows. She walks over to it, looking out.

CONSTANCE

What am I looking for?

CONSTANCE'S POV - STREET - OLDS – DAVID
Between two of the tanks outside, Constance can SEE David standing on top of the Olds across the street. Moishe steps out, waves. Constance is stunned.

CONSTANCE

(to herself)

How does he do that?

CUT TO:

INT. BRENNON TRAILER – NIGHT
Sulking, Alicia sits in back with he walkman on. Troy sleeps while Miguel drives. Suddenly Miguel his the brakes, as something comes SAILING DOWN FROM THE SKY
We realize it's the B-WING PLANE landing on the stretch of roadway directly in front of them.
EXT. ROADWAY – CONTINUOUS
The plane lands, skids into a turn. Russell jumps out, walks over to the trailer. We can tell he's drunk again.

MIGUEL

They let you out?

RUSSELL

Just what the hell do you think you're doing?

Miguel moves to meet Russell away from the trailer, not wanting the others to hear.

MIGUEL

We're leaving, don't try and stop us.

RUSSELL

You're not going anywhere. You hear me? I'm still your father.

Miguel explodes, this has been building up for some time.

MIGUEL

No, you're not! You're just the man who married my mother. You're nothing to me! Russell is momentarily silent, stunned. Recovering...

RUSSELL

Troy's still my son no matter how you feel about me.

MIGUEL

For once in your life think about what's best for Troy. Who has to beg for money to buy him medicine when you screw up? Who?

Suddenly we hear glass CRASHING. Both men spin to find Troy standing behind them.

TROY

Stop it! I'm not a baby! I don't need your stupid medicine. I don't need anyone to take care of me!

Miguel leans down to see the broken MEDICINE BOTTLE on the floor. Miguel rushes over to him, furious.

MIGUEL

You know what this stuff costs? Do you want to get sick again!? Do you!?

Frustrated, Miguel shoves Troy aside and heads back into the trailer. Wobbly from the drinking, Russell stands there pathetically, watching.
EXT. ANDREWS AIR FORCE BASE – NIGHT
A large group of press rush over toward FOUR APACHE HELICOPTERS, each refitted with a large LIGHT BOARDS, as they slowly lift off the ground. Cameras flash, reporters yell questions to the Officers assigned to keep them at bay.
Several news organizations do stand up remotes. We TRACK past them to the CNN crew.

CNN REPORTER

What you see behind me are four Apache helicopters...

To be continued…

'Independence Day' Screenplay [Part 2]

2008-07-31T14:58:00.005+05:30

YELLOW LIGHTS FLASHING ON
as an ALARM quickly BUZZES. David leans into frame and opens the door to the microwave. We WIDEN to reveal...
INT. DAVID'S CUBICLE - COMPACT CABLE – DAY
David retrieves his home-make cup-a-soup. We SEE this cubicle clearly has the David touch; ecology posters, plants, tons of computers and electronic gizmos.

MARTY

Please, tell me you're getting something.
Marty enters, looking over David's shoulder as he eats.

DAVID

There's good news and bad news.

MARTY

What's the bad news?

DAVID

You're in meal penalty for disturbing my lunch.

MARTY

And the good news is you won't charge me.

DAVID

No. The good news is I found the problem and it's not our equipment. There's some weird signal embedded within the satellite feed.

MARTY

That's the good news?

David slides over to another computer and turns on an intricate computation program.

DAVID

Yes, because the analog signal has a definite sequential digital patterns embedded within it. When I find the exact binary sequence and I apply a phase reversed signal to that calculated spectra analyzer I built you last Christmas, we should be able to block out the overlay completely...

MARTY

...and we'll be the only guys in town with a clear picture? That's my man.

CUT TO:

EXT. CALIFORNIA FARMLANDS, IMPERIAL VALLEY – DAY
Racing over back roads behind a long open field, Miguel rides his beat-up motor bike, searching. Looking up he SEES something in the air.
MIGUEL'S POV - AN OLD BI-WING AIRPLANE
converted into a crop-duster, BUZZES overhead. Spraying insecticide wildly, the plane zigzags over the field.

MIGUEL

(yelling)

Russell! God damn it, Russell!
Looking down from the cockpit, RUSSELL BRENNON waves stupidly. Shaggy blonde hair and two days' growth, Russell is the image of a fifty-one-year-old little boy.
Miguel follows him below, screaming at him. Russell, flying recklessly, looks down at Miguel not understanding. By the time he looks back he SEES... A LINE OF TREES at the edge of the field, nearly on top of him. In a trick move, Russell turns the plane on ITS SIDE, and SLICES through the narrow gap between the trees.
Miguel screams with delight at his prowess. Miguel looks pissed.
ANGLE - OTHER SIDE OF TREES - MOMENTS LATER
Miguel races over, skidding to a halt next to the landed Bi-with plane.

MIGUEL

Just what the hell do you think you're doing?

RUSSELL

(climbing down)

I'm bringing home the bacon. Earning my keep. And doing a fine job if I do say so myself.

MIGUEL

It's the wrong field, you idiot! Lucas' farm is on the other side of town.

RUSSELL

You sure?

MIGUEL

Damn it, he was doing you a favor. You know how hard it is to find someone who doesn't think you're completely crazy?

(MORE)

What are we supposed to do now? Huh? Where are we supposed to go now?

Pissed, Miguel peels away, kicking gravel back at Russell. Pathetically, he reaches into his jacket and pulls out a bottle of Jack Daniels. He takes a healthy swig.

CUT TO:

EXT. IRAQI DESERT - REFUGEE CAMP – NIGHT
A tent city. Ubiquitous overcrowding and poverty. Several hundred refugees settle down for the night. Super: Northern Desert, Iraq A BEDOUIN stokes a small fire besides his family's tent.
Suddenly a group of shouting SCREAMING TRIBES PEOPLE come rushing past him.
The Bedouin watches them with confusion.
Overcome with curiosity he goes against the tide of people, up the hillside.
As the Bedouin reaches the top of the hillside, his mouth falls open, aghast as he SEES...

THE SKIES - THE PHENOMENON

Creeping from across the horizon above the rocky mountain terrain, a wide FIREBALL high in the sky, flaring and exploding. A terrifying sight.

CUT TO:

EXT. USS EISENHOWER - AIR CARRIER - ESTABLISHING – DAWN
Super: Battle Carrier, USS Eisenhower - Persian Gulf
INT. USS EISENHOWER - RADAR ROOM – DAY
A loud KLAXON ALARM is ringing out.

The FIRST LIEUTENANT

comes rushing in.

LIEUTENANT

Ensign, status?

SAILOR #1

We have a total radar black out over a thirteen kilometer area.

The Lieutenant moves over to the main radar screen. The entire upper portion of the screen is BLANK. And the blank area is MOVING.

LIEUTENANT

Have a complete diagnostic run...

SAILOR #1

Excuse me sir, radar may be malfunctioning but infrared is off the map!

He diverts the Lieutenant's attention to another screen; A BRIGHT SEA OF RED light bleeds off the map.

LIEUTENANT

Get the CINC Atlantic Command on the line.

CUT TO:

INT. PENTAGON - COMMANDING CENTER – DAY
A technical OFFICER rips off a data sheet as it shoots out of the printer and rushes over to the Commanding Officer.

OFFICER

Sir, we now have visual range with incoming over Iraqi airspace.

COMMANDING OFFICER

A second sighting?

OFFICER

Yes Sir, this just came in from the Eisenhower.

The Commanding Officer grabs a phone laying off the hook.

COMMANDING OFFICER

Correction, we have two confirmed visual contacts. One over Iraq, one over the Pacific.

INT. OVAL OFFICE – DAY
The room is packed. The President and his chief advisors are there along with the Joint Chief of Staff. Representatives from the Atlantic Command and U.S. Space Command have formed small clusters around telephones.

GENERAL GREY

Where in the Pacific?

(turning to the President)

They've spotted one off the California coast line. Surrounded by the Secret Service, the President is speechless.
Constance Halbrook comes rushing into the room and whispers to the President.

PRESIDENT

Put it on.

Constance moves over to a cabinet and turns on the T.V. (the reception is still fuzzy, picture "rolling"). The CNN News broadcast shows the phenomenon over Novosibirsk, Russia. There is mass hysteria behind the reporter.

NEWSCASTER

(filtered)

...sightings of this atmospheric phenomenon have been reported here in Novosibirsk, Russia and other parts of Siberia. Moving too slowly to be a comet or meteor, astronomers are baffled as to its origin...

Everyone is locked onto the television, mesmerized.

NEWSCASTERS (cont'd)

(filtered)

...Widespread panic has gripped the countryside as thousands have taken to the streets and clogged the highways. Hundreds have been injured...

General Grey confers with the Atlantic command CINC. He nods, turns to the President and whispers.

GENERAL GREY

Mr. President, we have an AWAC on the west coast. E.T.A. with contact point, three minutes.

INT. AWAC AIRPLANE – DAY
Wall to wall computer, radar and intelligence gathering equipment. Technicians frantically try to adjust as the system goes hay wire.

RADAR TECH #1

(reporting into radio)

It's no use. Side radar doesn't see a thing!

RADAR TECH #2

(reporting)

That's correct. We're IMC blind, sir.

We TRACK across them over to the pilots and into the cockpit.

Cloudy skies. The PILOT squints out the window as he speaks.

PILOT

Negative. We still have zero visibility.

EXT. AWAC AIRPLANE - CLOUDY SKIES – DAY
ZOOMING overhead as we SEE the AWAC sailing through a thick cloudy sky.
Super: Pacific Coastline, California
The AWAC disappears from view into the clouds.
INT. OVAL OFFICE – SAME
The President and his top advisors are gathered around a speaker phone listening to the pilot of the AWAC.

PILOT

(filtered)

Instrumentation is malfunctioning. We can't get any kind of reading on what's in front of us.
INT. AWAC – SAME
The Pilot squints as he tries to see through the clouds.

PILOT

Wait a minute, it may be clearing.

Suddenly the clouds part before us and we're face to face with a WALL OF FLAMES. INT. AWAC – SAME
The speaker phone cracks and distorts.

PILOT

(filtered)

Jesus God! The sky's on fire!

EXT. AWAC AND PHENOMENON – SAME
The AWAC attempts to climb sharply as we get our first real look at the atmospheric phenomenon. Majestic and monstrous.
The AWAC is not going to be able to make it.
Quickly it is ENGULFED in the flames.

INT. OVAL OFFICE – SAME

The phone line goes dead. General Grey spins to an AIDE.

GENERAL GREY

Get them back on line.

AIDE #1

(on other phone)

Line's gone, sir.

The ATLANTIC COMMAND CINC, turns from a different phone.

AAC CINC

Two more have been spotted over the Atlantic. One is moving toward New York, the other is headed this direction.

CHIEF OF STAFF

How much time do we have?

AAC CINC

Less than ten minutes.

NIMZIKI

(turning to aid)

Organize a military escort to Crystal Mountain.

GENERAL GREY

(to President)

Sir, I strongly recommend we move you to a secured location immediately.

... The President hesitates, he turns to Constance.

PRESIDENT

Can we expect the same kid of panic here as in Russia?

CONSTANCE

More than likely.

NIMZIKI

Mr. President, you can discuss this on the way.

Torn, the President grapples with a decision. Finally...

PRESIDENT

I'm not leaving.

NIMZIKI

We must maintain a working government in a time of crisis...

PRESIDENT

I want the Vice President, Secretary of Defense, the whole Cabinet and the Joint Chiefs taken to a secured location. I'm staying here. I am not going to add to a public hysteria that could cost lives.

NIMZIKI

But, Mr. President...

PRESIDENT

So far these things have not become hostile. For the moment let's assume they won't.

(to Constance)

Connie, let's issue statements advising people not to panic, to stay home and take cover. Constance issues commands to her staff as they quickly exit along with most people in the room. General Grey goes over to the President.

GENERAL GREY

With your permission, Mr. President, I'd like to remain my your side.

PRESIDENT

I had a feeling you would.

GENERAL GREY

Sir, what happens if they do become hostile?

PRESIDENT

Then God help us.

CUT TO:

INT. DAVID'S CUBICLE – DAY
On the T.V. behind David, news footage of the phenomenon in Russia plays silently. Oblivious, David works his computers.

FEMALE CO-WORKER

(stopping in doorway)

David, are you watching this?

David waves her away, deep in concentration. Suddenly a computer BEEPS. Excitedly David prints out his finding. He grabs it and exits.
INT. COMPACT CABLE OFFICE – CONTINUOUS
Engrossed in his printout, David walks past his co-workers who are glued to the distorted picture on the television, watching the phenomenon.
INT. MARTY'S OFFICE – CONTINUOUS
Marty stares at his television watching General Grey addressing the press. David enters, staring at his reading.

DAVID

I've got a lock on the signal pattern. We can filter it out.

MARTY

(distracted)

Huh? Oh, good, hood.

DAVID

Strange thing is, if my calculations are right it'll be gone in approximately seven hours anyway. The signal reduces itself every time it recycles. Eventually it will disappear. Are you listening?

MARTY

(still glued to T.V.)

Can you believe this?

DAVID

What re you talking about?

MARTY

Haven't you been watching?

David turns for the first time to the television and sees the phenomenon. Constance comes on addressing the press.

CONSTANCE

(filtered)

...so far the phenomenon has not caused any damage. In all likelihood it won't...

INT. WHITE HOUSE PRESS ROOM – SAME
More reporters rush in from the back quickly setting up as this hastily called press conference continues.

CONSTANCE

...everyone should remain calm. Take cover where you can but the important thing is not to panic.
INT. BRENNON MOBILE HOME – SAME
Miguel, Alicia and Troy watch the static riddled T.V.

CONSTANCE

(filtered)

...we have a fix on three different occurrences about to appear over American cities. One is headed toward Los Angeles...

INT. MARTY'S OFFICE – SAME

CONSTANCE

(filtered)

...the other two are on our Eastern seaboard headed towards New York and Washington, D.C...

Suddenly hectic CO-WORKER #2 appear at the door.

CO-WORKER #2

Jamie says this building has an old bomb shelter. We're heading down there now.

MARTY

(dry; to David)

Feel no shame in hiding.

INT. HALLWAY – CONTINUOUS
A crowd of people head down the hall for the shelter while others stay glued to the set. There is a mix of fascination and panic. David watches the commotion, dumb struck.

MARTY

Oh shit, I better call my wife.

INT. AIRPORT DINER - LATE MORNING
Depressed Russell nurses a beer at the counter. Three FLIGHT
MECHANICS walk in, having a good laugh. One of them spots Russell and moves over to him.

MECHANIC #1

Hey, Russ, heard you had a little trouble this morning. Dusted the wrong field?

The Mechanics laugh. Russell tries to ignore them.

MECHANIC #2

I know, you're probably still a little confused from your hostage experience.

MECHANIC #2

Hostage experience? Something happen to you, Russ?

MECHANIC #1

He ain't never told you!? Seems years back our boy here had been kidnapped by aliens. Did all kinds of experiments on him and such. Tell him, Russ.

RUSSELL

Not today, guys. Okay.

Russell gets up and heads for the door.

MECHANIC #1

You just gotta get a couple more beers in him, he'll tell you all about it. Crazy stuff. Won't you, Russ?

EXT. SMALL AIRPORT – CONTINUOUS
The Mechanic follows Russell outside, his buddies in tow.

MECHANIC #1

Hey, Russ, when they took you up in their space ship, they do any sexual things to you?

The mechanics crack up laughing. Suddenly the things around them begin to RUMBLE. The SHADOW engulfs them, silencing the Mechanics. Panicked they turn and RUN AWAY. Russell just looks up at the sky, grabs his Jack Daniels and takes another swig.
EXT. TRAILER PARK – SAME
Dogs bark and people stumble out of their trailers as enormous SHADOW creeps over them.
INT. BRENNON MOBILE HOME – CONTINUOUS
The windows grow DARK and the room begins to RUMBLE. Miguel rushes to the door, ushering his siblings out.
EXT. TRAILER PARK – CONTINUOUS
Alicia and Troy step out the door, stopping dead in their tracks. Miguel follows them only to look up and SEE...
THE PHENOMENON - DARK CLOUDS
The flames are burning out, replaced by huge plumes of dark smoke billowing around the edges of the phenomena. Only small traces of extinguishing flames illuminate it.
INT. COMPACT CABLE - STAIRWELL – SAME
David pushes past the people making their way down, fighting against the tide. Another CO-WORKER (#3) stops halfway.

CO-WORKER #3

Aren't you coming, David?

DAVID

No way, I've got to see this.

EXT. WASHINGTON MONUMENT – SAME
Frightened tourists run for cover as the colossal SHADOW approaches. Reflected in the water below we SEE the fiery apparition transfigure into the dark foreboding clouds.
THE LINCOLN MEMORIAL - WASHINGTON, D.C. – SAME
The SHADOW writhes up the detailed statue of Lincoln, devouring him completely until we are left in total darkness.
INT. WHITE HOUSE - HALLWAYS – SAME
People are being evacuated from their offices. Patricia, the President's daughter, breaks away from her nanny.
INT. WHITE HOUSE - OVAL OFFICE – SAME
The President talks on the phone. Constance waits nearby.

PRESIDENT WHITMORE

(into phone)

Of course, Russia and the United States are in this together. Yes, Mr. President, you have my word. Yes, Das Vedanya.

The President hangs up.

CONSTANCE

What is their position?

PRESIDENT WHITMORE

I think he was drunk.

Patricia bursts through the door and runs into her father's arms, terrified. A SECRET SERVICE man appears.

SECRET SERVICE GUY

Mr. President, we have to go. Abruptly, the room DARKENS as it begins to RUMBLE.

EXT. WHITE HOUSE – SAME
The long, dark SHADOW moves across the entire White House, engulfing it in darkness.
EXT. HUDSON RIVER, NEW YORK - STATUE OF LIBERTY – SAME
In the distance we SEE the mutated phenomenon's dark gray clouds nearing Miss. Liberty. As it approaches we SEE the New York skyline begin to darken.
EXT. BLACK TOP BASKET BALL COURT, NEW YORK – SAME
Kids playing basket ball. A young BOY stops playing, staring skyward. One by one, they all look upwards, stunned as a long dark SHADOW creeps over them.
With a loud CRASH, several New York Cabs SLAM into one another in the street. Two more cars crash into them. A pile up ensues.
EXT. WALL STREET - SECOND LATER
Foot traffic stops as the long SHADOW crawls over the entire area.
EXT. ROOFTOP - COMPACT CABLE – SAME
Large satellite dishes beset a doorway to the roof which flies open. David steps out just as a long, dark SHADOW covers over him, sending the city into darkness.
David looks up to SEE...
SKYLINE AND ALIEN CRAFT
Protruding through the dark clouds we get a glimpse of the underbelly of a colossal ALIEN CRAFT, its outer veneer of smoke and clouds beginning to fade away.
Below we see PANIC, cabs SLAMMING into one another, people staring, people screaming. No one knows how to react.
David runs to the other side of the rooftop, overlooking Central Park, to get a better look.
DAVID'S POV - CENTRAL PARK – SAME
The entire park is plunged into darkness as the craft above blots out of the sun. Amazing as it may seem, the hovering craft BLANKETS THE ENTIRE PARK and BEYOND. We still have NOT seen an entire craft.

DAVID

(realizing)

My God. The signal.

EXT. LOS ANGELES BASIN - WIDE ANGLE - LATER MORNING
A panoramic view of the Los Angeles basin. Slowly filling the screen, we SEE a portion of the enormous space craft as it creeps towards the city, obliterating our view.
EXT. HILLSIDE RESIDENTIAL AREA – SAME
A station wagon, filled with kids and a harried HOUSEWIFE, comes to a stop. The passenger door opens and a young six- year-old boy, DYLAN steps out.

HOUSEWIFE

Dylan, tell your mom you can stay overnight again Thursday.

Suddenly a car SAILS over a nearby hill in front of them, hitting the ground with a BANG. Two more cars follows, air bound.
As the Housewife turns she SEES...
SPACE SHIP – SAME
Rising over the mountain we SEE the Space Ship as it nears the city, blocking out the sunshine.
Panicked, the Housewife hits the gas and peels out, leaving a confused Dylan staring skyward.
INT. BEDROOM – CONTINUOUS
Two people sleep as Dylan runs into the room.

DYLAN

Mommy, look at!

He rushes away. The SHADOW moves past the window, darkening the room. His mother, JASMINE DUBROW, stirs.

JASMINE

(re: darkness)

It's too early, baby.

She turns back over. Suddenly the room briefly RUMBLES.

MAN

Earthquake?

JASMINE

Not even a four pointer. Go back to sleep.

Shrugging, the man does.

HOLLYWOOD SIGN (FORMERLY SC. 72) – SAME
In Los Angeles. The SHADOW slowly covers the sign.
EXT. WHITE HOUSE - WINDOW – SAME
The President and his daughter cautiously approach the window staring in awe at the amazing sight above them. Several others approach from behind.
Cautiously some people begin to walk outside, staring up at the leviathan, mouths agape.
INT. OVAL OFFICE – SAME
Slowly staff members approach, gazing out the window.
Constance steps up behind the President.

CONSTANCE

What do we do now?

PRESIDENT WHITMORE

Address the nation. There are a lot of very frightened people out there right now.

CONSTANCE

Yeah. I'm one of them.

EXT. WASHINGTON D.C. - ALIEN CRAFT – SAME
All of Washington is under the shadow of this gargantuan alien craft. A stunning tableau.

CUT TO:

INT. JASMINE'S DEBROW'S BEDROOM – SAME
The man sleeping next to Jasmine's beagle BOOMER drops Steven's tennis shoes on top of him, waking him.

JASMINE

He's trying to impress you.

STEVE

He's doing a good job.

He pats the dog on the head and takes the shoes. Steven gets up and makes his way to the bathroom.
INT. BATHROOM – CONTINUOUS
As Steve takes a pee, he SEES out the window a family packing up their car, others standing around staring at something in the distance. A HELICOPTER flies overhead.

STEVE

Neighbors are moving. I think they're tired of earthquakes.

He finished and flushes.
INT. LIVING ROOM – CONTINUOUS
Steve enters the living room.The television is playing a news broadcast.

NEWSCASTER

...with little damage reported to the southland area. People are advised not to panic...

STEVE

Hon, something's on the table 'bout the quake.

Jasmine sits up in bed, yelling out to Steve.

JASMINE

Dylan out there?

Steve turns, looking for Dylan when the doggie door pops open and Dylan crawls through.

STEVE

What have you been up to, Sport?

DYLAN

(holding his gun)

Shooting aliens.
Steve musses up the boy's hair, smiling.

JASMINE

(entering)

Coffee?

Steve mumbles an affirmative as he exits.

To be continued…

'Independence Day' Screenplay [Part 1]

2008-07-29T09:34:00.006+05:30

INDEPENDENCE DAY: Dean Devlin & Roland Emmerich

AN AMERICAN FLAG

Oddly still, posted in gray dusty sand.

WIDEN TO REVEAL:

EXT. LUNAR SURFACE - THE MOON

One small step for man, one large pile of garbage for moon-

kind. Untouched for years, the flag stands next to the

castoff remains of the Apollo mission. Slowly the discarded

equipment begins to RATTLE and SHAKE.

AN ENORMOUS SHADOW creeps towards us blotting out the horizon,

a loud RUMBLE is heard.

Suddenly we are covered in DARKNESS as the SHADOW engulfs us.

Only the lonely image of our EARTH hangs in the air, until a

huge silhouetted OBJECT suddenly blocks our view.

CUT TO:

EXT. NEW MEXICO - RADIO TELESCOPE VALLEY – NIGHT

A field of large satellite dishes scan the skies.

Super up: S.E.T.I. INSTITUTE, NEW MEXICO

INT. INSTITUTE - MONITORING CONTROL CENTER – SAME

A lone TECHNICIAN works on his putting skills. Behind him,

wall to wall technical equipment quietly sifts through data.

A RED LIGHT begins to flash.

The Technician turns and slowly walks towards the source. One

by one a series of LIGHTS turn on.

The Technician (TECH ONE)

grabs a pair of headphones. His eyes widen.

INT. SLEEPING QUARTERS – SAME

Sleepily a SUPERVISOR picks up the phone.

SUPERVISOR

If this isn't an insanely

beautiful woman, I'm hanging up.

INT. CONTROL CENTER – SAME

TECH ONE

Shut up and listen.

He holds the phone up to a speaker, increases the volume. A

strange FLUCTUATING TONE plays out in sequential patterns.

INT. SLEEPING QUARTERS – SAME

HEARING it, the Supervisor BOLTS UP, banging his head on the

bunk above him.

INT. CONTROL CENTER - MOMENTS LATER

A pajama party on acid. Five other technicians, in various

states of undress, hover anxiously around the main console.

The Supervisor enters, tying his robe.

SUPERVISOR

God, I hope it's not just another

damned Russian spy job.

TECH THREE

(overlapping)

Negative. Computer affirms the signal is unidentified.

TECH TWO

(hanging up the phone)

The boy from Air Res Traffic say the

skies are clear. No terrestrial

launches.

TECH ONE

It's the real thing. A radio

signal from another world.

The room becomes quiet as they realize that after years of

searching the heavens, they might have finally found

something.

SUPERVISOR

Let's not jump the gun. Run a

trajectory source computation.

Tech Three slides over to another computer.

SUPERVISOR (cont'd)

I want to know exactly where it's

coming from.

TECH THREE

This can't be right.

Tech Three just stares at his screen in disbelief.

SUPERVISOR

What's wrong?

TECH THREE

Calculated distance from source is

at three hundred and eight five

thousand kilometers.

(turning to Supervisor)

It's coming from the moon.

The Supervisor reaches over and turns up the volume on the

speaker. As they listen to the strange TONES we...

CUT TO:

INT. HALLWAY - PENTAGON – SAME

Elevator doors OPENS revealing four star GENERAL GREY,

Commander in Chief U.S. Space Command. Understandably

nervous, the COMMANDING OFFICER escorts him down the hall. GENERAL GREY

Who else knows about this?

COMMANDING OFFICER

S.E.T.I. in New Mexico identified a

signal but they're even more

confused than we are.

The General shoots him a disapproving glance.

COMMANDING OFFICER

Excuse me, Sir.

He slides his security card through the lock and the doors fly

open.

INT. SPACE COMMAND - THE PENTAGON – CONTINUOUS

Banks of computers, Technicians and assistants working

feverishly through the night. The Officers cross the room.

Super: SPACE COMMAND - THE PENTAGON

COMMANDING OFFICER

Satellite reception has been

impaired but we were able to get

these.

They arrive at a glass table. The surrounding officers snap

to attention as a SECOND OFFICER quickly brings over a large

transparency. We SEE a grainy image of a large vague OBJECT.

GENERAL GREY

Looks like a big turd.

The two Officers exchange a glance.

COMMANDING OFFICER

We estimate it has a diameter of

over five hundred and fifty

kilometers and a mass roughly one

fourth the size of our moon.

The General turns to the Second Officer, concerned.

GENERAL GREY

A meteor?

SECOND OFFICER

No Sir. Definitely not.

GENERAL GREY

How do you know?

SECOND OFFICER

Well, er... it's slowing down.

GENERAL GREY

It's doing what?

SECOND OFFICER

It's... slowing down, Sir.

The General walks over to a phone, picks it up.

GENERAL GREY

Get me the Secretary of Defense.

(pause)

Then wake him up.

CUT TO:

INT. WHITMORE'S BEDROOM - FRE-DAWN

Laying in bed THOMAS J. WHITMORE reads a stack of papers. The

phone RINGS.

WOMAN'S VOICE

(filtering through phone)

Hi. It's me.

The warm look on Whitmore's face tells us everything about how

he feels about the woman on the other end.

WHITMORE

Hi honey. What time is it there?

INT. HOTEL ROOM – NIGHT

Dressed in a night gown, MRS. MARGARET WHITMORE unpacks her

briefing papers lays them out on a small desk as she talks.

Through the window we SEE Los Angeles at night.

MARGARET

Two in the morning. I know I

didn't wake you?

WHITMORE

(filtered)

As a matter of fact you did.

MARGARET

(smiles)

Liar.

INT. WHITMORE BEDROOM – SAME

Whitmore sits up.

WHITMORE

I have a confession to make.

There's a beautiful young blonde

sleeping next to me.

Sleeping next to him, his six-year-old daughter, PATRICIA. MARGARET

(filtered)

You didn't let her stay up

watching T.V. all night?

WHITMORE

Of course not.

The little girl stirs awake, looks up.

PATRICIA

Mommy?

WHITMORE

You're flying back right after the

luncheon? Okay, here she is.

Whitmore hands her the phone and gets out of bed. Habitably

he turns on the television.

T.V. - NEWS PROGRAM

Several "Pundits" sit around a MaLaughlin-type news discussion

program.

The picture quality is snowy, static ridden.

PUNDIT #1

... the inexperience in public

office was inevitably going to

catch up with him. He's

scarified his ideals for

"politics as usual."

Whitmore ties on his robe as he adjusts the picture quality.

PUNDIT #2

...I said this during the

campaign. Leadership as a pilot

in the Gulf War has no

relationship to political

leadership. It's a different

animal...

Suddenly the channel changes. A cartoon comes on. Whitmore

turns to his daughter who holds he remote.

PATRICIA

(into phone)

Daddy let me watch Letterman.

WHITMORE

Traitor.

Whitmore exits the room.

INT. HALLWAY – CONTINUOUS

As Whitmore steps out of his bedroom, a Security guard snaps

to attention. Someone hidden behind a newspaper, sits on a

bench.

SECURITY GUARD

Good morning, Mr. President.

WHITMORE

Good morning, George.

The paper is dropped revealing CONSTANCE HALBROOK, mid-

thirties, aggressive, sharp, the President's communications

director. Quickly she gathers her things and follows Whitmore.

INT. BREAKFAST TABLE – CONTINUOUS

Two servants are preparing breakfast as Whitmore and Constance

enter. Whitmore sits down, grabs a coffee.

WHITMORE

You're up early this morning, Connie.

She tosses him one of the many newspapers in her hands. CONSTANCE

They're not attacking your

policies, they're attacking your age.

(another paper; reading)

"...addressing Congress, Whitmore

seems less like the President and

more like the orphan child Oliver

asking, 'please sir, I'd like some

more.'"

WHITMORE

Clever.

CONSTANCE

Age was never an issue when you

stuck to your gun. You were

thought of as young and

idealistic. But the message has

gotten lost. There's too much

compromise, too much politics.

WHITMORE

(pointedly)

Isn't it amazing how fast everyone

can turn against you.

Realizing she may be pushing him too far, she hands him another paper.

CONSTANCE

Well, the Orange County Register

has named you one of the ten

sexiest men of the year.

WHITMORE

You see, substance at last.

An AIDE appears at the doorway.

CONSTANCE

Excuse me, Mr. President. It's

the Secretary of Defense.

Whitmore goes to the phone, picks it up.

WHITMORE

Yes? Say that again?

CUT TO:

AN OLD RUSSIAN SATELLITE

Drifting away from us the old Russian satellite becomes

smaller and smaller. We PAN with it as we SEE it's on a

collision course with something huge.

Suddenly the satellite EXPLODES on IMPACT with the much larger

object that dwarfs the puny piece of hardware. As huge as it

is, we get the feeling we've only seen a portion of the total.

NEW YORK SKYLINE - EARLY MORNING

A slow crane down from the Manhattan skyline, revealing...

EXT. CLIFFSIDE PARK - NEW JERSEY – MORNING

With the New York skyline across the Hudson behind them, old

men sit in this small park playing chess. Unlike the others,

DAVID MARTIN is in his early thirties, sixties hippie meets

nineties yuppie nerd.

He concentrates intensely on his next move. MOISHE. sixties.

smokes a cigar impatiently.

MOISHE

What are you waiting? My social

security will expire, you'll still

be sitting there.

DAVID

I'm thinking.

MOISHE

So think already.

David makes a move. Instantly Moishe counters his move.

David furls his brow in thought.

MOISHE

Again he's thinking.

Moishe reaches into a paper bag and retrieves a coffee in a Styrofoam cup.

DAVID

You have any idea how long it

takes for those things to

decompose?

MOISHE

You don't move soon. I'll begin to

decompose.

Just as David finally makes his move, Moishe counters again.

David shoots him a look and stares back down to the board.

MOISHE (cont'd)

David, I've been meaning to talk

with you. It's nice you've been

spending so much time with me,

but...

DAVID

Dad, don't start.

MOISHE

I'm only saying, it's been what?

Four years, you still haven't

signed your divorce papers.

DAVID

Three years.

MOISHE

Three, four. Move on. It's not

healthy.

Moishe takes a big puff on the cigar and coughs.

DAVID

Look who's talking healthy.

Suddenly David's beeper goes off.

MOISHE

How many times is that now? You

trying to get fired?

David moves his queen.

DAVID

Checkmate. See you tomorrow, Dad.

He gives his father a quick kiss and hurries away.

MOISHE

That's not checkmate I can

still... Oh.

(yelling after him)

You could let an old man win once

in a while, it wouldn't kill you.

CUT TO:

EXT. NEW YORK CITY STREETS - MINUTES LATER

David pedals his bike through mid-town Manhattan. He arrives

at COMPACT CABLE SYSTEMS.

INT. COMPACT CABLE OFFICES – LATER

His bike hoisted on his shoulder, David squeezes through the

revolving doors. MARTY GILBERT, short, nervous and harried,

comes rushing over.

MARTY

What the hell is the point of

having a beeper if you don't turn

it on?

DAVID

It was turned on. I was

you. What's the big emergency?

MARTY

Started this morning. Every

channel is making like it's

nineteen fifty. Snow, static, all

kinds of distortions. No one

knows what the hell is going on.

David deposits his bike in the kitchenette as Marty tosses his

coke bottle in the trash. David retrieves it.

DAVID

Damn it, Marty. There's a reason

we have bins labeled "recycle."

Finding more bottles in the trash, David turns to Marty accusingly. DAVID

What the hell is this?

MARTY

So sue me.

Before David can say anything, Marty ushers him out of the room.

INT. TRANSMISSION FEED – CONTINUOUS

Technicians are working feverishly. Clearly every monitor is experiencing varying degrees of signal disruption. David moves over to the main console.

DAVID

Did you try to switch to transponder channels

MARTY

Please, would I be this panicked if it was that simple?

David examines the readouts, puzzled.

DAVID

Let's retrofit the dish to another satellite.

MARTY

We've tried. It's not working.

It's almost as though they weren't even there. David looks up, puzzled.

DAVID

That's impossible.

CUT TO:

A TELEVISION SET

Bad reception. A hand SMOCKS the side of it. No use. WIDEN TO REVEAL:

INT. MOBILE HOME – DAY

Eleven-year-old TROY BRENNON tries to fix the television. His older brother MIGUEL, seventeen, cooks breakfast.

MIGUEL

Stop it.

TROY

It's all fuzzy.

MIGUEL

You're gonna break it. Just leave it alone. Here, take your medicine.

Miguel sits a small bottle of medicine and a spoon down in front of Troy. Troy pushes the bottle away.

TROY

I don't need it.

MIGUEL

(pushing it back)

Just take it, dick head.

(turning to his sister)

Alicia! Make sure he takes his medicine.

His sister, ALICIA, fourteen, hormones kicking in, testing boundaries, listens to her walkman while putting on too much makeup. Miguel throws a dish towel to get her as Troy hits the television again.

EXT. TRAILER PARK - SAME – MORNING

A beat up pick-up truck comes down a dirt road and skids to a halt on the gravel next to the Brennon Mobile Home at this small shabby countryside trailer park. An angry FARMER jumps out, slamming his door.

INT. BRENNON MOBILE HOME – SAME

Alicia opens the front door and smiles flirtatiously at the angry farmers, LUCAS, who marches over. Miguel edges her out of the doorway, wanting to handle this himself.

MIGUEL

Morning, Lucas.

Lucas holds a bowl full of rotted vegetables.

LUCAS

You like these! I've got a whole goddamned crop full!

Unceremoniously, he dumps them at Miguel's feet.

LUCAS (cont'd)

Where the hell is your father?

You know what time it is?

MIGUEL

He had to re-fuel. There musta been a problem.

LUCAS

We both know what the problem is.

He's a damned nut case, is what he is. I musta been out of my mind.

Troy SMACKS the television again.

MIGUEL

Troy, stop it! I swear to God!

LUCAS

Miguel, if he's not in the air in twenty minutes, that's it. I'm getting someone else. Lucas storms away. Again, Troy whacks at the television.

MIGUEL

Stop it, Troy! I swear to God!

Determined, Troy HITS the television again. This time the picture goes out completely.

CUT TO:

EXT. SPACE - THE ORBIT – SAME

Rolling over us, the immense under-belly of this enormous craft obliterates our view. A loud SCREECH. Suddenly the bottom begins to SEGMENT. Dozens of large sections begins to DISENGAGE, extracting themselves, twisting away from the larger bilge.

The separated SEGMENTS themselves are enormous. Slowly they twist downwards on a collision course to the blue planet below... Earth.

CUT TO:

INT. WHITE HOUSE - BASEMENT CORRIDORS – DAY

Under a barrage of questions from her own staff, Constance hurries down the corridor.

AIDE #1

CNN is running a story that we're covering up some kind of nuclear testing experiments...

CONSTANCE

Tell them to run with it if they want to embarrass themselves.

AIDE #2

NASA has been up my butt all morning. They want to know our position. CONSTANCE

Our official position is we don't have an official position.

AIDE #3

Connie, what the hell is going on? Constance escapes into the elevator, turns around.

CONSTANCE

(smiles confidently)

Come on, people. Would I keep you guys out of the loop?

AIDE #1

In a second!

AIDE #2

Absolutely.

Before she can retort, the elevator doors close.

INT. OVAL OFFICE - WIDE SHOT – SAME

The President, General Grey, the SECRETARY OF DEFENSE and White House Chief of Staff ALBERT NIMZIKI are gathered around the couch.

SEC. OF DEFENSE

At the moment, our satellites are somewhat unreliable. Isn't it possible that thing may just pass us by?

NIMZIKI

What if it doesn't "pass us by?"

Let's retarget some ICBMs to blow it out of the sky...

GENERAL GREY

Forgive me, but with the little information we do have, the only thing that would accomplish is turn one dangerous falling object into many.

Just then the door opens and Constance enters.

PRESIDENT WHITMORE

What's the damage?

CONSTANCE

The press is making up their own stories at this point.

NIMZIKI

(to General Grey)

Get on the horn with Atlantic Command. Let's upgrade the situation to DEFCON 3. GENERAL GREY

That's not your call to make, Mr. Nimziki.

CONSTANCE

Isn't that a little premature?

NIMZIKI

I don't think so.

SEC OF DEFENSE

We're two days away from the fourth of July. We have over fifty percent of our armed forces on weekend leave, not to mention the troops and commanders we have in town for the Fourth of July parade. We call them back now, we're sending up a major red flag.

They go quiet as Commanding Officer from Space Command dashes into the room.

COMMANDING OFFICER

Our intelligence tells us the object has settled into a stationary orbit.

NIMZIKI

Well that's good news.

COMMANDING OFFICER

Not really.

He lays out the diagrams and photos on the table. Everyone gathers around.

COMMANDING OFFICER

Part of it has broken off into nearly three dozen other pieces.

PRESIDENT WHITMORE

Pieces?

COMMANDING OFFICER

Smaller than the whole, yet over fifteen miles in width themselves.

NIMZIKI

Where are they heading?

COMMANDING OFFICER

They should be entering our atmosphere within the next twenty-five minutes.

The room is silenced. All eyes turn to the President who says nothing. Nimziki leans in close to him.

NIMZIKI

Like it or not, we're at DEFCON 3.

Recall the troops and put them on yellow alert.

CUT TO:

To be continued…

‘Independence Day’ Official Trailer

2008-07-28T16:06:00.002+05:30

My next Screenplay article on …‘Independence Day’ film

2008-07-28T15:59:00.004+05:30

Independence Day is a 1996 science fiction film about a hostile alien invasion of Earth, focusing on a disparate group of individuals and families as they coincidentally converge in the Nevada desert and, along with the rest of the human population, participate in a last-chance retaliation effort on July 4. It was directed by Roland Emmerich, who co-wrote the script with producer Dean Devlin.
The movie was scheduled for release on July 3, 1996, but due to the high level of anticipation for the film, many theaters began showing it on the evening of July 2, 1996, the same day the action in the film begins. The movie's total worldwide gross was $816,969,268, which at one point was the second-highest worldwide gross of all-time. It currently holds the 18th highest worldwide gross for a movie all-time, and was at the forefront of the large-scale disaster film and science fiction resurgences of the mid-to-late-1990s.
Short Story
On July 2, a mammoth alien mothership enters orbit around Earth and deploys several dozen saucer-shaped "destroyer" spacecraft, each 15 miles in width. As the destroyers take positions over some of Earth's major cities, David Levinson (Jeff Goldblum), an underachieving MIT-graduate working for a cable company in New York City, discovers hidden satellite transmissions which he believes to be a timer counting down to a coordinated attack by the aliens. With the help of his ex-wife Constance Spano (Margaret Colin), a White House employee, he and his father Julius (Judd Hirsch) gain entrance into the Oval Office to warn President Thomas J. Whitmore (Bill Pullman) of the impending attack. The President orders an evacuation of the targeted cities, but soon afterwards the hovering spacecraft incinerate the cities using advanced directed-energy weapons, killing millions. The President, portions of his staff, and the Levinsons narrowly escape aboard Air Force One after a destroyer lays waste to Washington D.C.
On July 3, the United States conducts a coordinated counterattack. A squadron of Marine Corps F/A-18 Hornets, the Black Knights stationed out of El Toro MCAS in Irvine, California, participates in an assault on a destroyer near the now destroyed city of Los Angeles. Their weapons fail to penetrate the craft's force field, and it responds by releasing scores of "attacker" ships which are similarly shielded and armed with directed-energy weapons. A one-sided dogfight ensues, and Captain Steven Hiller (Will Smith) ends up the sole survivor, eluding a single attacker by luring it to the Grand Canyon. There, he blinds the alien pilot with his jet's braking parachute and ejects just before running out of fuel, causing both to crash in the desert. Having parachuted to safety, he subdues the injured alien. Hiller is picked up by Russell Casse (Randy Quaid), who is traveling across the desert with a group of refugees in a convoy of RVs. From there they take the captured alien to nearby Area 51, commanded by Major Mitchell (Adam Baldwin), where the President and his remaining staff have also landed. Area 51 conceals a top secret facility housing a repaired attacker and three alien bodies recovered from Roswell in 1947.
When lead scientist Dr. Brackish Okun (Brent Spiner) examines the new alien specimen, it attempts escape and takes control of his mind. When questioned by President Whitmore, it reveals through a telepathic connection that its species travels from planet to planet, destroying all life and harvesting a planet's natural resources before moving on. The alien attempts a psychic attack against Whitmore but is killed by Major Mitchell. Whitmore orders a nuclear attack using B-2 Spirit bombers on an alien destroyer which is hovering over a deserted Houston, but this too fails to penetrate the craft's shield.
On July 4, Levinson devises a plan to use the captured attacker to gain access to the interior of the alien mothership in space in order to introduce a computer virus and plant a nuclear missile on board. This, it is hoped, will cause the shields of the Earth-based alien craft to fail long enough for the human resistance to eliminate them. Hiller volunteers to be the mission's pilot, with Levinson accompanying him to upload the virus. With satellite communications knocked out, the Americans use Morse code to coordinate an attack with the remaining forces around the world, timed to occur when the invaders' shields are set to fail. With not enough military pilots to man all available aircraft, the battle requires several volunteers, including President Whitmore and Russell, who both have previous combat flight experience.
With the successful implantation of the virus, President Whitmore leads the U.S. jet fighters against an alien destroyer on approach to Area 51. Though the aliens are now lacking shields, the fighters' supply of missiles are quickly exhausted against the colossal craft and its large complement of assault ships. The underside of the alien craft opens up as its primary weapon prepares to fire on the base. Russell possesses the one remaining missile, but his firing mechanism jams. He pilots his aircraft into the alien weapon in a kamikaze attack. The ensuing explosion causes a chain reaction which completely annihilates the ship. Human resistance forces around the world use the same weak point to destroy the remainder of the alien ships, while the nuclear device planted by Hiller and Levinson destroys the alien mothership soon after the duo make a daring escape. Hiller and Levinson return unharmed, crash-landing their captured alien fighter in the desert close to Area 51. The film ends as the main characters watch debris from the mothership enter the atmosphere like shooting stars.

Lead Cast and their roles
Will Smith as Captain Steven Hiller
Bill Pullman as President Thomas J. Whitmore
Jeff Goldblum as David Levinson
Mary McDonnell as First Lady Marilyn Whitmore
Judd Hirsch as Julius Levinson
Robert Loggia as General William Grey
Randy Quaid as Russell Casse
Margaret Colin as Constance Spano
Vivica A. Fox as Jasmine Dubrow
James Rebhorn as Albert Nimziki
Harvey Fierstein as Marty Gilbert
Brent Spiner as Dr. Brackish Okun
Harry Connick, Jr. as Captain Jimmy Wilder

3D computer graphics

2008-07-23T16:05:00.007+05:30

This article is about process of creating 3D computer graphics. For information on the study of computer graphics, see Computer graphics
3D computer graphics (in contrast to 2D computer graphics) are graphics that use a three-dimensional representation of geometric data that is stored in the computer for the purposes of performing calculations and rendering 2D images. Such images may be for later display or for real-time viewing. Despite these differences, 3D computer graphics rely on many of the same algorithms as 2D computer vector graphics in the wire frame model and 2D computer raster graphics in the final rendered display. In computer graphics software, the distinction between 2D and 3D is occasionally blurred; 2D applications may use 3D techniques to achieve effects such as lighting, and primarily 3D may use 2D rendering techniques. 3D computer graphics are often referred to as 3D Models. Apart from the rendered graphic, the model is contained within the graphical data file. However, there are differences. A 3D model is the mathematical representation of any three-dimensional object (either inanimate or living). A model is not technically a graphic until it is visually displayed. Due to 3D printing, 3D models are not confined to virtual space. A model can be displayed visually as a two-dimensional image through a process called 3D rendering, or used in non-graphical computer simulations and calculations.
Overview
The process of creating 3D computer graphics can be sequentially divided into three basic phases: 3D modeling which describes the process of forming the shape of an object, layout and animation which describes the motion and placement of objects within a scene, and 3D rendering which produces an image of an object.

3D modeling
Modeling
In 3D computer graphics, 3D modeling is the process of developing a mathematical, wireframe representation of any three-dimensional object (either inanimate or living) via specialized software. The product is called a 3D model. It can be displayed as a two-dimensional image through a process called 3D rendering or used in a computer simulation of physical phenomena. The model can also be physically created using 3D Printing devices.
Models may be created automatically or manually. The manual modeling process of preparing geometric data for 3D computer graphics is similar to plastic arts such as sculpting.
Models
3D models represent a 3D object using a collection of points in 3D space, connected by various geometric entities such as triangles, lines, curved surfaces, etc. Being a collection of data (points and other information), 3D models can be created by hand, algorithmically (procedural modeling), or scanned.
3D models are widely used anywhere 3D graphics are used. Actually, their use predates the widespread use of 3D graphics on personal computers. Many computer games used pre-rendered images of 3D models as sprites before computers could render them in real-time.
Today, 3D models are used in a wide variety of fields. The medical industry uses detailed models of organs. The movie industry uses them as characters and objects for animated and real-life motion pictures. The video game industry uses them as assets for computer and video games. The science sector uses them as highly detailed models of chemical compounds. The architecture industry uses them to demonstrate proposed buildings and landscapes. The engineering community uses them as designs of new devices, vehicles and structures as well as a host of other uses. In recent decades the earth science community has started to construct 3D geological models as a standard practice.

3D scanner

A 3D scanner is a device that analyzes a real-world object or environment to collect data on its shape and possibly its appearance (i.e. color). The collected data can then be used to construct digital, three dimensional models useful for a wide variety of applications. These devices are used extensively by the entertainment industry in the production of movies and video games. Other common applications of this technology include industrial design, orthotics and prosthetics, reverse engineering and prototyping, quality control/inspection and documentation of cultural artifacts.
Many different technologies can be used to build these 3D scanning devices; each technology comes with its own limitations, advantages and costs. It should be remembered that many limitations in the kind of objects that can be digitized are still present: for example optical technologies encounter many difficulties with shiny, mirroring or transparent objects.
There are however methods for scanning shiny objects, such as covering them with a thin layer of white powder that will help more light photons to reflect back to the scanner. Laser scanners can send trillions of light photons toward an object and only receive a small percentage of those photons back via the optics that they use. The reflectivity of an object is based upon the object's color or terrestrial albedo. A white surface will reflect lots of light and a black surface will reflect only a small amount of light. Transparent objects such as glass will only refract the light and give false three dimensional information.
Functionality
The purpose of a 3D scanner is usually to create a point cloud of geometric samples on the surface of the subject. These points can then be used to extrapolate the shape of the subject (a process called reconstruction). If color information is collected at each point, then the colors on the surface of the subject can also be determined.
3D scanners are very analogous to cameras. Like cameras, they have a cone-like field of view, and like cameras, they can only collect information about surfaces that are not obscured. While a camera collects color information about surfaces within its field of view, 3D scanners collect distance information about surfaces within its field of view. The “picture” produced by a 3D scanner describes the distance to a surface at each point in the picture. If a spherical coordinate system is defined in which the scanner is the origin and the vector out from the front of the scanner is φ=0 and θ=0, then each point in the picture is associated with a φ and θ. Together with distance, which corresponds to the r component, these spherical coordinates fully describe the three dimensional position of each point in the picture, in a local coordinate system relative to the scanner.
For most situations, a single scan will not produce a complete model of the subject. Multiple scans, even hundreds, from many different directions are usually required to obtain information about all sides of the subject. These scans have to be brought in a common reference system, a process that is usually called alignment or registration, and then merged to create a complete model. This whole process, going from the single range map to the whole model, is usually known as the 3D scanning pipeline.

3D rendering

3D rendering is the 3D computer graphics process of automatically converting 3D wire frame models into 2D images with 3D photorealistic effects on a computer.
Rendering is the process of generating an image from a model, by means of computer programs. The model is a description of three dimensional objects in a strictly defined language or data structure. It would contain geometry, viewpoint, texture, lighting, and shading information. The image is a digital image or raster graphics image. The term may be by analogy with an "artist's rendering" of a scene. 'Rendering' is also used to describe the process of calculating effects in a video editing file to produce final video output.
It is one of the major sub-topics of 3D computer graphics, and in practice always connected to the others. In the graphics pipeline, it is the last major step, giving the final appearance to the models and animation. With the increasing sophistication of computer graphics since the 1970s onward, it has become a more distinct subject.
Rendering has uses in architecture, video games, simulators, movie or TV special effects, and design visualization, each employing a different balance of features and techniques. As a product, a wide variety of renderers are available. Some are integrated into larger modeling and animation packages, some are stand-alone, some are free open-source projects. On the inside, a renderer is a carefully engineered program, based on a selective mixture of disciplines related to: light physics, visual perception, mathematics, and software development.
In the case of 3D graphics, rendering may be done slowly, as in pre-rendering, or in real time. Pre-rendering is a computationally intensive process that is typically used for movie creation, while real-time rendering is often done for 3D video games which rely on the use of graphics cards with 3D hardware accelerators.
Rendering methods
Rendering is the final process of creating the actual 2D image or animation from the prepared scene. This can be compared to taking a photo or filming the scene after the setup is finished in real life. Several different, and often specialized, rendering methods have been developed. These range from the distinctly non-realistic wireframe rendering through polygon-based rendering, to more advanced techniques such as: scanline rendering, ray tracing, or radiosity. Rendering may take from seconds to days for a single image/frame. In general, different methods are better suited for either photo-realistic rendering, or real-time rendering.

3D Printing

3D printing is a category of rapid prototyping technology. A three dimensional object is created by layering and connecting successive cross sections of material. 3D printers are generally faster, more affordable and easier to use than other additive fabrication technologies.
Technologies
Previous means of producing a prototype typically took man-hours, many tools, and skilled labor. For example, after a new street light luminaire was digitally designed, drawings were sent to skilled craftsmen where the design on paper was painstakingly followed and a three-dimensional prototype was produced in wood by utilizing an entire shop full of expensive wood working machinery and tools. This typically was not a speedy process and costs of the skilled labor were not cheap. Hence the need to develop a faster and cheaper process to produce prototypes. As an answer to this need, rapid prototyping was born.
One variation of 3D printing consists of an inkjet printing system. Layers of a fine powder (plaster, corn starch, or resins) are selectively bonded by "printing" an adhesive from the inkjet printhead in the shape of each cross-section as determined by a CAD file. This technology is the only one that allows for the printing of full color prototypes. It is also recognized as the fastest method.
Alternately, these machines feed liquids, such as photopolymer, through an inkjet-type printhead to form each layer of the model. These Photopolymer Phase machines use an ultraviolet (UV) flood lamp mounted in the print head to cure each layer as it is deposited.
Fused deposition modeling (FDM), a technology also used in traditional rapid prototyping, uses a nozzle to deposit molten polymer onto a support structure, layer by layer.
Another approach is selective fusing of print media in a granular bed. In this variation, the unfused media serves to support overhangs and thin walls in the part being produced, reducing the need for auxiliary temporary supports for the workpiece.
Finally, ultrasmall features may be made by the 3D microfabrication technique of 2-photon photopolymerization. In this approach, the desired 3D object is traced out in a block of gel by a focused laser. The gel is cured to a solid only in the places where the laser was focused, due to the nonlinear nature of photoexcitation, and then the remaining gel is washed away. Feature sizes of under 100 nm are easily produced, as well as complex structures such as moving and interlocked parts.
Each technology has its advantages and drawbacks, and consequently some companies offer a choice between powder and polymer as the material from which the object emerges. Generally, the main considerations are speed, cost of the printed prototype, cost of the 3D printer, choice of materials, color capabilities, etc.
Unlike "traditional" additive systems such as stereolithography, 3D printing is optimized for speed, low cost, and ease-of-use, making it suitable for visualizing during the conceptual stages of engineering design when dimensional accuracy and mechanical strength of prototypes are less important. No toxic chemicals like those used in stereolithography are required, and minimal post printing finish work is needed. One need only brush off surrounding powder after the printing process. Bonded powder prints can be further strengthened by wax or thermoset polymer impregnation. FDM parts can be strengthened by wicking another metal into the part.

3D computer graphics software

3D computer graphics software refers to programs used to create 3D computer-generated imagery. There are typically many stages in the "pipeline" that studios use to create 3D objects for film and games, and this article only covers some of the software used. Note that most of the 3D packages have a very plugin -oriented architecture, and high-end plugins costing tens or hundreds of thousands of dollars are often used by studios. Larger studios usually create enormous amounts of proprietary software to run alongside these programs.
Features
Many 3D modelers are general-purpose and can be used to produce models of various real-world entities, from plants to automobiles to people. Some are specially designed to model certain objects, such as chemical compounds or internal organs.
3D modelers allow users to create and alter models via their 3D mesh. Users can add, subtract, stretch and otherwise change the mesh to their desire. Models can be viewed from a variety of angles, usually simultaneously. Models can be rotated and the view can be zoomed in and out.
3D modelers can export their models to files, which can then be imported into other applications. Many modelers allow importers and exporters to be plugged-in, so they can read and write data in the native formats of other applications.
Most 3D modelers contain a number of related features, such as ray tracers and other rendering alternatives and texture mapping facilities. Some also contain features that support or allow animation of models. Some may be able to generate full-motion video of a series of rendered scenes (i.e. animation).
Uses
3D modelers are used in a wide variety of industries. The medical industry uses them to create detailed models of organs. The movie industry uses them to create and manipulate characters and objects for animated and real-life motion pictures. The video game industry uses them to create assets for video games. The science sector uses them to create highly detailed models of chemical compounds. The architecture industry uses them to create models of proposed buildings and landscapes. The engineering community uses them to design new devices, vehicles and structures as well as a host of other uses.
Major packages
A comprehensive comparison of significant 3D packages can be found at CG Society Wiki and TDT3D 3D applications 2007 comparisons table.
3ds Max (Autodesk), originally called 3D Studio MAX. 3ds Max is used in many industries that utilize 3D graphics. It is used in the video game industry for developing models and creating cinema cut-scenes. It is used in architectural visualizations because it is highly compatible with AutoCAD-also developed by Autodesk. Additionally 3ds Max is used in film production, one contemporary film being Kaena: The Prophecy. With its price of around $3500 USD, it is one of the more expensive products in the market for this type of work. 3ds Max is available for Windows. 3DS Max is currently at version "2009" (v11).
AC3D (Inivis) is another 3D modeling application that began in the 90's on the Amiga platform. While it is used in a number of industries, MathWorks actively recommends it in many of their aerospace related articles due to price and compatibility. Additionally it is the first commercial 3D modeler to integrate full support for exporting models to the metaverse platform Second Life. AC3D is priced in the range of $79 USD and is available for Mac OS X, Windows and Linux. While AC3D does not feature its own renderer, it can generate output files for both RenderMan and POV-Ray among others.
Blender (Blender Foundation) is a free, open-source, 3D studio for animation, modeling, rendering, and texturing offering a feature set comparable to high end and mid range 3D animation suites such as Maya, 3ds Max, or Cinema 4D. It includes features such as multi-resolution sculpting; retopology painting. Additionally it supports 3D view texture painting; stack based modifier system; flexible particle system with particle based hair; cloth/soft body dynamics, rigid body dynamics and fluid simulation; node based texturing and node based compositing; an integrated non linear video editor; and integrated game engine. Blender is developed under the GPL and is available on all major platforms including Windows, OS X, Linux, BSD, Sun and Irix.. It is currently the only 3D animation suite that is supported both on super computers as well as handheld computers such as the Pocket PC (Pocket Blender).
Cinema 4D (MAXON) is a slightly lighter package than the others in its basic configuration. The software is claimed to be artist-friendly, and is designed with the less-technical user in mind. It has a lower initial entry cost due to a modular a-la-carte design for purchasing additional functions as users need them. For example, a module called BodyPaint allows artists to draw textures directly onto the surface of models. Originally developed for the Commodore Amiga, it is also available for Mac OS X, Windows and Linux. Cinema 4D is currently at version 10.5
Electric Image Animation System (EI Technology Group) is a 3D animation and rendering package available on both Mac OS X and Windows. Mostly known for its rendering quality and rendering speed it does not include a built-in modeler. EIAS features the ability to handle very large polygon counts. Recently, the blockbuster film "Pirates of the Caribbean: The Curse of the Black Pearl" and the Television hit "Lost" utilized the software.
form-Z (autodessys, Inc.) is a general purpose solid/surface 3D modeler. Its primary usage is modeling, and it also features rendering and animation support. form-Z claims users involved in architecture, interior design, illustration, product design, and set design. Its default renderer uses the LightWorks rendering engine for raytracing and radiosity. form-Z also supports Plugins and Scripts and has rendering support via Next Limit's Maxwell Renderer. It has Import/Export capabilities and was first released in 1991. It is currently available for both Mac OS X and Windows. The price for this software ranges from $1495-$2390USD based on output quality.
Houdini (Side Effects Software) is used for visual effects, and character animation as well as used inDisney’s The Wild. Houdini uses a nonstandard interface that it refers to as a "NODE system". Commercial licenses of Houdini include unlimited copies of Side Effects Software's hybrid micropolygon-raytracer renderer, Mantra, but Houdini also has built-in support for commercial renderers like Pixar's RenderMan and mental ray. There are two versions of Houdini, Houdini Escape ($1,995 USD) and Houdini Master ($7,995 USD). For non-commercial users, Side Effects Software offers the free Houdini Apprentice personal learning edition, which places a small watermark on images, and Houdini Apprentice HD, a $99 USD package that does not watermark renders. Houdini is currently at version 9.
Light Wave 3D (NewTek), first developed for the Amiga, was originally bundled as part of the Video Toaster package and entered the market as a low cost way for TV production companies to create quality CG for their programming. It first gained public attention with its use in the TV series "Babylon 5". Contemporary use in TV and movie production can be seen with the 2004 recreated Battle Star Galactica series, CSI: Crime Scene Investigation and the film 300 (film). It is priced at $795 USD and is available for both Windows and Mac OS X. Lightwave's current version is Version 9.3.1
Light Works (LightWorkDesign) develops the LightWorks and LightWorks SE high quality 3D rendering toolkit predominantly used in Mechanical, Configuration and Architectural CAD applications. LightWorks has traditionally used ray tracing and radiosity algorithms, but more recently has incorporated Final gather and Global illumination algorithms. LightWorks is currently available for both Mac OS X and Windows on 32 and 64bit.
Massive is a 3D animation system for generating crowd-related visual effects, targeted for use in film and television. Originally developed for controlling the large-scale CGI battles in the Lord of the Rings, Massive Software has become an industry standard for digital crowd control in high end animation. Recently, the software has been utilized for blockbuster feature films including Happy Feet, King Kong, and I, Robot. It is available for various Unix and Linux platforms as well as Windows.
Maya (Autodesk) is currently used in the film and television industry. Maya has a high learning curve but has developed over the years into an application platform in and of itself through extendability via its MEL programming language. A common alternative to using the default built in rendering system named mental ray is Pixer’s Renderman. In 2005, Autodesk (makers of AutoCAD), acquired Alias--the original creator of Maya. Maya comes in two versions: Maya Complete ($1999 USD) and Maya Unlimited ($6999 USD). There is also Maya Personal Learning Edition, which is for non-commercial use and puts watermarks on any rendered images. The current version of Maya is "2008" (v9)
Modo (Luxology) is a subdivision modeling, texturing and rendering tool. Recently, version 301 added animation capabilities for camera motion and morphs / blendshapes. It is priced in the area of 895$ USD and is available for both Windows and Mac OS X. Modo's current version is 302.
Silo (Nevercenter) is a subdivision-surface modeler available for Mac OS X and Windows, with a Linux version in development. Silo does not include a renderer and is priced in the area of $109 USD. Silo is the bundled in modeler for the Electric Image Animation System suite.
SketchUp Pro (Google) is a 3D modeling package that features a sketch-based modeling approach. It has a pro version which supports 2-D and 3-D model export functions among other features, which is currently priced at $495 USD. It also has a free version that is integrated with Google Earth and limits export to Google's "3D Warehouse", where users can share their content.
SoftimageXSI (Avid) is feature-similar to Maya and is sold as a completive alternative. Prior to its acquisition by Avid, Softimage originally promoted the program (under the name Softimage 3D) for use in the video game industry and secured its promotion as part of the Nintendo N64 SDK. The newer Softimage XSI has additional features and integrates with mental ray rendering. XSI's current version is version 6.5.
SolidThinking (solidThinking Ltd) is a 3D solid/surface modeling and rendering software which features a Construction Tree method of development. This is explained as the history of the model construction process allowes real-time updates when modifications are made to points, curves, parameters or entire objects. solidThinking is available in four versions: MODELER, MODELER XL, DESIGN, and VANTAGE.
SolidWorks (Solid Works Corporation) is a series of packages used mainly for virtual testing of a product. It includes modeling, assembly, drawing, sheetmetal, weldments, and freeform surfacing. It also has support for custom programming/scripting in Visual Basic and C. The licenses/packages are SolidWorks, SolidWorks Office, SolidWorks Office Professional, SolidWorks Office Premium, SolidWorks Student Design Kit, SolidWorks Education Edition, and SolidWorks Student Edition.
TrueSpace (Caligari Corporation) is another 3D program available for Windows, although the company Caligari first found its start on the Amiga platform. trueSpace features modeling, animation, 3D-painting, and rendering capabilities. It is priced in the range of $199 USD for Version 5.2 through $595 USD for Version 7. The current version is 7.5
ViewBuild USA (VEC3D) is a 3D software package built on a gaming platform used primarily for modeling architecture.
Vue 6 (E-on Software) Vue 6 is a tool for creating, animating and rendering natural 3D environments. It was most recently used to create the background jungle environments in the 2nd and 3rd Pirates of the Caribbean films. The current version is v6.5
Zbrush (Pixologic) is a digital sculpting tool that combines 3D/2.5D modeling, texturing and painting tool available for Mac OS X and Windows. It is priced at $489 USD.The current version of Zbrush is 3.1.
Other packages
Anim8or is a proprietary freeware 3D rendering and animation package.
Animation:Master from HASH, Inc is a modeling and animation package that focuses on ease of use. It is a spline-based modeler. Its strength lies in character animation.
Art of Illusion is a free software package developed under the GPL.
AutoQ3D is a GPLed cross-platform modeler.
Bryce (DAZ Productions) is most famous for landscapes.
Carrara (DAZ Productions) is a 3D complete tool set package for 3D modeling, texturing animation and rendering; and Amapi and Hexagon are 3D packages often used for high-end abstract and organic modeling respectively.
Cheetah3D is primarily aimed at amateur 3D artists with some medium- and high-end features
DAZ Studio a free specialized tool for adjusting parameters of preexisting models, posing and rendering them. Similar to Poser, but more limited in functionality.
DeleD 3D Editor is a fully functional free game-oriented 3D Editor. PRO version also available.
DIALux is a free light making software. It also makes buildings / architectural modeling and a little more. Used to cost thousands of dollars. It has renderers as well.
DX Studio a complete integrated development environment for creating interactive 3D graphics. The system comprises both a real-time 3D engine and a suite of editing tools, and is the first product to offer a complete range of tools in a single IDE.
Equinox-3D
Grome is a professional modeler especially suited for outdoor environments. Used in gaming and 3D simulation industry.
K-3D is a GNU modeling, animation, and rendering system available on Linux and Win32. It makes use of RenderMan-compliant render engines. It features scene graph procedural modelling similar to that found in Houdini.
Landscape Studio is a Java-based heightmap generator.
MakeHuman is a GPL program that generates 3D parametric humanoids.
MeshLab is a free Windows, Linux and Mac OS X application for visualizing, simplifying, processing and converting large three dimensional meshes to or from a variety of 3D file formats.
MilkShape 3D is a shareware/trialware polygon 3D modelling program with extensive import/export capabilities.
Misfit Model 3D is an OpenGL-based 3D model editor that works with triangle-based models. It supports multi-level undo, skeletal animations, simple texturing, scripting, command-line batch processing, and a plugin system for adding new model and image filters. Complete online help is included. It is designed to be easy to use and easy to extend with plugins and scripts.
Moonlight3d is a modeling and animation tool.
Mudbox Mudbox is a high resolution brush-based 3D sculpting program, that claims to be the first of its type. The software was acquired by Autodesk in 2007.
OpenFX is a modeling and animation studio, distributed under the GPL.
Pixels 3D is supports NURBS modeling, animation and effects and comes with a micropolygon renderer with node-based material graphs. It is available exclusively for Mac OS X.
Poser (Smith Micro) Poser is a 3D rendering and animation software program optimized for models that depict the human figure in three-dimensional form and is specialized for adjusting features of preexisting character models via varying parameters. It is also for posing and rendering of models and characters. It includes some specialized tools for walk cycle creation, cloth and hair.
RealFlow simulates and renders particle systems of rigid bodies and fluids.
Realsoft 3D Real3D
Rhinoceros 3D is a commercial modeling tool which has excellent support for freeform NURBS editing.
ShapeShop is a free sketch-based 3D modeling tool based on hierarchical implicit surfaces. Like Sketchup, it is very easy to use, but can create a much wider range of smooth surfaces.
SharpConstruct is a free 3D modeling program that works like ZBrush.
Terragen and Terragen 2 are freeware scenery generators.
Wings 3D is a BSD -licensed, minimal modeler.
3D MESH BLACKSMITH is a 3D modeler that incorporates features useful in video game level design or for designing 3D objects through a simplified interface. The application also features tools for character modeling and animation, object animation scripting, mesh generation and editing as well as 3D painting (colors and bump map). It uses a pseudo "C style" scripting language.
Renderers
3Delight is a RenderMan-compliant renderer.
Aqsis is a free rendering suite compliant with the RenderMan standard.
Brazil is a rendering engine for 3ds Max and VIZ
FPrime for Lightwave adds a very fast preview and can in many cases be used for final rendering.
Fryrender is a multi-platform renderer which forgoes raytracing, global illumination and radiosity in favor of photon rendering with a virtual electromagnetic spectrum, resulting in very authentic looking renders.
Gelato is a hardware-accelerated, non-real-time renderer created by graphics card manufacturer NVIDIA.
Indigo Renderer is a closed source (but free for all uses) photorealistic renderer that uses XML for scene description. Exporters available for Blender, Maya (Mti), Cinema 4D, Rhino, 3ds Max.
IRender for SketchUp add photorealistic rendering capabilities to SketchUp.
Kerkythea is a freeware rendering system that supports raytracing. Currently, it can be integrated with 3ds Max, Blender, SketchUp, and Silo (generally any software that can export files in obj and 3ds formats). Kerkythea is a standalone renderer, using physically accurate materials and lighting.
KRay for Lightwave offers very fast radiosity rendering solutions
LuxRender is an unbiased open source rendering engine featuring Metropolis light transport
Maxwell Render is a multi-platform renderer which forgoes raytracing, global illumination and radiosity in favor of photon rendering with a virtual electromagnetic spectrum, resulting in very authentic looking renders. It was the first to market.
mental ray is another popular renderer, and comes default with most of the high-end packages.
Pixar's PhotoRealistic RenderMan is the a renderer, used in many studios. Animation packages such as 3DS Max and Maya can pipeline to RenderMan to do all the rendering.
Pixie is an open source photorealistic renderer.
POV-Ray (or The Persistence of Vision Raytracer) is a freeware (with source) ray tracer written for multiple platforms.
Sunflow is an open source, photo-realistic renderer written in Java.
Turtle is an alternative renderer for Maya, it specializes in faster radiosity and automatic surface baking technology which further enhances its speedy renders.
V-Ray is promoted for use in the architectural visualization field used in conjunction with 3Ds Max and 3ds viz. It is also commonly used with Maya.
YafRay raytracer/renderer distributed under the LGPL license.
Related to 3D software
Swift 3D is a package for transforming models in Lightwave or 3DS Max into Flash animations.
Match moving software is commonly used to match live video with computer-generated video, keeping the two in sync as the camera moves.
After producing video, studios then edit or composite the video using programs such as Adobe Premiere or Apple Final Cut at the low end, or Auto desk Combustion, Eye-on Digital Fusion, Apple Shake at the high end.
Meta Creations Detailer and Painter 3D are discontinued software applications specifically for painting texture maps on 3-D Models.
Any raster graphic editor software may be used to touch up rendered 3D still images from any 3D software application.
UVMapper is a freeware/shareware program for setting UVs on Alias Wavefront Object models.
Headus UVLayout is a software package for creating UVs on models. Rather than the traditional 'projection' approach, it uses a 'slice and flatten' approach which leads to less seams and distortion.

Digital cameras for Digital Filmmking

2008-07-19T09:36:00.003+05:30

Digital cameras
Digital cinematography cameras can be purpose designed professional cameras but cameras designed for domestic use are also used.

‘Red One’ Digital Camera
The Red One was announced in 2006 and released in 2007 as the first camera produced by Red Digital Cinema Camera Company. It has a 12 megapixel bayer pattern CMOS sensor, called the Mysterium. The sensor measures 24.4 mm x 13.7 mm, and has 4520 by 2540 active pixels, though the camera only records data from a 4096 by 2304 pixel area in normal operation. The Mysterium sensor has about the same active area as a Super 35 film frame masked to the 16:9 aspect ratio, allowing the same depth of field to be produced in conjunction with lenses designed to cover the 35 mm film format.
The camera also allows the sensor to be used in a windowed mode in which the sensor can emulate the active area of a Super 16 film frame while capturing 2048 pixel resolution footage. This allows the camera to be used with Super 16 lenses.
Red has measured the sensor's signal to noise ratio at greater than 66 dB, and claims 11.3 stops of total dynamic range. However, the dynamic range reported from many cinematographers including Richard Bluck, place the camera's dynamic range significantly lower, at about 8 stops. This difference is probably attributable to the use of different mechanisms for measuring dynamic range. Red rates the sensor at 320 ISO natively.

Lens Mount
The Red One camera has an interchangeable lens mount. It ships with a PL mount, common for modern 35 mm and 16 mm motion picture cameras. The company has also released an adapter for 2/3" B4 lenses, and for Nikon F-mount lenses. Birger Engineering has announced it will soon release a Canon EF lens mount for the Red One, which will provide full electronic control of EF lenses. Other third parties may also have lens mounts in development for the Red One.

Recording formats
The Red One can record at several resolutions. All recording is progressive scan.
The Red One does not natively capture at standard definition or high definition resolutions. However, as part of the process of delivering the raw image data recorded by the camera, the RedCine desktop software can downscale footage to these resolutions. This process yields extremely high-quality output due to significant oversampling.
Red has indicated that a future accessory (replacing an optical raw port that Red originally planned to bring to market) may allow the camera to record data from the sensor's full 4520×2540 active area, although few details about this are currently available.

Compression and workflow
Redcode RAW is a variable bitrate wavelet codec which allows raw sensor data at resolutions of up to 4096x2304 to be compressed sufficiently for practical on-camera recording. Two variants are offered, one with a maximum data rate of 28MB/s (224 megabits), and one with a maximum data rate of 36 MB/s (288 megabits). Compared with the uncompressed data captured by the sensor, these bitrates represent compression ratios of about 12:1 and 9:1, respectively.
Because Redcode is a wavelet codec, similar to CineForm RAW and JPEG2000, the blocking artifacts associated with other digital video compression algorithms are absent. However, sample images detailing Redcode specific artifacts have been posted on the manufacturer's forum.
Redcode is a mathematically lossy codec, meaning that decompression does not fully restore the original image data captured by the camera. Red does claim the codec is "visually lossless", meaning that the information loss is not visible to the naked eye when images are viewed, however this is a subjective statement.
Unlike cameras that record RGB data, the camera records raw data similar to the DALSA Origin and Silicon Imaging SI-2K. Recording raw data allows white balance, gamma and other image processing parameters like sharpening to be set during post production. Adjusting these settings directly on camera does not impact the raw data that is actually recorded. Such adjustment only influence live monitoring outputs, but are attached to the recorded data as metadata.
Another consequence of the Red's raw-based workflow is that footage must be processed through a demosaicing algorithm before it can be viewed. Red has provided a QuickTime component which allows a fast demosaic to occur in real-time so the footage can be used in applications that support QuickTime without transcoding. Higher quality output can be achieved by transcoding the footage through Red's RedCine or RedAlert! desktop software, although this process is much slower than real-time.

Lenses
Red has announced several Red-branded PL-mount lenses. The company is currently shipping a 300 mm f2.8 telephoto prime and an 18-50mm T*3 zoom. Red has plans to introduce a 50-150mm T*3 zoom, an 18-85mm T*3 zoom, and a full set of prime lenses. Several third party vendors have opened up to Red, such as the widely respected named Cooke, which is in development of a lens set with a list price of $97,000.

Recording media
The Red One records footage to data files on disk or flash based digital storage.
The Red Drive is a 320 GB external hard-drive based digital magazine, containing two 2.5" hard drives in a RAID 0 configuration. It can record over two hours of 4K footage. A Red Drive is usually mounted in a cradle attached to the camera's rod support system. The drive connects to the camera via a specialty locking connector, though the camera and the drive communicate using the standard SATA protocol. The drive has FireWire 800, FireWire 400 and USB2 ports, and can be directly connected to a computer via any of those interfaces, at which point it appears as a standard external hard drive, and files containing the footage can be copied off like any other computer files.

Red also offers a Compact Flash module for the camera, and 8 GB flash cards. An 8 GB card can hold around 6 minutes of 4K footage and 20 minutes of 2K footage. Compact flash is preferable for cases where the camera rig needs to be as light as possible or in situations where sudden motion or intense vibration could cause dropped frames with hard drive based recording due to the mechanical nature of hard drives. While the camera can use industry standard flash cards, most are presently not fast enough to maintain the necessary data rates. Of particular note, Red's testing has shown that none of the 16 GB cards presently on the market are fast enough.
The company has announced plans to introduce a version of the Red Drive based around solid state disks, which should allow for significantly longer recording times than compact flash cards while eliminating the issues related to recording to mechanical hard drives. This "Red Flash Drive" will be significantly more expensive than the mechanical Red Drive, however.

Monitoring
Red offers two on-camera monitoring options for the Red One, a 5.6" LCD screen and an electronic viewfinder. The screen has a native resolution of 1024 by 600, while the electronic viewfinder has a native resolution of 1280 by 848. Both the screen and the viewfinder connect through proprietary interfaces and rely on in-camera processing to generate their data displays, so they are only compatible with the Red One.

The camera also has HD-SDI and HDMI outputs for connection to external monitors. These presently operate at 720p.
The Red One can generate a variety of data overlays which can be displayed on its video outputs, including histograms, waveform plots, false color exposure aids, and two different "focus assist" displays.
Unlike virtually all HD video cameras, the Red One does not generate a video stream in-camera which represents its final product. Its real-time monitoring outputs do not reflect the resolution and dynamic range captured in the raw files it records. The camera's live outputs are intended to be used only for on-set monitoring, similarly to the way a video tap is often used with film-based acquisition.

Audio
The camera has four TA3 ("mini XLR") connectors, and can record up to four channels of 24-bit 48 kHz digital audio.

Physical characteristics
The Red One camera body weighs around ten pounds. Dimensions are 12.02" long x 6.34" tall x 5.2" wide. The camera is based around a modular design concept. It has many mounting points, and accessories like recording devices, viewfinders, etc. are mounted to the camera, rather than being integral parts of the body.

Performance issues
Like many CMOS-based cameras, images captured by the Red One show rolling shutter artifacts. These occur because data is read from the sensor line by line over a short period of time, rather than all at once, so each frame in an image sequence does not actually represent a single instant in time. Rolling shutter artifacts can cause vertical objects to appear to lean as they move or as the camera pans past them, and can cause strobe effects like camera flashes or lighting strikes to appear only on portions of frames, creating a "tearing" effect. Also, in some shots with heavily overexposed highlights (often seen when the camera is pointed into the sun, for example), the brightest parts of highlights are rendered as purple or gray (one would expect them to be white). This is apparently related to some sort of self-protection feature in the sensor. Red have indicated that they are working on resolving this issue.
Footage
RedRelay.net has an extensive gallery of high-quality Red footage in various formats available for download. Red itself also has some footage on its web site, although it is primarily older material shot on prototype cameras.

Preorder
Red ran a reservation for the Red One camera, requiring a $1000 deposit, between April 24, 2006 and October 31, 2006. Around 1000 cameras were reserved during that time. Reservations were reopened from January 21, 2007 until January 24, 2007. The first 1080 reservation holders each received a machined titanium "R" with their future camera serial number engraved on it. Subsequently the camera became available for general ordering, although as of March 2008, there is still a wait time of several months, as Red fills an order backlog for over 3000 units.

Starting early on, the company involved itself in online discussion boards, primarily http://www.dvxuser.com/ and later http://www.reduser.net/ . This policy of taking reservations well before the camera was available, and of involving potential customers in the design and development process through online forum interactions, helped to build a strong online community for the camera well before it shipped, although it also generated controversy among those who were critical of enthusiasm for a product that was not yet available and that some even considered technically unfeasible.

Release
On August 31, 2007, Red shipped the first 25 Red One cameras to pre-order customers. As of April 2008, Red is shipping up to serial number 1750 (though because of the way serial numbers are assigned, there is no way to know how many of those cameras have actually been shipped to customers), and over 4,000 cameras have been ordered.

Firmware updates
Red began shipping cameras with feature-incomplete on-board software, with the intention of rolling out more features and bug fixes over time, via the camera's software updating mechanism. Since the initial release of the camera, new firmware releases have enabled sound, higher frame rates and better image quality, among other features. As with Red's policy of conducting so much of the camera's development out in the open, Red's policy of shipping the camera early and updating the software over time, a practice seen far more often in the computer industry than the film and video production world, has created some controversy.
NAB 2007
At the National Association of Broadcasters 2007 show in Las Vegas, Nevada, three working Red One cameras were on display as well as all-day screenings of a recent 12-minute short entitled Crossing the Line directed by Peter Jackson using two "alpha" versions of the Red camera nicknamed Boris and Natasha. The alpha versions had nothing but a record/stop button and shot at 4K/24 frame/s and a 180 degree shutter. All other features were unavailable. Initially expecting a standard camera test, when Jim Jannard, Jarred Land, and Deanan Dasilva from Red arrived in New Zealand, they were surprised to learn that Peter Jackson intended to shoot a ten minute short set in World War I featuring battles in trenches and in the air. The film was used to showcase the capabilities of the Red One camera in action rather than in controlled test environments. The film was shot in 2 days.
Despite being feature-incomplete, Red assured booth visitors the camera would start shipping before the end of the year.
At NAB 2007, Red announced that Redcode RAW data generated by the camera can be converted using propriety software called Red Cine into a range of formats, including DPX. Redcode RAW is also supported in Final Cut Pro 6. A new set of prime Red lenses was released which includes f2.8 15 mm, f1.9 25 mm, f1.9 35 mm, f1.9 50 mm and f1.9 85 mm lenses for $19,975 as well as a new 18 mm-50 mm (f2.8) zoom for $6,500. The previously announced 18-80 mm zoom has been slightly delayed.
Also at NAB 2007, during the Final Cut Pro User Group Supermeet, the Red team appeared on stage. Although they were scheduled to show footage from the camera, they declined, citing copyright concerns. They also used the venue to announce that they would be developing a "Professional Pocket Cam" and their own 4k projector, but declined to give any more details.

Filmography
Director Steven Soderbergh has shot his two features recently screened at the Cannes Film Festival: Guerrilla and The Argentine entirely with the Red One camera. Soderbergh is very enthusiastic about the camera, saying that "this is the camera I've been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. I don't know how Jim and the Red team did it—and they won't tell me—but I know this: Red is going to change everything."
The upcoming motion picture Game is also to be shot on the Red One.
The feature Sensored, starring Robert Picardo, currently in post-production, was shot using the Red One camera.
'"The Last Dragon"', an official Australian-Chinese Co-production, will also be shot entirely on RED by director Mario Andreacchio in October 2008 in China.
"Marmayogi" Tamil motion picture which is produced and directed by Kamal Hassan of South India will also be shot entirely on RED.

September 2006 theft
On September 24, 2006, the Red offices in Lake Forest, California were broken into. No sensors or sensor information were stolen. Some of the stolen items, including a prototype camera shell, have since been recovered, and some items such as computers containing in-detail information on the Red One have not been recovered. Red has not revealed the circumstances of the recovery, due to the existence of an ongoing investigation. Red has offered a $100,000 reward for any information leading to the apprehension of those responsible.

Epic
A 5K camera called "Epic" has been announced. It will have a S35 mm Mysterium X sensor and Red has announced that customers who bought the Red One and wish to upgrade may trade their existing cameras in for full credit towards the purchase of the Epic. The Epic is expected to sell for around $30,000.

Scarlet
Red also announced a pocket professional camcorder to be called Red Scarlet set for release in 2009 with a price under $3,000.

Features
2/3 inch Mysterium X Sensor
3K resolution in Redcode RAW format with data rates up to 100 MB/s on dual compact flash
frame rates of 1-120 frames per second. 180 frames/s for short periods
8x zoom lens
full manual and automatic controls
Wi-Fi wireless network capabilities
auto focus and auto zoom

Sony’s CineAlta Digital Camera
Sony's CineAlta 24P HD (high definition video) Cameras are a series of professional digital video cameras that offer many of the same features of a 35mm motion picture film camera.

Concept
CineAlta is a brand name used by Sony to describe various products involved in content creation, production and exhibition process within digital cinema workflow. Now Sony's products branded by CineAlta include camera, camcorder, recorder, cinema server and projector.
Format
CineAlta cameras record onto HDCAM tapes, XDCAM Professional Discs or SxS flash memory cards. They have the ability to shoot at various frame rates including 24fps and have a resolution of up to 1920 by 1080 pixels.

History and use in motion pictures
In 2000 George Lucas announced that Episode II of the Star Wars Prequel Trilogy would be the first major motion picture to be shot 100% digitally. Sony and Panavision had teamed up to develop the High Definition 24P camera that Lucas would use to accomplish this and thus the first CineAlta camera was born: the Sony HDW-F900 (also called the Panavision HD-900F after being "panavised").
For Star Wars Episode III: Revenge of the Sith the more advanced Sony HDC-F950 was used, with higher resolution and better color reproduction than its predecessor. The film was cropped to a 2.35:1 aspect ratio from its native 16:9 frame. As a result only 817 of the 1080 vertical pixels were actually used; but there is an anamorphic adaptor lens from Canon, which allows shooting in 2.35:1 without losing any pixels. Manuel Huerga's Salvador is the first movie shot with this adaptor.
Russian Ark was recorded in uncompressed high definition video using a Sony HDW-F900. The information was recorded uncompressed onto a hard disk which could hold 100 minutes, thus allowing the entire film to be shot in a single 90 minute take. Four attempts were made to complete the shot; the first three had to be interrupted due to technical faults, but the fourth attempt was completed successfully. Extra material on the DVD release includes a documentary on the technology used.

Other notable movies that were shot with CineAlta cameras include:
Sky Captain and the World of Tomorrow
Sin City
U2 3D
Spy Kids 2: Island of Lost Dreams
Cloverfield
List of CineAlta Cameras
F-23
HDW-F900R
HDC-F950
HDC-1000W/1500L
PDW-F355
PDW-F335
PMW-EX1

The Future of CineAlta
In addition to F23, Sony has revealed some basic features of F35, a Sony version of Panavision's Genesis, which was equipped with a single S35 size CCD and PL lens mount. F35 is said to be available worldwide in the late fall of 2008 at a system price, not including lens, in the neighborhood of a quarter million dollars.
Besides, Sony has also announced that Cinealta 4K, a 4K production suite including a 4K digital cinema camera and recorder, is being developed. The results are still a few years in coming.

Panavision’s Genesis Digital Camera
The Genesis is Panavision's high-end digital movie camera, which uses a proprietary, full frame 35mm-width, 1.78:1 (16:9) aspect ratio, 12.4-megapixel RGB filtered CCD. It was first used by a feature crew to shoot Bryan Singer's Superman Returns and was shortly followed up thereafter by the World War I film Flyboys. However, the CGI-heavy nature of these two movies meant that ultimately the comedy Scary Movie 4 was the first theatrically released feature sourced primarily from the Genesis camera. Genesis has since been used by cinematographer Dean Semler for shooting Click and Apocalypto.

Background
Unlike the 2/3" 3-CCD RGB imaging system used in the CineAlta HD-900F (used in Attack of the Clones), the Genesis uses a single 12.4 megapixel CCD chip with the same width as a Super 35mm film frame. The "Panavized" CineAltas didn't use Panavision's existing range of 35mm film lenses and have different depth-of-field characteristics.
Most photographic lenses designed for film cameras cannot be adapted to work on 3-chip video cameras. In many cases, the prism block simply leaves no room for the rear element of the lens. In cases where the lens does fit, the resulting optical aberrations created by the prism (primarily spherical) would destroy image quality. Apart from this, the sensors on a "2/3 inch" video camera are closer in size to a 16mm film frame and so would produce a similar depth of field.
Panavision originally tried to overcome this problem with optical adaptors that fitted between the cine lens and the video camera but these have all produced an unacceptable drop in image quality. Most productions using the Sony HDCAM cameras therefore used lenses of Zeiss, Angenieux, Canon and Fujinon.

Apart from this, there were a number of operational problems with both the lenses and cameras used for Attack of the Clones, and so for Revenge of the Sith, George Lucas severed his long-standing relationship with Panavision in 2003, obtaining newer-model Sony HDC-F950 cameras and lenses from Plus8Digital instead.

In an attempt to address these and other problems, Panavision followed this up in 2004 with the Genesis, a full bandwidth (4:4:4) camera with improved colorimetry and sensitometry-related specs and, probably most importantly, a Super 35 mm film-sized recording area, thus making it focally compatible with regular Cine Primo lenses and giving a true 35 mm depth of field.

Technical specification
The Genesis uses a 12.4 megapixel CCD chip, arranged in a 5760x2160 horizontally RGB filtered array. The vertical resolution is cut in half to 1080 by pixel binning, so the final output pixel resolution is 1920x1080, about 2/3 the resolution of a 2k film scan. The chip has an HDTV-style 16:9 (1.78:1) aspect ratio, similar in size to Super35 3-Perf film. The CCD active area is .930 in. x .523 in. This is a significant breakthrough in that it allows just about any Panavision spherical 35mm cine lens to be used. However there are as yet unanswered questions about the resultant color quality, since single-chip NTSC and PAL color cameras using the exact same color-stripe sampling technique have always performed poorly compared to equivalent 3-chip models. The main imaging module of the Genesis is made by Sony, but the exact relationship between the two companies is unclear, since their joint partnership was dissolved in 2004 with Panavision's re-purchase of the 8% shareholding Sony bought in 2000.
The Genesis can record in a custom Panalog color space, which is a log color space that it is also 4:4:4 unlike traditional HD. The tone-curve is different than the Cineon log format used for film post-production, but preserves highlight detail that would be lost with typical video gamma correction.

There have also been numerous complaints about the small black and white viewfinders available, which are virtually useless for critical focus. To address this, Panavision uses the Sony HDVF-C30W TFT color LCD viewfinder (960x540 pixels), which is compatible with both the CineAlta and the Genesis cameras. Digital cinema camera competitors to the Genesis the DALSA Origin and D-20 incorporate a reflex optical viewfinder to address this concern.

Filmography
Feature films shot with Panavision Genesis include:
Apocalypto (2006)
Asterix in the Olympic Games (2008)
Balls of Fury (2007)
Before the Devil Knows You're Dead (2007)
The Comebacks (2007)
The Condemned (2007)
Click (2006)
Deja Vu (2006)
Fantastic Four: Rise of the Silver Surfer (2007) (limited portions)
The Ferryman (2007)
Flyboys (2006)
Grindhouse (2007) (Planet Terror only)
His Majestry Minor (2007)
I Now Pronounce You Chuck and Larry (2007)
The Lookout (2007)
La Maison Bonheur (2006)
Next (2007)
The Other Boleyn Girl (2008)
Reign Over Me (2007)
Slipstream (2007)
Scray Movie IV (2006)
Superbad (2007)
Superman Returns (2006)
A Tiger’s Tale
Television series shot with the Panavision Genesis include Night Stalker, Conviction, What About Brian, Justice, 3 Labs., and "Cranford" (BBC TV Series).
Some television pilots shot with the Genesis include Faceless,In Case Of Emergency, Brothers & Sisters, 52 Fights and Protégé.

Competitors
Panavision has many competitors. Several competitors have very similar features and some are already in wide use by the film industry.
Arriflex D-20 (35mm sensor size, 1080p output)
Dalsa Origin (35mm sensor size, 4K output)
GS Vitec noX (1.2", 2K output)
RED ONE (35mm sensor size, 4K output)
Silicon Imaging SI-2K (16mm, 2K)
Thomson Viper Film Stream (2/3", 1080p output)
Sony F-23 (Sony CineAlta) (2/3", 1080p output)
Vision Research Phantom65 (65mm, 4K)
Vision Research PhantomHD (35mm, 2K)

In development Stage
Colorspace True35 (35mm, 2K)
Sony F-35 (announced 2007, late 2008 release in the U.S.) (35mm sensor size, 1080p output)
Drake camera (2/3", 720p)

Arriflex D-20 Digital Camera
The Arriflex D-20 is a film-style digital motion picture camera made by Arri first introduced in November 2005. The camera's attributes are its optical viewfinder, modularity, and 35mm-width CMOS sensor.

Overview
The D-20 uses a single CMOS sensor the width of a Super 35 film gate aperture. Effectively the D-20, when used with current 35 mm PL mount motion picture lenses, yields the same field of view and depth of field as that of Super 35 mm film motion picture cameras.
The D-20 captures images in two main modes.
In Data mode the sensor uses 2880x2160 active pixels generating RAW Bayer-data at 12 bit in a 4:3 aspect ratio. The RAW data then needs to be processed outboard to generate a full color image. A delivery aspect ratio for theatrical release, commonly 1.85:1, is achieved by cropping from the original image, similar to the cropping necessary when shooting 35 mm film. In Data mode the sensor size also allows for the use of anamorphic lenses, producing the 2.35:1 widescreen aspect ratio from the full sensor height. Captured data is recorded to either flash or hard drives, notably the sTwo data recorder.

In HD Video mode the sensor uses 2880x1620 active pixels to generate an image with a 16:9 aspect ratio. This output is 1920x1080 pixels in either YUV 4:2:2 10 bit (via single link HD-SDI) or RGB 4:4:4 10 bit (via dual link HD-SDI). Typically, the D-20 is tethered to a Sony HDCamSR recorder. Other recording options exist, including the Grass Valley flash mag which provides untethered recording of up to 15 minutes per "mag" in RGB 4:4:4.

The D-20 has a mechanical shutter, variable from 11.2° to 180° or an electronic shutter that simulates a 270° mechanical shutter at 24frame/s. The camera is capable of running at speeds from 1 to 48frame/s, though this shall be improved in the future. Numerous components of the camera were borrowed from Arri film camera models (most notably the 435ES), assuring compatibility with Arri film camera accessories and support equipment.
Though the D-20 system is capable of variable speeds from 1 to 60 frames per second in Data mode, these are currently limited to 23.976 frame/s, 24 frame/s, 25 frame/s, 29.97 frame/s & 30 frame/s in the video mode.

The sensitivity of the D-20 in video mode is regulated by the application of LUTs (Look Up Tables) prior to output. With sensitivity settings ranging from ISO 100 to ISO 320 with linear responses, the D-20 also offers log curve options designed to mimic the response of film negative. Unlike some other digital cameras, the D-20 does not offer gain boost, instead relying on the advantages of adding gain in the post production process. The sensitivity of the camera in Data mode is regulated by applying LUTs in the outboard processing of the image.

Distinctive Characteristics
Of the currently available high resolution digital motion picture cameras, the Dalsa Origin, the SI 2K and the D-20 feature detachable optical viewfinders. Some advantages of an optical over purely electronic viewing systems include:
extremely high viewfinder resolution, with the option to zoom in on the image to check critical focus
availability of viewing area outside the image capture area, useful for predictive framing
ability to set camera framing without need of a power supply
Additionally, electronic viewing options can be added to the camera. Typically, the 6" Astro combination vector/waveform "onboard" monitor is used to both view and evaluate images for the camera.
Uniquely, the D-20 also accepts a traditional film style video assist system, sharing the image available through the optical viewfinder. This can be useful in Steadicam and remote crane applications where visibility outside the sensor capture area is preferable.
Like Arri film cameras, the D-20 is modularly constructed so that both the mechanical and electronic components are upgradable over time.

Similar Cameras
Other single-chip Super 35 mm film-sized digital motion picture cameras directly in competition with the D-20 include the Panavision Genesis camera, the Dalsa Origin II camera and the Red One camera.

Dalsa Origin Digital Camera
The Dalsa Origin is the first camera designed and built by Dalsa Corporation to be used specifically for digital cinematography.

Overview
The Dalsa Origin is the first commercially available digital cinema camera to capture at 4K resolution, the emerging quality standard for feature film content. Currently it is the only digital cinema camera with the ability to capture 4K uncompressed.
The camera was originally shown at NAB '03 in Las Vegas, where Dalsa received four industry awards for innovation. The camera initially became available for testing in 2006, and is available for rental for $3000 per day, including storage, from the company's camera rental facility in Woodland Hills, which was established in mid-2005. In November 2006, the company hired digital cinema pioneer, Rob Hummel, as President of the Dalsa Digital Cinema.
The camera is well suited for visual effects photography employing digital compositing and travelling matte photography on larger budget productions. The system is the brainchild of a collective group, including cinematographer, and founder of Cinema Products Ed DiGiulio. During the development of the DALSA Origin camera it was tested by members of the filmmaking world including Daryn Okada, ASC, Allen Daviau, ASC and various members of the commercial and VFX industries.

In 2007 the Origin camera was upgraded to the production version of the camera, and re-branded Origin II. The Origin II upgrade features improved image quality from DALSA's latest generation frame transfer CCD sensor, and a simplified touch screen interface.

Technical details
The Origin II camera is best known for its image quality, and is generally considered to be the leader in that regard. The camera has a resolution of approximately 4K x 2K (4046x2048). Beyond resolution, the camera is unique in its ability to capture at a very high bit depth. The camera outputs an uncompressed, RAW Bayer pattern 16-bit image, which is considerably higher than other cameras which are limited to 8, 10 or 12 bits. This results in a linear exposure latitude equivalent to more than 13 stops. The images created by the Origin II camera are widely regarded as having more visible resolution and more dynamic range than any other digital cinema camera.

The current configuration of the camera can run 1-30 frames per second. The Origin II camera features an optical reflex viewing system with rotating mirror similar to 35mm film cameras and uses standard PL mount 35mm film gate lenses. The camera is approximately the same size and weight as an average 35mm film cameras with a 400' magazine.
The camera outputs raw data to an off board storage unit at a rate of approximately 400 megabytes per second. The Origin II connects to the storage unit by an extremely rugged, thin and flexible mil-spec fiber optic cable. This fiber cable can be run for over a mile without any signal degradation or repeating. The storage unit that has been used most often is the Codex Digital recorder, which will hold about two hours of uncompressed 4K camera RAW footage. In January 2008 S.Two began shipping the DFR4K recorder, which can also capture images from the Origin II camera. S.Two also manufacturers of a system of 4K workflow products that are compatible with the Origin II camera's 4K images.

Filmography and Commercial Projects
The camera has been successfully used in a number of projects including "Postcards from the Future", directed by Alan Chan and shot by Eric Adkins; a Snickers commercial, directed by Jesse Dylan and shot by Rolf Kestermann; a beer commercial by Curtis Clark, ASC; a Greenpeace commercial, shot by Florian Stadler; a Motorola commercial, shot by Byron Werner; a short entitled "The Trident", directed by Anurag Mehta and shot by David Stump, ASC; "She Called Up", a music video for the band Crowded House shot by Damian Acevedo; a promo for ABC 7 Eyewitness News, shot by Mark Zavad; and most recently "Reach for Me" a feature film directed by LeVar Burton and shot by Kris Kosskove.
Also, the new James Bond film, Quantum of Solace, will feature a complex visual effects shot captured with eight DALSA 4K Origin cameras.

The details surrounding the cameras' use are being kept a secret for the time being. However, the company revealed that the technically ambitious visual effects shot featured Daniel Craig and actress Olga Kurylenko, and involved simultaneously shooting with eight shutter-synchronized DALSA Origin 4K cameras.

Workflow Overview
While any professional off-line NLE can be used with the Origin II proxy images, in the relatively short life of camera system Final Cut Pro has been the most popular. Just like performing a digital intermediate with 35mm film, any on-line editing system that can access DPX, TIFF or Cineon file types can be used to on-line the 4K images captured with the Origin II.
Availablity
The Dalsa Origin II is available worldwide for rental only, using a business model similar to Panavision.

Varicam Digital Camera
VariCam is a brand name associated with the specialized Panasonic video cameras that are mostly used to imitate the look and feel of motion picture cameras. They have been used for many feature films. VariCams' main feature is that the framerate can be varied from 4 frame/s to 60 frame/s, offering flexibility in creating rapid or slow motion effects. As a point of reference, film has traditionally been shot at 24 frames per second, while NTSC video uses 29.97 frames per second. Therefore, VariCams can be used for high end video and film production. Their relatively high initial cost inhibits purchase, since a typical VariCam can cost between US$45,000 and US$70,000. However, their low cost in use, compared to shooting on film, has made them popular among independent filmmakers, and they are often available to rent from professional film camera rental companies.

Competition
Varicam can be seen as Panasonic's response to the development of electronic cinematography, competing with its counterpart, CineAlta of Sony. Currently Varicam has only one camcorder, AJ-HDC27H, the successor of AJ-HDC27F, while CineAlta already has 3 cameras with the flagship model, F35, being on its way.

The Future of Varicam
Panasonic has at NAB 2008 show introduced another two members of Varicam family, planned to be available during August 2008. A member of new Varicam, AJ-HPX3700 is the flagship model providing Full 1080p acqusition capability and dual link HD-SDI output, while another new model, AJ-HPX2700 is lack of some features of HPX3700. Undoubtedly it can be seen as a tapeless development of Varicam. Besides, Panasonic has exhibited a mock-up of a camera having cinema camera appearance, previously said to be a potential 4K camera, due to be availalbe in 2010 according to some Panasonic staff.

GS Vitec noX
The noX, designed by the German company GS Vitec, is a 2K digital cinematography camera based around a single 1.2" CCD sensor. The company's web site says the camera was supposed to go on sale around June or July of 2007 in the European market, but as of March of 2008 no updated availability information has been posted. The price is also presently unknown.
SI-2K
The Silicon Imaging SI-2K is 2K digital video camera based around a single 16mm-sized CMOS sensor. It can record direct to disk in the compressed CineForm RAW format, and is notable for its tiny detachable camera head, which can be positioned up to 100m from the recording unit. The head and the recording unit together cost $23,000. The head by itself costs $13,750, and can be used to record to a laptop that has appropriate specifications and software.

Thomson Viper
The Viper, a three-sensor camera design, captures a 1920 × 1080 pixel image. In addition to uncompressed RGB output, the Viper is also capable of outputting RAW sensor data, which allows for more control in post-production.
The camera has a unique feature known as Dynamic Pixel Management, which allows the camera to change its aspect ratio by vertically ganging pixels. This allows the cinematographer to shoot at different aspect ratios without cropping the image (thus losing resolution) or using anamorphic lenses.

The Viper was first used on Rudolf B.'s short movie Indoor Fireworks, though the first feature shot entirely with the Viper was the British independent Production Silence Becomes You by director Stephanie Sinclaire. The first Viper camera in the UK was acquired by Arri Media who loaned the camera for free to the National Film & Television School to test it on director Derek Boyes' award winning graduation short The Happiness Thief. The first major motion picture shot using the Viper was Michael Mann's Collateral, which was followed by Miami Vice (Dion Beebe was the cinematographer for both films), which was shot with the Viper to HDCAM. The 2007 film Zodiac has been noted for its use of the Thomson Viper. Contrary to popular belief, it was not shot entirely in digital format: during the slow motion sequences, more traditional cameras were used.

One of the Viper's strengths is its ability to shoot with extremely low light levels, which allowed much of Collateral to be shot on the streets of Los Angeles, CA at night without the need for substantial supplemental lighting equipment.
While the Viper is designed to produce full resolution raw images in 4:4:4 log data, it can also produce 4:4:4 RGB video images; Michael Mann has used it this way. Tom Burstyn, CSC, using the Viper in the 4:2:2 HDStream mode, was nominated for an Emmy in Cinematography for the first season of the USA Network show The 4400. The camera lacks on-board recording. The signals from the Viper may be recorded to either a tape format or a disk array, depending on what mode the camera is used in.
The Viper is also used to tape popular children's show LazyTown and Flash Gordon.

Vision Research Phantom
At NAB 2006, Vision Research Inc -- a high-speed digital imaging company based in Wayne, New Jersey -- introduced and demonstrated live images from their Phantom65 digital cinema camera. The Phantom65 is the world's first 65mm digital cinema camera. It has 4K (4096 × 2440) resolution with adjustable aspect ratios, up to 125 frames-per-second recording speed, and a 70mm depth-of-field.
They also introduced the PhantomHD high-definition camera. It can acquire images at HD (1920 × 1080) or 2K (2048 × 1556) resolution and shoot at up to 1000 frames per second, adjustable in increments of 1 frame-per-second.

Fusion Camera System
James Cameron and Vince Pace developed the Fusion Camera System aka Reality Camera System 1 as way to shoot features in stereoscopic 3-D. The digital high definition camera was used on Cameron's documentaries Aliens of the Deep and Ghosts of the Abyss. Robert Rodriguez also used the camera to shoot Spy Kids 3-D and The Adventures of Sharkboy and Lavagirl in 3-D.

There is a video about the Fusion system presented at NAB 2007 as the "Sony Fusion 3D Camera System". This is also referred to as the Pace-Fusion and Pace-Cameron system (they do credit collaboration with James Cameron). It uses two Sony HDCF950 HD cameras, which are presumably variants of the Sony CineAlta range.

'Prosumer' and consumer cameras
Independent filmmakers have also pressed low-cost consumer and prosumer cameras into service for digital filmmaking. These cameras typically cost under $10,000 (sometimes under $1000). Though image quality is typically much lower than what can be produced with professional digital cinematography cameras, the technology has steadily improved, most significantly in the last several years with the arrival of high definition cameras in this market.
These inexpensive cameras are limited by their relatively high compression ratios, their small sensors, and the quality of their optics. Many have integrated lenses which cannot be changed.

Standard definition
MiniDV is the predominant standard definition consumer video acquisition format. Steven Soderbergh used the popular Canon XL2 MiniDV camera while shooting Full Frontal. The Danny Boyle directed British horror film, 28 Days Later was also shot on MiniDV using the Canon XL1S, albeit with traditional Panavision 35mm film lenses. One of the first MiniDV cameras used on a feature film was the Sony VX-1000, which was used to shoot Spike Lee's Bamboozled.
In 2002, Panasonic released the AG-DVX100, which was the first affordable camcorder to support progressive scan at 24 frames per second, duplicating the motion characteristics of film and allowing for easier transfers to film. This feature made the camera extremely popular with low-budget filmmakers.

High definition
Sony, JVC, Canon and other vendors have brought high-definition video acquisition to the consumer and prosumer markets with the HDV format. Though it is a high definition format, HDV video can be recorded to MiniDV tapes, which are inexpensive and widely available. HDV cameras are sold at a wide range of price points, with a wide range of capabilities. Many support progressive shooting modes, and some have sensors with full 1920x1080 resolution (though the HDV format itself can only record 1440x1080 pixels, and DVCPRO HD only records at 1280x1080 or 960x720). In addition, some Canon and JVC HDV camcorders have the ability to use high-quality interchangeable lenses, rather than the fixed lenses that are included with most prosumer cameras.

Panasonic also offers a high-definition camera in this price range, the AG-HVX200. The AG-HVX200 uses Panasonic's DVCPRO HD format (also used by their professional cameras) and uses 16:9 native aspect chips. Notably, the camera captures HD video to P2 solid-state memory cards rather than tape. The AG-HVX200 is also notable for its variable frame rate feature.

Digital cinematography

2008-07-18T17:14:00.003+05:30

Digital cinematography is the process of capturing motion pictures as digital images, rather than on film. Digital capture may occur on tape, hard disks, flash memory, or other media which can record digital data. As digital technology has improved, this practice has become increasingly common. Several mainstream Hollywood movies have now been shot digitally, and many vendors have brought products to market, including traditional film camera vendors like Arri and Panavision, new vendors like RED and Silicon Imaging, and companies which have traditionally focused on consumer and broadcast video equipment, like Sony and Panasonic. The benefits and drawbacks of digital vs. film acquisition are still hotly debated, but digital cinematography cameras sales have surpassed mechanical cameras in the classic 35mm format.
Technology
Digital cinematography captures motion pictures digitally, in a process analogous to digital photography. While there is no clear technical distinction that separates the images captured in digital cinematography from video, the term "digital cinematography" is usually applied only in cases where digital acquisition is substituted for film acquisition, such as when shooting a feature film. The term is not generally applied when digital acquisition is substituted for analog video acquisition, as with live broadcast television programs.
Sensors
Digital cinematography cameras capture images using CMOS or CCD sensors, usually in one of two arrangements.
High-end cameras designed specifically for the digital cinematography market often use a single sensor (much like digital photo cameras), with dimensions similar in size to a 35mm film frame or even (as with the Vision 65) a 65mm film frame. An image can be projected onto a single large sensor exactly the same way it can be projected onto a film frame, so cameras with this design can be made with PL, PV and similar mounts, in order to use the wide range of existing high-end cinematography lenses available. Their large sensors also let these cameras achieve the same shallow depth of field as 35 or 65mm motion picture film cameras, which is important because many cinematographers consider selective focus an essential visual tool.
Prosumer and broadcast television cameras typically use three 1/3" or 2/3" sensors in conjunction with a prism, with each sensor capturing a different color. Camera vendors like Sony and Panasonic, which have their roots in the broadcast and consumer camera markets, have leveraged their experience with these designs into three-chip products targeted specifically at the digital cinematography market. The Thomson Viper also uses a three-chip design. These designs offer benefits in terms of color reproduction, but are incompatible with traditional cinematography lenses (though new lines of high-end lenses have been developed with these cameras in mind), and incapable of achieving 35mm depth of field unless used with depth-of-field adaptors, which can lower image sharpness and result in a loss of light.
CMOS Sensor
Complementary metal–oxide–semiconductor (CMOS), is a major class of integrated circuits. CMOS technology is used in microprocessors, microcontrollers, static RAM, and other digital logic circuits. CMOS technology is also used for a wide variety of analog circuits such as image sensors, data converters, and highly integrated transceivers for many types of communication. Frank Wanlass got a patent on CMOS in 1967 (US Patent 3,356,858).
CMOS is also sometimes referred to as complementary-symmetry metal–oxide–semiconductor. The words "complementary-symmetry" refer to the fact that the typical digital design style with CMOS uses complementary and symmetrical pairs of p-type and n-type metal oxide semiconductor field effect transistors (MOSFETs) for logic functions.
Two important characteristics of CMOS devices are high noise immunity and low static power consumption. Significant power is only drawn when the transistors in the CMOS device are switching between on and off states. Consequently, CMOS devices do not produce as much waste heat as other forms of logic, for example transistor-transistor logic (TTL) or NMOS logic, which uses all n-channel devices without p-channel devices. CMOS also allows a high density of logic functions on a chip.
The phrase "metal–oxide–semiconductor" is a reference to the physical structure of certain field-effect transistors, having a metal gate electrode placed on top of an oxide insulator, which in turn is on top of a semiconductor material. Instead of metal (usually aluminum in the very old days), current gate electrodes (including those up to the 65 nanometer technology node) are almost always made from a different material, polysilicon, but the terms MOS and CMOS nevertheless continue to be used for the modern descendants of the original process. Metal gates have made a comeback with the advent of high-k dielectric materials in the CMOS process, as announced by IBM and Intel for the 45 nanometer node and beyond.
CCD Sensor or Charge-coupled device
A charge-coupled device (CCD) is an analog shift register, enabling analog signals (electric charges) to be transported through successive stages (capacitors) controlled by a clock signal. Charge coupled devices can be used as a form of memory or for delaying analog, sampled signals. Today, they are most widely used for serializing parallel analog signals, namely in arrays of photoelectric light sensors. This use is so predominant that in common parlance, "CCD" is (erroneously) used as a synonym for a type of image sensor even though, strictly speaking, "CCD" refers solely to the way that the image signal is read out from the chip.
The capacitor perspective is reflective of the history of the development of the CCD and also is indicative of its general mode of operation, with respect to readout, but attempts aimed at optimization of present CCD designs and structures tend towards consideration of the photodiode as the fundamental collecting unit of the CCD. Under the control of an external circuit, each capacitor can transfer its electric charge to one or other of its neighbors. CCDs are used in digital photography and astronomy (particularly in photometry), sensors, electron microscopy, medical fluoroscopy, optical and UV spectroscopy and high speed techniques such as lucky imaging.
Acquisition Formats
While many people make movies with MiniDV camcorders and other consumer and prosumer products that have lower resolutions or shoot interlaced video, cameras marketed as digital cinematography cameras typically shoot in progressive HDTV formats such as 720p and 1080p, or in higher-end formats created specifically for the digital cinematography market, such as 2K and 4K.
To date, 1080p has been the most common format for digitally acquired major motion pictures. In the summer of 2007, director Steven Soderbergh began shooting "The Argentine" and "Guerrilla", due for release in 2008, with prototype Red One 4K camera, making these the first two major motion pictures shot in the 4K format.
Data Storage
Tape vs. Data-Centric
Broadly, there are two paradigms used for data storage in the digital cinematography world.
Many people, particularly those coming from a background in broadcast television, are most comfortable with video tape based workflows. Data is captured to video tape on set. This data is then ingested into a computer running non-linear editing software, using a deck. Once on the computer, the footage is edited, and then output in its final format, possibly to a film recorder for theatrical exhibition, or back to video tape for broadcast use. Original video tapes are kept as an archival medium. The files generated by the non-linear editing application contain the information necessary to retrieve footage from the proper tapes, should the footage stored on the computer's hard disk be lost.
Increasingly, however, digital cinematography is shifting toward "tapeless" workflow, where instead of thinking about digital images as something that exists on a physical medium like video tape, digital video is conceived of as data in files. In tapeless workflow, digital images are usually recorded directly to files on hard disk or flash memory based "digital magazines". At the end of a shooting day (or sometimes even during the day), the digital files contained on these digital magazines are downloaded, typically to a large RAID connected to an editing system. Once data is copied from the digital magazines, they are erased and returned to the set for more shooting. Archiving is accomplished by backing up the digital files from the RAID, using standard practices and equipment for data backup from the Information Technology industry, often to data tape.
Compression
Digital cinema cameras are capable of generating extremely large amounts of data; often hundreds of megabytes per second.To help manage this huge data flow, many cameras or recording devices designed to be used in conjunction with them offer compression. Prosumer cameras typically use high compression ratios in conjunction with chroma subsampling. While this allows footage to be comfortably handled even on fairly modest personal computers, the convenience comes at the expense of image quality.
High-end digital cinematography cameras or recording devices typically support recording at much lower compression ratios, or in uncompressed formats. Additionally, digital cinematography camera vendors are not constrained by the standards of the consumer or broadcast video industries, and often develop proprietary compression technologies that are optimized for use with their specific sensor designs or recording technologies.
Lossless vs. lossy compression
A lossless compression system is capable of reducing the size of digital data in a fully reversible way -- that is, in a way that allows the original data to be completely restored, byte for byte. This is done by removing redundant information from a signal. Digital cinema cameras rarely use only lossless compression methods, because much higher compression ratios (lower data rates) can be achieved with lossy compression. With a lossy compression scheme, information is discarded to create a simpler signal. Due to limitations in human visual perception, it is possible to design algorithms which do this with little visual impact.
Chroma subsampling
Chroma subsampling is the practice of encoding images by implementing more resolution for luma information than for chroma information. It is used in many video encoding schemes—both analog and digital—and also in JPEG encoding.
Rationale
Because of storage and transmission limitations, there is always a desire to reduce (or compress) the signal. Since the human visual system is much more sensitive to variations in brightness than color, a video system can be optimized by devoting more bandwidth to the luma component (usually denoted Y'), than to the color difference components Cb and Cr. The 4:2:2 Y'CbCr scheme for example requires two-thirds the bandwidth of (4:4:4) R'G'B'. This reduction results in almost no visual difference as perceived by the viewer.
How subsampling works
Because the human visual system is less sensitive to the position and motion of color than luminance, bandwidth can be optimized by storing more luminance detail than color detail. At normal viewing distances, there is no perceptible loss incurred by sampling the color detail at a lower rate. In video systems, this is achieved through the use of color difference components. The signal is divided into a luma (Y') component and two color difference components (chroma).
Chroma subsampling deviates from color science in that the luma and chroma components are formed as a weighted sum of gamma-corrected (tristimulus) R'G'B' components instead of linear (tristimulus) RGB components. As a result, luminance and color detail are not completely independent of one another. There is some "bleeding" of luminance and color information between the luma and chroma components. The error is greatest for highly-saturated colors and can be somewhat noticeable in between the magenta and green bars of a color bars test pattern (that has chroma subsampling applied). This engineering approximation (by reversing the order of operations between gamma correction and forming the weighted sum) allows color subsampling to be more easily implemented.
Bitrate
Video and audio compression systems are often characterized by their bitrates. Bitrate describes how much data is required to represent one second of media. One cannot directly use bitrate as a measure of quality, because different compression algorithms perform differently. A more advanced compression algorithm at a lower bitrate may deliver the same quality as a less advanced algorithm at a higher bitrate.
Intra- vs. Inter-frame compression
Most compression systems used for acquisition in the digital cinematography world compress footage one frame at a time, as if a video stream is a series of still images. Inter-frame compression systems can further compress data by examining and eliminating redundancy between frames. This leads to higher compression ratios, but displaying a single frame will usually require the playback system to decompress a number of frames that precede it. In normal playback this is not a problem, as each successive frame is played in order, so the preceding frames have already been decompressed. In editing, however, it is common to jump around to specific frames and to play footage backwards or at different speeds. Because of the need to decompress extra frames in these situations, inter-frame compression can cause performance problems for editing systems. Inter-frame compression is also disadvantageous because the loss of a single frame (say, due to a flaw writing data to a tape) will typically ruin all the frames until the next keyframe occurs. In the case of the HDV format, for instance, this may result in as many as 6 frames being lost with 720p recording, or 15 with 1080i recording
Digital vs. film cinematography
Technical Considerations
Predictability
When shooting on film, response to light is determined by what film stock is chosen. A cinematographer can choose a film stock he or she is familiar with, and expose film on set with a high degree of confidence about how it will turn out. Because the film stock is the main determining factor, results will be substantially similar regardless of what camera model is being used. However, the final result cannot be controlled when shooting with mechanical cameras until the film negative has been processed at a laboratory. Therefore, damage to the film negative, scratches which are generated by faulty camera mechanics etc can not be controlled.
In contrast, when shooting digitally, response to light is determined by the CMOS or CCD sensor(s) in the camera and recorded and "developed" directly. This means a cinematographer can measure and predict exactly how the final image will look by eye if familiar with the specific model of camera being used or able to read a vector/waveform.
On-set monitoring allows the cinematographer to see the actual images that are captured, immediately on the set, which is impossible with film. With a properly calibrated high-definition display, on-set monitoring, in conjunction with data displays such as histograms, waveforms, RGB parades, and various types of focus assist, can give the cinematographer a far more accurate picture of what is being captured than is possible with film. However, all of this equipment may impose costs in terms of time and money, and may not be possible to utilize in difficult shooting situations.
Film cameras do often have a video assist that captures video though the camera to allow for on-set playback, but its usefulness is largely restricted to judging action and framing. Because this video is not derived from the image that is actually captured to film, it is not very useful for judging lighting, and because it is typically only NTSC-resolution, it is often useless for judging focus.
Portability
Ultra-lightweight and extremely compact digital cinematography cameras, as the SI:2K mini, are much smaller and lighter than mechanical film cameras. Other High-end digital cinema cameras can be quite large, and some models require bulky external recording mechanisms (though in some cases only a small strand of optical fiber is necessary to connect the camera and the recording mechanism).
Compact 35mm film cameras that produce the full 35mm film resolution and accept standard 35mm lenses cannot be sized down below a certain size and weight, as they require at least space for the film negative and basic mechanics.
Smaller form-factor digital cinema cameras such as the Red One and SI-2K have made digital more competitive in this respect. The SI-2K, in particular, with its detachable camera head, allows for high-quality images to be captured by a camera/lens package that is far smaller than is practically achievable with a 35mm film camera and is used in many scenarios to replace film - especially for stereoscopic productions.
Dynamic Range
The sensors in most high-end digital video cameras have less exposure latitude (dynamic range) than modern motion picture film stocks. In particular, they tend to 'blow out' highlights, losing detail in very bright parts of the image. If highlight detail is lost, it is impossible to recapture in post-production. Cinematographers can learn how to adjust for this type of response using techniques similar to those used when shooting on reversal film, which has a similar lack of latitude in the highlights. They can also use on-set monitoring and image analysis to ensure proper exposure. In some cases it may be necessary to 'flatten' a shot, or reduce the total contrast that appears in the shot, which may require more lighting to be used.
Many people also believe that highlights are less visually pleasing with digital acquisition, because digital sensors tend to 'clip' them very sharply, whereas film produces a 'softer' roll-off effect with over-bright regions of the image. Some more recent digital cinema cameras attempt to more closely emulate the way film handles highlights, though how well they achieve this is a matter of some dispute. A few cinematographers have started deliberately using the 'harsh' look of digital highlights for aesthetic purposes. One notable example of such use is Battlestar Galactica.
Digital acquisition typically offers better performance than film in low-light conditions, allowing less lighting and in some cases completely natural or practical lighting to be used for shooting, even indoors. This low-light sensitivity also tends to bring out shadow detail. Some directors have tried a "best for the job" approach, using digital acquisition for indoor or night shoots, and traditional film for daylight exteriors.
Resolution
Substantive debate over the subject of film resolution vs. digital image resolution is clouded by the fact that it is difficult to meaningfully and objectively determine the resolution of either.
Unlike a digital sensor, a film frame does not have a regular grid of discrete pixels. Rather, it has an irregular pattern of differently sized grains. As a film frame is scanned at higher and higher resolutions, image detail is increasingly masked by grain, but it is difficult to determine at what point there is no more useful detail to extract. Moreover, different film stocks have widely varying ability to resolve detail.
Determining resolution in digital acquisition seems straightforward, but is significantly complicated by the way digital camera sensors work in the real world. This is particularly true in the case of high-end digital cinematography cameras that use a single large bayer pattern CMOS sensor. A bayer pattern sensor does not sample full RGB data at every point; each pixel is biased toward red, green or blue, and a full color image is assembled from this checkerboard of color by processing the image through a demosaicing algorithm. Generally with a bayer pattern sensor, actual resolution will fall somewhere between the "native" value and half this figure, with different demosaicing algorithms producing different results. Additionally, most digital cameras (both bayer and three-chip designs) employ optical low-pass filters to avoid aliasing. Such filters reduce resolution.
In general, it is widely accepted that film exceeds the resolution of HDTV formats and the 2K digital cinema format, but there is still significant debate about whether 4K digital acquisition can match the results achieved by scanning 35mm film at 4K, as well as whether 4K scanning actually extracts all the useful detail from 35mm film in the first place. However, as of 2007 the majority of films that use a digital intermediate are done at 2K because of the costs associated with working at higher resolutions. Additionally, 2K projection is chosen for almost all permanent digital cinema installations, often even when 4K projection is available.
One important thing to note is that the process of optical duplication, used to produce theatrical release prints for movies that originate both on film and digitally, causes significant loss of resolution. If a 35mm negative does capture more detail than 4K digital acquisition, ironically this may only be visible when a 35mm movie is scanned and projected on a 4K digital projector.
Grain & Noise
Film has a characteristic grain structure, which many people view positively, either for aesthetic reasons or because it has become associated with the look of 'real' movies. Different film stocks have different grain, and cinematographers may use this for artistic effect.
Digitally acquired footage lacks this grain structure. Electronic noise is sometimes visible in digitally acquired footage, particularly in dark areas of an image or when footage was shot in low lighting conditions and gain was used. Some people believe such noise is a workable aesthetic substitute for film grain, while others believe it has a harsher look that detracts from the image.
Well shot, well lit images from high-end digital cinematography cameras can look almost eerily clean. Some people believe this makes them look "plasticky" or computer generated, while others find it to be an interesting new look, and argue that film grain can be emulated in post-production if desired.
Since most theatrical exhibition still occurs via film prints, the super-clean look of digital acquisition is often lost before moviegoers get to see it, because of the grain in the film stock of the release print.
Digital Intermediate Workflow
The process of using digital intermediate workflow, where movies are color graded digitally instead of via traditional photochemical finishing techniques, has become common, largely because of the greater artistic control it provides to filmmakers. In 2007, all of the 10 most successful movies released used the digital intermediate process.
In order to utilize digital intermediate workflow with film, the camera negative must be processed and then scanned. High quality film scanning is time consuming and expensive. With digital acquisition, this step can be skipped, and footage can go directly into a digital intermediate pipeline as digital data.
Some filmmakers have years of experience achieving their artistic vision using the techniques available in a traditional photochemical workflow, and prefer that finishing process. While it would be theoretically possible to use such a process with digital acquisition by creating a film negative on a film recorder, in general digital acquisition is not a suitable choice if a traditional finishing process is desired.
Sound
Films are traditionally shot with dual-system recording, where picture is recorded on camera, and sync sound is recorded to a separate sound recording device. In post-production, picture and sound are synced up.
Many cameras used for digital cinematography can record sound internally, already in sync with picture. This eliminates the need for syncing in post, which can lead to faster workflows. However, most sound recording is done by specialist operators, and the sound will likely be separated and further processed in post-production anyway. Also, recording sound to the camera may require running additional cables to the camera, which may be problematic in some shooting situations, particularly in shots where the camera is moving. Wireless transmission systems can eliminate this problem, but are not suitable for use in all circumstances.
Archiving
Many people feel there is significant value in having a film negative master for archival purposes. As long as the negative does not physically degrade, it will be possible to recover the image from it in the future, regardless of changes in technology. In contrast, even if digital data is stored on a medium that will preserve its integrity, changes in technology may render the format unreadable or expensive to recover over time. For this reason, film studios distributing digitally-originated films often make film-based separation masters of them for archival purposes.
Economics
Low-budget / Independent Filmmaking
For the last 25 years, many respected filmmakers like George Lucas have predicted that electronic or digital cinematography would bring about a revolution in filmmaking, by dramatically lowering costs.
For low-budget and so-called "no-budget" productions, digital cinematography on prosumer cameras clearly has cost benefits over shooting on 35mm or even 16mm film. The cost of film stock, processing, telecine, negative cutting, and titling for a feature film can run to tens of thousands of dollars according to From Reel to Deal, a book on independent feature film production by Dov S-S Simens. Costs directly attributable to shooting a low-budget feature on 35mm film could be $50,000 on the low side, and over twice that on the high side. In contrast, obtaining a high-definition prosumer camera and sufficient tape stock to shoot a feature can easily be done for under $10,000, or significantly less if, as is typically the case with 35mm shoots, the camera is rented.
If a 35mm print of the film is required, an April 2003 article in American Cinematographer found the costs between shooting film and video are roughly the same. The benefit to shooting video is that the cost of a film-out is only necessary should the film find a distributor to pick up the cost. When shooting film, the costs are upfront and cannot be deferred in such a manner. On the other hand, the same article found 16mm film to deliver better image quality in terms of resolution and dynamic range. Given the progress digital acquisition, film recording, and related technologies have seen in the last few years, it is unclear how relevant this article is today.
Most extremely low-budget movies never receive wide distribution, so the impact of low-budget video acquisition on the industry remains to be seen. It is possible that as a result of new distribution methods and the long tail effects they may bring into play, more such productions may find profitable distribution in the future. Traditional distributors may also begin to acquire more low-budget movies as better affordable digital acquisition eliminates the liability of low picture quality, and as they look for a means to escape the increasingly drastic "boom and bust" financial situation created by spending huge amounts of money on a relatively small number of very large movies, not all of which succeed.
Hollywood
On higher budget productions, the cost advantages of digital cinematography are not as significant, primarily because the costs imposed by working with film are simply not major expenses for such productions. Two recent films, Sin City and Superman Returns, both shot on digital tape, had budgets of $40 million and close to $200 million respectively. The cost savings, though probably in the range of several hundred thousand to over a million dollars, were negligible as a percentage of the total production budgets in these cases.
Rick McCallum, a producer on Attack of the Clones, has commented that the production spent $16,000 for 220 hours of digital tape, where a comparable amount of film would have cost $1.8 million. However, this does not necessarily indicate the actual cost savings. The low incremental cost of shooting additional footage may encourage filmmakers to use far higher shooting ratios with digital. The lower shooting ratios typical with film may save time in editing, lowering post-production costs somewhat.
Shooting in digital requires a digital intermediate workflow, which is more expensive than a photochemical finish. However, a digital intermediate may be desirable even with film acquisition because of the creative possibilities it provides, or a film may have a large number of effects shots which would require digital processing anyway. Digital intermediate workflow is coming down in price, and is quickly becoming standard procedure for high-budget Hollywood movies.
Digital cinematography cameras
Professional cameras include the Sony HDCAM Series, RED One, Panavisions Genesis, SI-2K, Thomson Viper, Vision Research Phantom, Weisscam, GS Vitec noX, and the Fusion Camera System. Independent filmmakers have also pressed low-cost consumer and prosumer cameras into service for digital filmmaking.
Industry acceptance of digital cinematography
For over a century, virtually all movies have been shot on film and nearly every film student learns about how to handle 16mm and 35mm film.
Today, digital acquisition accounts for the vast majority of moving image acquisition, as most content for broadcast is shot on digital formats. Most movies destined for theatrical release are still shot on film, however, as are many dramatic TV series and some high-budget commercials. High-end digital cinematography cameras suitable for acquiring footage intended for theatrical release are on the market since 1999/2000, and have meanwhile gained widespread adoption.

Technology: Real D Cinema

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RealD Cinema is a digital 3D stereoscopic projection technology which does not require two projectors, unlike some older 3D stereoscopic projection technology. A high-resolution digital projector using Texas Instruments' DLP Cinema technology is used.

Technology
The RealD 3-D system is based on the push-pull electro-optical modulator called the ZScreen invented by Lenny Lipton, an American inventor.

The technique that RealD uses is comparable to the traditional method of 3-D imaging which uses linearly polarized glasses. The traditional method works by projecting two differently linearly polarized images onto the same screen, polarized at +45° and -45° from the horizontal, which are then filtered by linearly polarized glasses worn by the audience. This type of 3-D imaging requires two projectors, and suffers from visible double-imaging if the head is tilted to the side which places the glasses at an inappropriate angle.

RealD however uses a single projector that alternately projects the right-eye frame and left-eye frame, and circularly polarizes these frames, clockwise for the right-eye and counterclockwise for the left-eye, using a liquid-crystal screen placed in front of the projector lens. Circularly polarized glasses make sure each eye sees only "its own" picture, even if the head is tilted. The very high framerate, which is 72 frames per second per eye, makes sure the image looks continuous. In RealD Cinema, each frame is projected three times to reduce flicker, as the source video is usually 24 frames per second. The result is a seamless 3-D picture that seems to extend behind and in front of the screen itself.

Films featured using Real D
The first film released using this format was 2005's Chicken Little. For this release, the computer-animated film was re-rendered in 3-D by Industrial Light and Magic and exhibited on RealD Cinema Systems using Dolby Digital Cinema servers.

The 3D version of Chicken Little has so far earned about 2.5 times as much per screen as the flat version. When the movie was first shown in 2005, fewer than 100 theaters around the US were equipped to show the movie in 3D. These statistics are difficult to correlate on their own given the many unknown factors involved.

Also, a stereoscopic 3D version of the film Monster House was released in approximately 200 theaters equipped for RealD Cinema . In October 2006 and again in October 2007 The Nightmare Before Christmas was re-released in this technique as well.

Meet the Robinsons was released March 30th, 2007, in both traditional "flat" and "3D" versions of the film. The film was converted to stereo by Digital Domain. Some estimate over 700 screens for the 3D release of the film. That would make this release the largest up to that date using the RealD system.

Beowulf, directed by Robert Zemeckis, released in November 2007 is another film that uses the RealD 3D technology. Beowulf opened on close to 900 RealD screens. RealD at that point had passed its stated milestone of 1,000 global RealD screens installed for the release of Beowulf.
Hannah Montana & Miley Cyrus: The Best of Both Worlds Concert was released on February 1st, 2008, and marks another in the Disney stable of 3D films. "Hannah Montana & Miley Cyrus: Best of Both Worlds Concert" was only shown on digital 3D screens, 97% of which are RealD 3D screens, and brought in $31 million in its opening weekend, virtually all of which was generated in RealD theaters. (Disney Digital 3D films do not exhibit in IMAX 3D theaters, which utilize an analog technology).

U2 3D, U2's concert film based on the Vertigo Tour, debuted in RealD in 2008. The film was exhibited in both IMAX 3D and RealD Cinema.

Future films
New Line Cinema and Walden Media's Journey to the Center of the Earth is set to be released in summer 2008 in both 3D and 2D, making it the first live-action film to be released in RealD 3D. On March 12, 2007, DreamWorks Animation announced that beginning with the spring 2009 release of Monsters vs. Aliens, all of their features will be released in theatres in 3D. On April 8, 2008, Disney/Pixar followed suit, announcing that from the November 11, 2008 release of Bolt, all Disney/Pixar animation features will be released in 3D. Other upcoming 3D releases in 2009 and beyond include Focus Features' Coraline, from the book by Neil Gaiman and directed by Henry Selick of Nightmare Before Christmas; 3D conversions of all Pixar's Toy Story films; Robert Zemeckis's A Christmas Carol; and Tim Burton-helmed versions of Alice in Wonderland and his original short Frankenweenie. One of the most eagerly awaited releases is James Cameron's Avatar , currently scheduled for December 18, 2009. Horrorween 2009 will also be filmed in RealD 3-D. 3-D legend Chris Condon, and Director Ed Meyer are set to remake The Stewardesses, the most successful 3D film in history, in RealD in 2009. Also, Dante's Inferno is expected to be released as an animation feature in 3D as well as a live action feature in 3D in 2009.

3-D film

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The Three Dimensional Cinema the term 3-D (or 3D) is used to describe any visual presentation system that attempts to maintain or recreate moving images of the third dimension, the illusion of depth as seen by the viewer.
The technique usually involves filming two images simultaneously, with two cameras positioned side by side, generally facing each other and filming at a 90 degree angle via mirrors, in perfect synchronization and with identical technical characteristics. When viewed in such a way that each eye sees its photographed counterpart, the viewer's visual cortex will interpret the pair of images as a single three-dimensional image. Modern computer technology also allows for the production of 3D films without dual cameras.

Techniques
There are several methods of projecting natural, stereoscopic images. They can be categorized into mainly three categories.

With glasses
Anaglyph images
Anaglyph images are used to provide a stereoscopic 3D effect, when viewed with 2 color glasses (each lens a chromatically opposite color, usually red and cyan). Images are made up of two color layers, superimposed, but offset with respect to each other to produce a depth effect. Usually the main subject is in the center, while the foreground and background are shifted laterally in opposite directions. The picture contains two differently filtered colored images, one for each eye. When viewed through the "color coded" "anaglyph glasses", they reveal an integrated stereoscopic image. The visual cortex of the brain fuses this into perception of a three dimensional scene or composition.
Anaglyph images have seen a recent resurgence due to the presentation of images and video on the internet, Blu-ray HD disks, CDs, and even in print. Low cost paper frames or plastic-framed glasses hold accurate color filters, which typically, after 2002 make use of all 3 primary colors. The current norm is red for one channel (usually the left) and a combination of both blue and green in the other filter. That equal combination is called cyan in technical circles, or blue-green. The cheaper filter material used in the monochromatic past, dictated red and blue for convenience and cost. There is a material improvement of full color images, with the cyan filter, especially for accurate skin tones.
Video games, theatrical films, and DVDs can be shown in the anaglyph 3D process. Practical images, for science or design, where depth perception is useful, include the presentation of full scale and microscopic stereographic images. Examples from NASA include Mars Rover imaging, and the solar investigation, called STEREO, which uses two orbital vehicles to obtain the 3D images of the sun. Other applications include geological illustrations by the USGS, and various online museum objects. A recent application is for stereo imaging of the heart using costly 3D ultra-sound with plastic red/cyan glasses.
Anaglyph images are much easier to view than either parallel (diverging) or crossed-view pairs stereograms. However, these side-by-side types offer bright and accurate color rendering, not easily achieved with anaglyphs. Recently, cross-view prismatic glasses with adjustable masking have appeared, that offer a wider image on the new HD video and computer monitors.
With the techniques outlined below it is possible to convert stereo pairs from any source into anaglyph images.

Polarized 3D glasses
Polarized 3D glasses create the illusion of three-dimensional images by restricting the light that reaches each eye, an example of stereoscopy. To present a stereoscopic motion picture, two images are projected superimposed onto the same screen through orthogonal polarizing filters. The viewer wears low-cost eyeglasses which also contain a pair of orthogonal polarizing filters. As each filter only passes light which is similarly polarized and blocks the orthogonally polarized light, each eye only sees one of the images, and the effect is achieved.
The difficulty arises because light reflected from a motion picture screen tends to lose a bit of its polarization. However, this problem is eliminated if a 'silver' or Aluminized screen is used. This means that a pair of aligned DLP projectors, some polarizing filters, a silver screen, and a computer with a dual-head graphics card can be used to form a relatively low-cost (under US$10 000 in 2003) system for displaying stereoscopic 3d data simultaneously to tens of people wearing polarized glasses. Such a system, called a GeoWall, has been used for several years now in the Earth Sciences thanks to the GeoWall Consortium, with several open source and commercial packages available.
When stereo images are to be presented to a single user, it is practical to construct an image combiner, using partially silvered mirrors and two image screens at right angles to one another. One image is seen directly through the angled mirror whilst the other is seen as a reflection. Polarized filters are attached to the image screens and appropriately angled filters are worn as glasses. A similar technique uses a single screen with an inverted upper image, viewed in a horizontal partial reflector, with an upright image presented below the reflector, again with appropriate polarizers. Polarizing techniques are most simply used with cathode ray technology, as polarizers are used within ordinary LCD screens for control of pixel presentation - this can interfere with these techniques.
In 2003 Keigo Iizuka discovered an inexpensive implementation of this principle on laptop computer displays using cellophane sheets.
Polarized stereoscopic pictures have been around since 1936, when Edwin H. Land first applied it to motion pictures. The so called "3-D movie craze" in the years 1952 through 1955 was almost entirely offered in theaters using polarizing projection and glasses. Only a minute amount of the total 3D films shown in the period used the anaglyph color filter method. What is new is the use of digital projection, and also the use of sophisticated IMAX 70mm film projectors, with very reliable mechanisms. Whole new generations of 3D animation films are beginning to show up in the theaters, all using some form of polarization. Polarization is not easily applied to home 3-D broadcast or DVD presentation. At this point only anaglyph glasses may be used to view the new HD shows and are beginning to be aired occasionally by NBC and the Discovery Channel.

Alternate-frame sequencing
Alternate-frame squencing (sometimes called Alternate Image, or AI) is a method of showing 3-D film that is used in some venues. It is also used on PC systems to render 3-D games into true 3-D.

Applications in film
The movie is filmed with two cameras like most other 3-D films. Then the images are placed into a single strip of film in alternating order. In other words, there is the first left-eye image, then the corresponding right-eye image, then the next left-eye image, followed by the corresponding right-eye image and so on.
The film is then run at 48 frames-per-second instead of the traditional 24 frames-per-second. The audience wears very specialized LCD shutter glasses that have lenses that can open and close in rapid succession. The glasses also contain special radio receivers. The projection system has a transmitter that tells the glasses which eye to have open. The glasses switch eyes as the different frames come on the screen.
This system is not generally used anymore in venues in favor of polarization. It is used, however, in home 3-D movie systems.

Applications in Gaming
The same method of alternating frames can be used to render modern 3-D games into true 3-D, although it has been used to give a 3D illusion on consoles as old as the Sega Master System and Nintendo Famicom. Here, special software/hardware to used generate two channels of images, ofset from each other to create the stereoscopic effect. High frame rates (typically ~100fps) are required to produce seamless graphics, as the perceived frame rate will be half the actual rate (each eye sees only half the frames). Again, LCD shutter glasses synchronised with the graphics card complete the effect.

Without glasses
Autostereoscopy
Autostereoscopy is a method of displaying three-dimensional images that can be viewed without the use of special headgear or glasses on the part of the user. These methods produce depth perception in the viewer even though the image is produced by a flat device.
Several technologies exist for autostereoscopic 3D displays. Currently most of such flat-panel solutions are using lenticular lenses or parallax barrier. If the viewer positions their head in certain viewing positions, they will perceive a different image with each eye, giving a stereo image. Consequently, eye strain and headaches are usual side effects of long viewing exposure to of autostereoscopic displays that use lenticular lens or parallax barriers. These displays can have multiple viewing zones allowing multiple users to view the image at the same time. Other displays use eye tracking systems to automatically adjust the two displayed images to follow the viewer's eyes as they move their head.
A wide range of organisations have developed autostereoscopic 3D displays, ranging from experimental displays in university departments to commercially available displays. Examples include: Alioscopy, Apple, Dimension Technologies, Fraunhofer HHI, Holografika, i-Art, NewSight, Philips (see WOW VX), SeeFront, SeeReal Technologies, Spatial View, and Tridelity. Sharp also claim to have the technology, although not for commercial sale at the moment.

Stereogram
A stereogram is an optical illusion of depth created from flat, two-dimensional image or images. Originally, stereogram referred to a pair of stereo images which could be viewed using stereoscope. Other types of stereograms include anaglyphs and autostereograms.
Stereogram was discovered by Charles Wheatstone in 1838. He found an explanation of binocular vision which led him to construct a stereoscope based on a combination of prisms and mirrors to allow a person to see 3D images from two 2D pictures.
Stereograms were re-popularized by the creation of autostereogram on computers, where a 3D image is hidden in a single 2D image, until the viewer focuses the eyes correctly. The Magic Eye series is a popular example of this. Magic Eye books refer to autostereograms as stereograms, leading most people to believe that the word stereogram is synonymous to autostereogram.
Salvador Dalí created some impressive stereograms in his exploration in a variety of optical illusions.

With the aid of a viewing device
Stereoscopic Viewing Devices or head mounted displays.
Furthermore, alternative systems, such as Pulfrich effect and Chromadepth exist, but fall under the realm of "pseudo-stereoscopic" in that two, separate records are not recorded or projected.
In the context of many computer games, 3D computer graphics refer to being composed of objects in a virtual 3-D world, not that they can be viewed in 3-D. For a stereoscopic 3-D games, as for everything else stereoscopic, two pictures (one for each eye), are needed.

Pulfrich effect
The Pulfrich effect is a psycho-optical phenomenon wherein lateral motion by an object in the field of view is interpreted by the brain as having a depth component, due to differences in processing speed between images from the two eyes. The effect is generally induced by placing a dark filter over one eye. The phenomenon is named for German physicist Carl Pulfrich who first described it in 1922.
In the classic Pulfrich effect experiment a subject views a pendulum swinging in a plane perpendicular to the observer’s line of sight. When a neutral density filter (a darkened lens – typically grey) is placed in front of, say, the right eye the pendulum seems to take on an elliptical orbit, appearing closer as it swings toward the right and farther as it swings toward the left.
The widely accepted explanation of the apparent depth is that a reduction in retinal illumination (relative to the fellow eye) yields a corresponding delay in signal transmission, imparting instantaneous spatial disparity in moving objects [fig]. This seems to occur because visual system latencies are generally shorter for (the visual system responds more quickly to) bright targets compared to dim targets [ref]. This motion with depth (first described by the German physicist Carl Pulfrich) is the visual system’s solution to a moving target when a difference in retinal illuminance, and hence a difference in signal latencies, exists between the two eyes.
The Pulfrich effect has typically been measured under full field conditions with dark targets on a bright background, and yields about a 15ms. delay for a factor of ten difference in average retinal illuminance. These delays increase monotonically with decreased luminance over a wide (> 6 log-units) range of luminance. The effect is also seen with bright targets on a black background and exhibits the same luminance-to-latency relationship.
The effect can occur spontaneously in several eye diseases such as cataract, optic neuritis, or multiple sclerosis. In such cases, symptoms such as difficulties judging the paths of oncoming cars have been reported.
The Pulfrich effect has been utilized to enable a type of stereoscopy, or 3-D visual effect, in visual media such as film and TV. As in other kinds of stereoscopy, glasses are used to create the illusion of a three-dimensional image. By placing a neutral filter (eg., the darkened lens from a pair of sunglasses) over one eye, an image, as it moves right to left (or left to right, but NOT up and down) will appear to move in depth, either toward or away from the viewer.
Because the Pulfrich effect depends on motion in a particular direction to instigate the illusion of depth, it is not useful as a general stereoscopic technique; for example it cannot be used to show a stationary object apparently extending into or out of the screen; similarly, objects moving vertically will not be seen as moving in depth. It can, however, be effective as a novelty effect in contrived visual scenarios. One advantage of material produced to take advantage of the Pulfrich effect is that it is fully compatible with "regular" viewing without the need for "special" glasses.
The effect achieved a small degree of popularity in television in the 1990s. For example, it was used in a "3D" motion television commercial in the 1990s, where objects moving in one direction appeared to be nearer to the viewer (actually in front of the television screen) and when they moved in the other direction, appeared to be farther from the viewer (behind the television screen). To allow viewers to see the effect, the advertiser provided a large number of viewers with a pair of filters in a paper frame. One eye's filter was a rather dark neutral gray while the other was transparent. The commercial was in this case restricted to objects (such as refrigerators and skateboarders) moving down a steep hill from left to right across the screen, a directional dependency determined by which eye was covered by the darker filter.
The effect was also used in the 1993 Doctor Who charity special Dimensions in Time and a 1997 special TV episode of 3rd Rock from the Sun. In many countries in Europe, a series of short 3D films, produced in the Netherlands, were shown on television. Glasses were sold at a chain of gas stations. These short films were mainly travelogues of Dutch localities. A Power Rangers episode sold through McDonalds used "Circlescan 4D" technology which is based on the Pulfrich effect. Animated programs that employed the Pulfrich effect in specific segments of its programs include The Bots Master and Space Strikers; they typically achieved the effect through the use of constantly-moving background and foreground layers. The videogame Orb-3D for the Nintendo Entertainment System used the effect (by having the player's ship always moving) and came packed with a pair of glasses. So did Jim Power: The Lost Dimension in 3-D for the Super Nintendo, using constantly-scrolling backgrounds to cause the effect.
In the United States and Canada, six million 3D Pulfrich glasses were distributed to viewers for an episode of Discovery Channel's Shark Week in 2000.

Chroma Depth or ChromaDepth
Chromadepth is a patented system from the company Chromatek that produces a stereoscopic effect based upon differences in the diffraction of color through a special prism-like holographic film fitted into glasses. Chromadepth glasses give the illusion of colors taking up different positions in space, with red being in front, and blue being in back. Any media piece can be given a 3D effect as long as the color spectrum is put into use with the foreground being in red, and the background in blue. From front to back the scheme follows the visible light spectrum, from red to orange, yellow, green and blue.
The system was used variously for comic-books, educational books for children, light show displays at such planetariums as the Hayden Planetarium in New York City, and other printed and projected applications. This method was also used for I Love the '80s 3-D and glasses could be bought at Best Buy. Chromadepth has recently been put into use in Crayola's 3D Chalk. This technique was also used by the production company Quirky Motion for the music video promoting New Cassettes 2007 single "recover/retreat" as part of the BBC Electric Proms.

3D computer graphics
3D computer graphics are graphics that use a three-dimensional representation of geometric data that is stored in the computer for the purposes of performing calculations and rendering 2D images. Such images may be for later display or for real-time viewing. Despite these differences, 3D computer graphics rely on many of the same algorithms as 2D computer vector graphics in the wire frame model and 2D computer raster graphics in the final rendered display. In computer graphics software, the distinction between 2D and 3D is occasionally blurred; 2D applications may use 3D techniques to achieve effects such as lighting, and primarily 3D may use 2D rendering techniques. 3D computer graphics are often referred to as 3D models. Apart from the rendered graphic, the model is contained within the graphical data file. However, there are differences. A 3D model is the mathematical representation of any three-dimensional object (either inanimate or living). A model is not technically a graphic until it is visually displayed. Due to 3D printing, 3D models are not confined to virtual space. A model can be displayed visually as a two-dimensional image through a process called 3D rendering, or used in non-graphical computer simulations and calculations.

Hollywood classic 'Titanic' Deleted scenes 2

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Hollywood classic 'Titanic' Deleted scenes 1

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Avril Lavigne’s ‘When You're Gone'- meets 'Titanic' Surprisingly

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“Titanic” Exclusive Screenplay (Part Ten)

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251 EXT. A-DECK / B-DECK / WELL DECK, AFT
Jack and Rose clamber over the A-Deck aft rail. Then, using all hisstrength, he lowers her toward the deck below, holding on with one hand.
She dangles, then falls. Jack jumps down behind her.
They join a crush of people literally clawing and scrambling over eachother to get down the narrow stairs to the well deck... the only way aft.
Seeing that the stairs are impossible, Jack climbs over the B-Deck railingand helps Rose over. He lowers her again, and she falls in a heap. BakerJoughin, now three sheets to the wind, happens to be next to her. He haulsRose to her feet. Jack drops down and the three of them push through thecrowd across the well deck. Near them, at the rail, people are jumping intothe water. The ship GROANS and SHUDDERS. The man ahead of Jack is walking like azombie.

MAN

Yeah, though I walk through the valley of the shadow of death--

JACK

You wanna walk a little faster through that valley, fella?

CUT TO:

252 EXT. FORWARD FUNNEL
The stay cables along the top of the funnel snap, and they lash like steelwhips down into the water. Cal watches as the funnel topples from itsmounts. Falling like a temple pillar twenty eight feet across it whompsinto the water with a tremendous splash. People swimming underneath itdisappear in an instant.
Fabrizio, a few feet away, is hurled back by a huge wave. He comes up,gasping... still swimming. The water pouring into the open end of thefunnel draws in several swimmers. The funnel sinks, disappearing, but-- Hundreds of tons of water pour down through the 30 foot hole where thefunnel stood, thundering down into the belly of the ship. A whirlpoolforms, a hole in the ocean, like at enormous toiler-flush. T. W. McCauley,the gym instructor swims in a frenzy as the vortex draws him in. He issucked down like a spider going down a drain.
Fabrizio, nearby, swims like Hell as more people are sucked down behindhim. He manages to get clear. He's going to live no matter what it takes.

CUT TO:

253 INT. BOAT DECK FOYER / GRAND STAIRCASE
Water raors through the doors and windows, cascading down the stairs like arapids. John Jacob Astor is swept down the marble steps to A-Deck, which isalready flooded... a roiling vortex. He grabs the headless cherub at thebottom of the staircase and wraps his arms around it. Astor looks up in time to see the 30 foot glass dome overhead EXPLOSEINWARD with the wave of water washing over it. A Niagara of sea waterthunders down into the room, blasting through the first class opulence. ITis the Armageddon of elegance.

CUT TO:

255 INT. BELOWDECKS
The flooding is horrific. Walls and doors are splintered like kindling.Water roars down corridors with pile-driver force.
The CARTMELL FAMILY is at the top of a stairwell, jammed against a lockedgate like Jack and Rose were. Water boils up the stairwell behind them.Bert Cartmell shakes the gate futilely, shouting for help. Little Corawails as the water boils up around them all.

CUT TO:

256 EXT. STERN
Rose and Jack struggle to climb the well deck stairs as the ship tilts.Drunk Baker Joughin puts a hand squarely on Rose's butt and shoves her uponto the deck.

JOUGHIN

Sorry, miss!
Hundreds of people are already on the poop deck, and more are pouring upevery second. Jack and Rose cling together as tehy struggle across thetilting deck.
257 As the bow goes down, the STERN RISES. IN BOAT 2, which is just off thestern, passengers gape as the giant bronze propellers rise out of the waterlike gods of the deep, FILLING FRAME behind them.
People are JUMPING from the well deck, the poop deck, the gangway doors.Some hit debris in the water and are hurt or killed.
260 EXT. STERN
ON THE POOP DECK Jack and Rose struggle aft as the angle increases.
Hundreds of passengers, clinging to every fixed object on deck, huddle ontheir knees around FATHER BYLES, who has his voice raised in prayer. Theyare praying, sobbing, or just staring at nothing, their minds blank withdread.
Pulling himself from handhold to handhold, Jack tugs Rose aft along thedeck.

JACK

Come on, Rose. We can't expect God to do all the work for us.
They struggle on, pushing through the praying people. A MAN loses hisfooting ahead and slides toward them. Jack helps him.
261 THE PROPELLERS are twenty feet above the water and rising faster. 262 JACK AND ROSE make it to the stern rail, right at the base of theflagpole. They grip the rai, jammed in between other people. It is the spotwhere Jack pulled her back onto the ship, just two night... and aliftime... ago.
Above the wailing and sobbing, Father Byles' voice carries, cracking withemotion.

FATHER BYLES

...and I saw new heavens and a new earth. The former heavens and the formerearth had passed away and the sea was no longer.
The lights flicker, threatening to go out. Rose grips Jack as the sternrises into a night sky ablaze with stars.

FATHER BYLES

I also saw a new Jerusalem, the holy city coming down out of heaven fromGod, beautiful as a bride prepared to meet her husband. I heard a loudvoice from the throne ring out this is God's dwelling among men. He shalldwell with them and they shall be his people and He shall be their God whois alway with them.
Rose stares about her at the faces of the doomed. Near them are the DAHLFAMILY, clinging together stoically. Helga looks at her briefly, and hereyes are infinitely sad.
Rose sees a young mother next to her, clutching her five year old son, whois crying in terror.

MOTHER

Shhh. Don't cry. It'll be over soon, darling. It'll all be over soon.

FATHER BYLES

He shall wipe every tear from their eyes. And there shall be no more deathor mourning, crying out or pain, for the former world has passed away.

CUT TO:

INT. SHIP—VARIOUS
As the ship tilts further everything not bolted down inside shifts.
263 CUPBOARDS burst open in the pantry showering the floor with tons ofchina. A PIANO slides across the floor, crashing into a wall. FURNITUREtumbles across the Smoking Room floor.
264 ON THE A-DECK PROMENADE passengers lose their grip and slide down thewooden deck like a bobsled run, hundreds of feet before they hit the water.TRUDY BOLT, Rose's maid, slips as she struggles along the railing andslides away screaming.
265 AT THE STERN the propellers are 100 feet out of the water and rising.
Panicking people leap from the poop deck rail, fall screaming and hit thewater like mortar rounds. A man falls from the poop deck, hitting thebronze hub of the starboard propeller with a sickening smack.
266 SWIMMERS LOOK UP and see the stern towering over them like a monolith,the propellers rising against the stars. 110 feet. 120.
267 AT THE STERN RAIL a man jumps. IN HIS POV we fall seemingly forever,right past one of the giant screws. The water rushes up--
CUT TO:
EXT. TITANIC / BOAT 6
268 TRACKING SLOWLY IN on Ruth as the sounds of the dying ship and thescreaming people come across the water.
269 REVERSE / HER POV: IN A WIDE SHOT we see the spectacle of the Titanic,her lights blazing, reflecting in the still water. Its stern is high in theair, angles up over forty five degrees. The propellers are 150 feet out ofthe water. Over a thousand passengers cling to the decks, looking from adistance like a swarm of bees.
The image is shocking, unbelieveable, unthinkable. Ruth stares at thespectacle, unable to frame it or put it into any proportion.

MOLLY BROWN

God Almighty.
The great liner's lights flicker.

CUT TO:

270 INT. ENGINE ROOM
In darkness Chief Engineer Bell hangs onto a pipe at the master brakerpanel. Around him men climb through tilted cyclopean mahcines with electrichand-torches. It is a black hell of breaking pipes, spraying water, andgroaning machinery threatening to tear right out of its bedplates. Water sprays down, hitting the breaker panel, but Bell will not leave hispost. CLUNK. The breakers kick. He slams them in again and-- WHOOM! a blastof light! Something melts and arcing fills the engine room with nightmarishlight--

CUT TO:

271 EXT. TITANIC
WIDE SHOT. The lights go out all over the ship. Titanic becomes a vastblack silhouette against the stars.
IN COLLAPSIBLE C: BRUCE ISMAY has his back to the ship, unable to watch thegreat steamer die. He is catatonic with remorse, his mind overloaded. Hecan avert his eyes, but he can't block out the sounds of dying people andmachinery. A loud CRACKING REPORT comes across the water.

CUT TO:

272 EXT. BOAT DECK
Near the third funnel a man clutches the ship's rail. He stares down as theDECK SPLITS right between his feet. A yawning chasm opens with a THUNDER ofbreaking steel LOVEJOY is clutching the railing on the roof of the Officers' Mess. Hewatches in horror as the ship's structure RIPS APART right in front of him.
He gapes down into a widening maw, seeing straight down into the bowels ofthe ship, amid a BOOMING CONCUSSION like the sound of artillery. Peoplefalling into the widening crevasse look like dolls.
The stay cables on the funnel part and snap across the decks like whips,ripping off davits and ventilators. A man is hit by a whipping cable andsnatched OUT OF FRAME. Another cable smashes the rail next to Lovejoy andit rips free. He falls backward into the pit of jagged metal.
Fires, explosions and sparks light the yawning chasm as the hull splitsdown through nine decks to the keel. The sea pours into the gaping wound--

CUT TO:

273 INT. ENGINE ROOM
It is a thundering black hell. Men scream as monstrous machinery comesapart around them, steel frames twisting like taffy. Their torchesilluminate the roaring, foaming demon of water as it races at the throughthe manchines. Trying to climb they are overtaken in seconds.

CUT TO:

274 EXT. TITANIC – NIGHT
The STERN ALF of the ship, almost four hundred feet long, falls back towardthe water. On the poop deck everyone screams as they feel themselvesplummeting. The sound goes up like the roar of fans at a baseball stadiumwhen a run is scored.
Swimming in the water directly under the stern a few unfortunates shriek asthey see the keel coming down on them like God's bootheel. The massivestern section falls back almost level, thundering down into the sea andpushing out a mighty wave of displaced water.
Jack and Rose struggle to hole onto the stern rail. They feel the shipseemingly RIGHT ITSELF. Some of those praying think it is salvation.

SEVERAL PEOPLE

We're saved!
Jack looks at Rose and shakes his head, grimly.
Now the horrible mechanics play out. Pulled down by the awesome weight ofthe flooded bow, the buoyant stern tilts up rapidly. They feel the RUSH OFASCENT as the fantail angles up again. Everyone is clinging to benches,railings, ventilators... anything to keep from sliding as the stern lifts.
The stern goes up and up, past 45 degrees, then past sixty.
People start to fall, sliding and tumbling. They skid down the deck,screaming and flailing to grab onto somehting. They wrench other peopleloose and pull them down as well. There is a pile-up of bodies at theforward rail. The DAHL FAMILY falls one by one.

JACK

We have to move!
He climbs over the stern rail and reaches back for Rose. She is terrifiedto move. He grabs her hand.

JACK

Come on! I've got you!
Jack pulls her over the rail. It is the same place he pulled her over therail two nights earlier, going the other direction. She gets over just asthe railing is going HORIZONTAL, and the deck VERITCAL. Jack grips herfiercely.
The stern is now straight up in the air... a rumbling black monolithstanding against the stars. It hangs there like that for a long grace note,its buoyancy stable.
Rose lies on the railing, looking down fifteen stories to the boiling seaat the base of the stern section. People near them, who didn't climb over,hang from the railing, their legs dangling over the long drop. They fallone by one, plummeting down the vertical face of the poop deck. Some ofthem bounce horribly off deck benches and ventilators.
Jack and Rose lie side by side on what was the vertical face of the hull,gripping the railing, which is now horizontal. Just beneath their feet arethe gold letters TITANIC emblazoned across the stern.
Rose stares down terrified at the black ocean waiting below to claim them.Jack looks to his left and sees Baker Joughin, crouching on the hull,holding onto the railing. It is a surreal moment.

JOUGHIN

(nodding a greeting)

Helluva night.
The final relentless plunge begins as the stern section floods. Lookingdown a hundred feet to the water, we drop like an elevator with Jack andRose.

JACK

(talking fast)

Take a deep breath and hold it right before we go into the water. The shipwill suck us down. Kick for the surface and keep kicking. Don't let go ofmy hand. We're gonna make it Rose. Trust me.
She stares at the water coming up at them, and grips his hand harder.

ROSE

I trust you.
Below them the poop deck is disappearing. The plunge gathers speed... theboiling surface engulfs the docking bridge and then rushes up the lastthirty feet.
278 IN A HIGH SHOT, we see the stern descend into the boiling sea. The nameTITANIC disappears, and the tiny figures of Jack and Rose vanish under thewater.
Where the ship stood, now there is nothing. Only the black ocean.

CUT TO:

279 EXT. OCEAN / UNDERWATER AND SURFACE
Bodies are whirled and spun, some limp as dolls, others strugglingspasmodically, as the vortex sucks them down and tumbles them. 280 Jack rises INTO FRAME F.G. kicking hard for the surface... holdingtightly to Rose, pulling her up.
281 AT THE SURFACE: a roiling chaos of screaming, thrashing people. Over athousand people are now floating where the ship went down. Some arestunned, gasping for breath. Others are crying, praying, moaning,shouting... screaming.
Jack and Rose surface among them. They barely have time to gasp for airbefore people are clawing at them. People driven insane by the water, 4degrees below freezing, a cold so intense it is indistinguishable formdeath by fire.
A man pushes Rose under, trying to climb on top of her... senselesslytrying to get out of the water, to climb onto anything. Jack PUNCHES himrepeatedly, pulling her free.

JACK

Swim, Rose! SWIM!
She tries, but her strokes are not as effective as his because of herlifejacket. They break out of the clot of people. He has to find some kindof flotation, anything to get her out of the freezing water.

JACK

Keep swimming. Keep moving. Come one, you can do it.
All about them there is a tremendous wailing, screaming and moaning...
achorus of tormented souls. And beyond that... nothing but black waterstretching to the horizon. The sense of isolation and hopelessness isoverwhelming.

CUT TO:

283 EXT. OCEAN
Jack strokes rhythmically, the effort keeping him from freezing. JACK Look for something floating. Some debris... wood... anything.

ROSE

It's so cold.

JACK

I know. I know. Help me, here. Look around.
His words keep her focused, taking her mind off the wailing around them.Rose scans the water, panting, barely able to draw a breath. She turnsand... SCREAMS.
A DEVIL is right in from of her face. It is the black FRENCH BULLDOG,swimming right at her like a seamonster in the darkness, its coal eyesbugging. It motors past her, like it is headed for Newfoundland.
Beyond it Rose sees somehting in the water.

ROSE

What's that?
Jack sees what she is pointing to, and they make for it together. It is apiece of wooden debris, intricately carved. He pushes her up and sheslithers onto it belly down.
But when Jack tries to get up onto the thing, it tilts and submerges,almost dumping Rose off. It is clearly only big enough to support her. Heclings to it, close to her, keeping his upper body out of the water as besthe can.
Their breath floats around them in a cloud as they pant from exertion. AMAN swims toward them, homing in on the piece of debris. Jack warns himback.

JACK

It's just enough for this lady... you'll push it under.

MAN

Let me try at least, or I'll die soon.

JACK

You'll die quicker if you come any closer.

MAN

Yes, I see. Good luck to you then.

(swimming off)

God bless.

CUT TO:

284 EXT. COLLAPSIBLE A / OCEAN
The boat is overloaded and half-flooded. Men cling to the sides in thewater. Others, swimming, are drawn to it as their only hope. Cal, standingin the boat, slaps his oar in the water as a warning.

CAL

Stay back! Keep off!
Fabrizio, exhausted and near the limit, makes it almost to the boat. CalCLUBS HIM with the oar, cutting open his scalp.

FABRIZIO

You don't... understand... I have... to get... to America.

CAL

(pointing with the oar)

It's that way!
CLOSE ON FABRIZIO as he floats, panting each breath agony. You see thespirit leave him. FABRIZIO'S POV: Cal in SLOW MOTION, yelling and wielding the oar. A demonin a tuxedo. The image fades to black.

CUT TO:

285 EXT. OCEAN
JACK AND ROSE still float amid a chorus of hte damned. Jack sees the ship'sofficer nearby, CHIEF OFFICER WILDE. He is blowing his whistle furiously,knowing the sound will carry over the water for miles.

JACK

The boats will come back for us, Rose. Hold on just a little longer. Theyhad to row away for the suction and now they'll be coming back.
She nods, his words helping her. She is shivering uncontrollably, her lipsblue and her teeth chattering.

ROSE

Thank God for you Jack.
People are still screaming, calling to the lifeboats.

WOMAN

Come back! Please! We know you can hear us. For God's sake!

MAN

Please... help us. Save one life! SAVE ON LIFE!

CUT TO:

286 EXT. LIFEBOATS / OCEAN
IN BOAT 6: Ruth has her ears covered against the wailing in the darkness.The first class women in the boat sit, stunned, listening to the sounds ofhundreds screaming.

HITCHINS

They'll pull us right down I tell ya!

MOLLY

Aw knock it off, yer scarin' me. Come on girls, grab your oars. Let's go.

(nobody moves)

Well come on!
The women won't meet her eyes. They huddle into their ermine wraps.

MOLLY

I don't understand a one of you. What's the matter with you? It's your menback there! We got plenty a' room for more.

HITCHINS

If you don't shut that hole in yer face, there'll be one less in this boat! Ruth keeps her ears covered and her eyes closed, shutting it all out. 287 IN BOAT ONE: Sir Cosmo and Lucile Duff-Gordon sit with ten other peoplein a boat that is two thirds empty. They are two hundred yards from thescreaming in the darkness.

FIREMAN HENDRICKSON

We should do something.
Lucile squeezes Cosmo's hand and pleads him with her eyes. She isterrified.

SIR COSMO

It's out of the question.
The crewmembers, intimidated by a nobleman, acquiesce. They hunch guiltily,hoping the sound will stop soon.
TWENTY BOATS, most half full, float in the darkness. None of them make amove.

CUT TO:

288 EXT. OCEAN
Jack and Rose drift under the blazing stars. The water is glassy, with onlythe faintest undulating swell. Rose can actually see the stars reflectingon the black mirror of the sea.
Jack squeezes the water out of her long coat, tucking it in tightly aroundher legs. He rubs her arms. His face is chalk with in the darkness. A lowMOANING in the darknes around them.

ROSE

It's getting quiet.

JACK

Just a few more minutes. It'll take them a while to get the boatsorganized...
Rose is unmoving, just staring into space. She knows the truth. There won'tbe any boats. Behind Jack she sees that Officer Wilde has stopped moving.
He is slumped in his lifejacket, looking almost asleep. He has died ofexposure already.

JACK

I don't know about you, but I intend to write a strongly worded letter tothe White Star Line about all this.
She laughs weakly, but it sounds like a gasp of fear. Rose finds his eyesin the dim light.

ROSE

I love you Jack.
He takes her hand.

JACK

No... don't say your good-byes, Rose. Don't you give up. Don't do it.

ROSE

I'm so cold.

JACK

You're going to get out of this... you're going to go on and you're goingto make babies and watch them grow and you're going to die an old lady,warm in your bed. Not here. Not this night. Do you understand me?

ROSE

I can't feel my body.

JACK

Rose, listen to me. Listen. Winning that ticket was the best thing thatever happened to me. Jack is having trouble getting the breath to speak.

JACK

It brought me to you. And I'm thankful, Rose. I'm thankful.
His voice is trembling with the cold which is working tis way to his heart.But his eyes are unwavering.

JACK

You must do me this honor... promise me you will survive... that you willnever give up... no matter what happens... no matter how hopeless...promise me now, and never let go of that promise.

ROSE

I promise.

JACK

Never let go.

ROSE

I promise. I will never let go, Jack. I'll never let go.
She grips his hand and they lie with their heads together. It is quiet now,except for the lapping of the water.

CUT TO:

289 EXT. LIFEBOATS / OCEAN – NIGHT
Fifth Officer Lowe, the impetuous young Welshman, has gotten Boats 10, 12and Collapsible D together with his own Boat 14. A demon of energy, he'shad everyone hold the boats together and is transferring passengers from 14into the others, to empty his boat for a rescue attempt. As the women step gingerly across the other boats, Lowe sees a shawledfigure in too much of a hurry. He rips the shawl off, and finds himselfstaring into the face of a man. He angrily shoves the stowaway into anotherboat and turns to his crew of three.

LOWE

Right, man the oars.

CUT TO:

290 EXT. OCEAN / BOAT 14
The beam of an electric torch plays across the water like a searchlight asboat 14 comes toward us.
ANGLE FROM THE BOAT as the torch illuminates floating debris, a poignanttrail of flotsam: a violin, a child's wooden soldier, a framed photo of asteerage family. Daniel Marvin's wooden Biograph camera.
Then, their white lifebelts bobbing in the darkness like signoposts, thefirst bodies come into the torch's beam. The people are dead but notdrowned, killed by the freezing water. Some look like they could besleeping. Others stare with frozen eyes at the stars.
Soon bodies are so thick the seamen cannot row. They hit the oars on theheads of floating men and women... a wooden thunk. One seaman throws up.Lowe sees a mother floating with her arms frozen around her lifeless baby.

LOWE

(the worst moment of his life)

We waited too long.

CUT TO:

291 EXT. OCEAN
IN A HOVERING DOWNANGLE we see Jack and Rose floating in the black water.The stars reflect in the mill pond surface, and the two of them seem to befloating in interstellar space. They are absolutely still. Their hands arelocked together. Rose is staring upwards at the canopy of stars wheelingabove her. The music is transparent, floating... as the long sleep stealsover Rose, and she feels peace.
CLOSE ON Rose's face. Pale, like the faces of the dead. She seems to befloating in a void. Rose is in a semi-hallucinatory state. She knows she isdying. Her lips barely move as she sings a scrap of Jack's song:

ROSE

"Come Josephine in my flying machine..."
ROSE'S POV: The stars. Like you've never seen them. The Milky Way aglorious band from horizon to horizon.
A SHOOTING STAR flares... a line of light across the heavens.
TIGHT ON ROSE again. We see that her hair is dusted with frost crystals.Her breathing is so shallow, she is almost motionless. Her eyes track downfrom the stars to the water.
ROSE'S POV... SLOW MOTION: The silhouetter of a boat crossing the stars.She sees men in it, rowing so slowly the oars lift out of the syrupy water,leaving weightless pearls floating in the air. The VOICES of the men soundslow and DISTORTED.
Then the lookout flashes his torch toward her and the light flares acrossthe water, silouetting the bobbing corpses in between. It flicks past hermotionless form and moves on. The boat is 50 feet away, and moving pasther. The men look away.
Rose lifts her head to turn to Jack. We see that her hair has frozen to thewood under her.

ROSE

(barely audible)

Jack.
She touches his shoulder with her free hand. He doesn't respond. Rosegently turns his face toward her. It is rimed with frost.
He seems to be sleeping peacefully.
But he is not asleep.
Rose can only stare at his still face as the realization goes through her.

ROSE

Oh, Jack.
All hope, will and spirit leave her. She looks at the boat. It is furtheraway now, the voices fainter. Rose watches them go.
She closes her eyes. She is so weak, and there just seems to be no reasonto even try.
And then... her eyes snap open.
She raises her head suddenly, cracking the ice as she rips her hair off thewood. She calls out, but her voice is so weak they don't hear her. The boatis invisible now, the torch light a star impossibly far away. She strugglesto draw breath, calling again.
292 IN THE BOAT Lowe hears nothing behind him. He points to somethingahead, turning the tiller.
293 ROSE struggles to move. Her hand, she realizes, is actually frozen toJack's. She breaths on it, melting the ice a little, and gently unclaspstheir hands, breaking away a thin tinkling film.

ROSE

I won't let go. I promise.
She releases him and he sinks into the black water. He seems to fade outlike a spirit returning to some immaterial plane.
Rose rolls off the floating staircase and plunges into the icy water. Sheswims to Chief Officer Wilde's body and grabs his whistle. She starts toBLOW THE WHISTLE with all the strength in her body. Its sound slaps acrossthe still water.
294 IN BOAT 14 Lowe whips around at the sound of the whistle.

LOWE

(turning the tiller)

Row back! That way! Pull!
Rose keeps blowing as the boat comes to her. She is still blowing when Lowetakes the whistle from her mouth as they haul her into the boat. She slipsinto uncosciousness and they scramble to cover her with blankets...

DISSOLVE TO:

295 INT. IMAGING SHACK / KELDYSH
EXTREME CLOSEUP of Rose's ancient, wrinkled face. Present day.

OLD ROSE

Fifteen hundred people went into the sea when Titanic sank from under us.There were twenty boats floating nearby and only one came back. One. Sixwere saved from the water, myself included. Six out of fifteen hundred. As she speaks THE CAMERA TRACKS slowly across the faces of Lizzy and thesalvage crew on KELDYSH. Lovett, Bodine, Buell, the others... the realityof what happened here 84 years before has hit them like never before. Withher story Rose has put them on Titanic in its final hours, and or the firsttime, they do feel like graverobbers. Lovett, for the first time, has even forgotten to ask about the diamond.

OLD ROSE

Afterward, the seven hundred people in the boats had nothing to do butwaith... wait to die, wait to live, wait for an absolution which wouldnever come.

DISSOLVE TO:

296 EXT. LIFEBOATS / OPEN SEA - PRE-DAWN
MATCHING MOVE as the camera tracks along the faces of the saved.
DISSOLVE TO: ANOTHER BOAT, and then ANOTHER, seeing faces we know among thesurvivors: Ismay in a trance, just staring and trembling... Cal, sippingfrom a hip flask offered to him by a black-faced stoker... Ruth huggingherself, rocking gently.
IN BOAT 14: CLOSE ON ROSE, lying swaddled. Only her face is visile, whiteas the moon. The man next to her jumps up, pointing and yelling. Sooneveryone is looking and shouting excitedly. In Rose's POV it is all silent,SLOW MOTION.
IN SLOW-MOTION SILENCE we see Lowe light a green flare and wave it aseveryone shouts and cheers. Rose doesn't react. She floats beyond all humanemotion.

DISSOLVE TO:

298 EXT. LIFEBOATS / OPEN SEA – DAWN
Golden lgiht washes across the white boats, which gloat in a calm seareflecting the rosy sky. All around them, like a flotilla of sailing ships,are icebergs. The CARPATHIA sits nearby, as boats row toward her.

DISSOLVE TO:

299 EXT. LIFEBOATS / OCEAN / CARPATHIA MONTAGE – DAY
IMAGES DISSOLVE into one another: a ship's hull looming, with the lettersCARPATHIA visible on the bow... Rose watching, rocked by the sea, her faceblank... seamen helping survivors up the rope ladder to the Carpathia'sgangway doors... two women crying and hugging each other inside the ship...ALL SILENT, ALL IN SLOW-MOTION. There is just music, so gentle and sad,part elegy, part hymn, part aching song of love lost forever.
THE IMAGES CONTINUE to music... Rose, outside of time, outside of herself,coming into Carpathia, barely able to stand... Rose being draped wtih warmblankets and given hot tea... BRUCE ISMAY climbing aboard. He has the faceand eyes of a damned soul.
As Ismay walks along the hall, guided by a crewman toward the doctor'scabin, he passes rows of seated and standing widows. He must run thegauntlet of their accusing gazes.

CUT TO:

300 EXT. DECK / CARPATHIA – DAY
It is the afternoon of the 15th. Cal is searching the faces of the widowslining the deck, looking for Rose. The deck of Carpathia is crammed withhuddled people, and even the recovered lifeboats of Titanic. On a hatchcover sits an enormous pile of lifebelts.
He keeps walking toward the stern. Seeing Cal's tuxedo, a stewardapproaches him.

CARPATHIA STEWARD

You won't find any of your people back here, sir. It's all steerage. Cal ignores him and goes amongst this wrecked group, looking under shawlsand blankets at one bleak face after another.
Rose is sipping hot tea. Her eyes focus on him as he approaches her. Hebarely recognizes her. She looks like a refugee, her matted hair hanging inher eyes.

ROSE

Yes, I lived. How awkward for you.

CAL

Rose... your mother and I have been looking for you--
She holds up her hand, stopping him.

ROSE

Please don't. Don't talk. Just listen. We will make a deal, since that issomething you understand. From this moment you do not exist for me, nor Ifor you. You shall not see me again. And you will not attempt to find me.
In return I will keep my silence. Your actions last night need never cometo light, and you will get to keep the honor you have carefully purchased. She fixes him with a glare as cold and hard as the ice which changed theirlives.

ROSE

Is this in any way unclear?

CAL

(after a long beat)

What do I tell your mother?

ROSE

Tell her that her daughter died with the Titanic.
She stands, turning to the rail. Dismissing him. We see Cal stricken withemotion.

CAL

You're precious to me, Rose.

ROSE

Jewels are precious. Goodbye, Mr. Hockley.
We see that in his way, the only way he knows, he does truly love her. After a moment, he turns and walks away.

OLD ROSE (V.O.)

That was the last time I ever saw him. He married, of course, and inheritedhis millions. The crash of 28 hit his interests hard, and he put a pistolin his mouth that year. His children fought over the scraps of his estatelike hyenas, or so I read.
301 ANGLE ON ROSE, at the railing of the Carpathia, 9pm April 18th. Shegazes up at the Statue of Liberty, looking just as it does today, welcomingher home with her glowing torch. It is just as Fabrizio saw it, so clearly,in his mind.
302 LATER CARPATHIA DISCORGES THE SURVIVORS at the Cunard pier, Pier 54.
Over 30,000 people line the dock and fill the surrounding streets. Themagnesium flashes of the photographers go off like small bombs, lighting anamazing tableau.
Several hundred police keep the mob back. The dock is packes with friendsand reletives, officials, ambulances, and the press--
Reporters and photographers swarm everywhere... 6 deep at the foot of thegangways, lining the tops of cars and trucks... it is the 1912 equicalentof a media circus. They jostle to get close to the survivors, tugging onthem as they pass and shouting over each other to ask them questions. Rose is covered with a whoollen shawl and walking with a group of steeragepassengers. Immigration officers are asking them questions as they come offthe gangway.

IMMIGRATION OFFICER

Name?

ROSE

Dawson. Rose Dawson.
The officer steers her toward a holding area for processing. Rose walksforward with the dazed immigrants. The BOOM! of photographer's magnesiumflashes cause them to flinch, and the glare is blinding. There is a suddendisturbance near her as two men burst through the cordon, running toembrace an older woman along the survivors, who cries out with joy. Thereporters converge on this emotional scene, and flashes explode. Rose uses this moment to slip away into the crowd. She pushes through thejostling people, moving with purpose, and none challenges her in theconfusion.

OLD ROSE (V.O.)

Can you exchange one life for another? A caterpillar turns into abutterfly. If a mindless insect can do it, why couldn't I? Was it any moreunimaginable than the sinking of the Titanic? TRACKING WITH HER as she walks away, further and further until she flashesand the roar are far behind her, and shi is till walking, determined.

CUT TO:

303 INT. IMAGING SHACK / KELDYSH
Old Rose sits with the group in the Imaging Shack, lit by the blue glow ofthe screens. She holds the haircomb with the jade butterfly on the handlein her gnarled hands.

BODINE

We never found anything on Jack. There's no record of him at all.

OLD ROSE

No, there wouldn't be, would there? And I've never spoken of him until now,not to anyone.

(to Lizzy)

Not even your grandfather. A woman's heart is a deep ocean of secrets. Butnow you all know there was a man named Jack Dawson, and that he saved me,in every way that a person can be saved.

(closing her eyes)

I don't even have a picture of him. He exists now only in my memory.

CUT TO:

305 EXT. OCEAN FLOOR / TITANIC WRECK
The Mir submersibles make their last pass over the ship. We hear Yuri thepilot on the UQC:

YURI

Mir One returning to surface.
The sub rises off the deck of the wreck, taking its light with it, leavingthe Titanic once again it its fine and private darkness.

CUT TO:

306 EXT. KELDYSH DECK
A desultory wrap party for the expedition is in progress. There is musicand some of the (co-ed) Russian crew are dancing. Bodine is getting drunkin the aggressive style of Baker Joughin. Lovett stands at the rail, looking down into the black water. Lizzy comesto him, offering him a beer. She puts her hand on his arm.

LIZZY

I'm sorry.

LOVETT

We were pissin' in the wind the whole time.
Lovett notices a figure move through the lights far down at the stern ofthe ship.

LOVETT

Oh shit.

CUT TO:

307 EXT. KELDYSH STERN DECK
Rose walks through the shadows of the deck machinery. Her nightgown blowsin the wind. Her feet are bare. Her hands are clutched at her chest, almostas if she is praying.
ON LOVETT AND LIZZY running down the stairs from the top deck, hauling ass.
ROSE reaches the sern rail. Her gnarled fingers wrap over the rail. Herancient foot steps up on the gunwale. She pushes herself up, leaningforward. Over her shoulder, we see the black water glinting far below. LOVETT AND LIZZY run up behind her.

LIZZY

Grandma, wait!! Don't--
ROSE TURNS her head, looking at them. She turns further, and we see she hassomething in her hand, something she was about to drop overboard. It is the "Heart of the Ocean".
Lovett sees his holy grail in her hand and his eyes go wide. Rose keeps itover the railing where she can drop it anytime.

ROSE

Don't come any closer.

LOVETT

You had it the entire time?!

FLASH CUT TO:

A SILENT IMAGE OF YOUNG ROSE walking away from Pier 54. Thephotographers' flashes go off like a battle behind her. She has her handsin her pockets. She stops, feeling something, and pulls out the necklace.She stares at it in amazement.
BACK ON KELDYSH, Rose smiles at Brock's incomprehension.

ROSE

The hardest part about being so poor, was being so rich. But every time Ithough of selling it, I though of Cal. And somehow I always got by withouthis help.
She holds it out over the water. Bodine and a couple of the other guys comeup behind Lovett, reacting to what is in Rose's hand.

BODINE

Holy shit.

LOVETT

Don't drop it Rose. BODINE

(a fierce whisper)

Rush her.

LOVETT

(to Bodine)

It's hers, you schmuck.

(to her)

Look, Rose, I... I don't know what to say to a woman who tries to jump offthe Titanic when it's not sinking, and jumps back onto it when it is...we're not dealing with logic here, I know that... but please... think aboutthis a second.

ROSE

I have. I came all the way here so this could go back where it belongs. The massive diamond glitters. Brock edges closer and holds out his hand...

LOVETT

Just let me hold it in my hand, Rose. Please. Just once.
He comes closer to her. It is reminiscent of Jack slowly moving up to herat the stern of Titanic. Surprisingly, she calmly places the massice stone in the palm of his hand,while still holding onto the necklace. Lovett gazes at the object of hisquest. An infinity of cold scalpels glint in its blue depths. It ismesmerizing. It fits in his hand just like he imagined.

LOVETT

My God.
His grip tightens on the diamond.
He looks up, meeting her gaze. Her eyes are suddenly infinitely wise anddeep.

ROSE

You look for treasures in the wrong place, Mr. Lovett. Only life ispriceless, and making each day count.
His fingers relax. He opens them slowly. Gently she slips the diamond outof his hand. He feels it sliding away.
Then, with an impish little grin, Rose tosses the necklace over the rail.Lovett gives a strangled cry and rushes to the rail in time to see it hitthe water and disappear forever.

BODINE

Aww!! That really sucks, lady!
Brock Lovett goes through ten changes before he settles on a reaction... HELAUGHS. He laughs until the tears come to his eyes. Then he turns to Lizzy.

LOVETT

Would you like to dance?
Lizzy grins at him and nods. Rose smiles. She looks up at the stars.
308 IN THE BLACK HEART OF THE OCEAN, the diamond sinks, twinkling end overend, into the infinate depths.

CUT TO:

309 INT. ROSE'S CABIN / KELDYSH
A GRACEFUL PAN across Rose's shelf of carefully arranged pictures: Rose as a young actress in California, radiant... a theatrically lit studiopublicity shot... Rose and her husband, with their two children... Rosewith her son at his college graduation... Rose with her children andgrandchildren at her 70th birthday. A collage of images of a life livedwell.
THE PAN STOPS on an image filling frame. Rose, circa 1920. She is at thebeach, sitting on a horse at the surfline. The Santa Monica pier, with itsrollercoaster is behind her. She is grinning, full of life.
We PAN OFF the last picture to Rose herself, warm in her bunk. A profileshot. She is very still. She could be sleeping, or maybe something else.

CUT TO:

BLACKNESS
310 THE WRECK OF TITANIC looms like a ghost out of the dark. It is lit by akind of moonlight, a light of the mind. We pass over the endless forecastledeck to the superstructure, moving faster than subs can move... almost likewe are flying.
WE GO INSIDE, and the echoing sound of distant waltz music is heard. Therust fades away from the walls of the dark corridor and it istransformed... WE EMERGE onto the grand staircase, lit by glowingchandelier. The music is vibrant now, and the room is populated by men intie and tails, women in gowns. It is exquisitely beautiful.
IN POV we sweep down the staircase. The crowd of beautiful gentlmen andladies turn as we descend toward them. At the bottom a man stands with hisback to us... he turns and it is Jack. Smiling he holds his hand out towardus.
IN A SIDE ANGE
Rose goes into his arms, a girl of 17. The passengers,officers and crew of the RMS Titanic smile and applaud in the utter silenceof the abyss.

The End

Making of 'Titanic' Behind The Scenes (part.6-6)

2008-07-11T11:02:00.003+05:30

Making of 'Titanic' Behind The Scenes (part.5-6)

2008-07-11T10:40:00.002+05:30

Making of 'Titanic' Behind The Scenes (part.4-6)

2008-07-11T10:32:00.004+05:30

Making of 'Titanic' Behind The Scenes (part.3-6)

2008-07-11T10:16:00.002+05:30

Making of 'Titanic' Behind The Scenes (part.2-6)

2008-07-11T10:06:00.003+05:30

Making of 'Titanic' Behind The Scenes (part.1-6)

2008-07-11T09:34:00.002+05:30

'Titanic' Movie set making clip (Exclusive)

2008-07-10T16:41:00.001+05:30

'Titanic' Movie - Titanic Ship Sinking Clips2

2008-07-10T16:36:00.003+05:30

“Titanic” Exclusive Screenplay (Part Nine)

2008-07-10T16:00:00.005+05:30

211 INT. FIRST CLASS SMOKING ROOM
There are still two cardgames in progress. The room is quiet and civilized.
A silver serving cart, holding a large humidor, begins to roll slowlyacross the room. One of the cardplayers takes a cigar from it as it rollsby.

CARDPLAYER

It seems we've been dealt a bad hand this time.

CUT TO:

212 EXT. / INT. A-DECK PROMENADE
Cal and Lovejoy are walking aft with a purposeful stride. They pass CHIEFBAKER JOHGHIN, who is working up a sweat tossing deck chairs over the rail.After they go by, Joughin takes a break and pulls a bottle of scotch from apocket, opening it. He drains it, and tosses it over the side too, thenstands there a little unteadily.

CUT TO:

213 EXT. BOAT DECK AND A-DECK, AFT
PANIC IS SETTING IN around the remaining boats aft. The crowd here is now amix of all three classes. Officers repeatedly warn men back from the boats.
The crowd presses in closer.
Seamen

SCAROTT

brandishes the tiller of boat 14 to discourage a close pressof men who look ready to rush the boat. Several men break ranks and rushforward.

Lightoller pulls out his Webley revolver and aims it at them. LIGHTOLLER

Get back! Keep order!
The men back down. Fifth Officer Lowe standing in the boat, yells to thecrew.

LOWE

Lower away left and right!
Lightoller turns away from the crowd and, out of their sight, breaks hispistol open. Letting out a long breath, he starts to LOAD IT.

CUT TO:

214 EXT. BOAT DECK, STARBOARD SIDE, AFT
Cal and Lovejoy arrive in time to see Murdoch lowering his last boat.

CAL

We're too late.

LOVEJOY

There are still some boats forward. Stay with this one... Murdoch. He seemsto be quite... practical.
215 IN THE WATER BELOW there is another panic. Boat 13, already in thewater but still attached to its falls, is pushed aft by the discharge waterbeing pumped out of the ship. It winds up directly under boat 15, which iscoming downt he right on top of it.
The passengers shout in panic to the crew above to stop lowering. They areignored. Some men put their hands up, trying futilely to keep the 5 tons ofboat 15 from crushing them.
Fred Barrett, the stoker, gets out his knife and leaps to the after falls,climbing rudely over people. He cuts the aft falls while another crewmancuts the forward lines. 13 drifts out from beneath 15 just seconds beforeit touches the water with a slap.
Cal, looking down from the rail hears GUNSHOTS--

CUT TO:

216 EXT. BOAT DECK / A-DECK, PORT, AFT
Fifth Officer Lowe, in Boat 14 is firing his gun as a warning to a bunch ofmen threatening to jump into the boat as it passes the open promenade onA-Deck.

LOWE

Stay back you lot!
BLAM! BLAM!

CUT TO:

217 EXT. BOAT DECK, STARBOARD, AFT
The shots echo away.

CAL

It's starting to fall apart. We don't have much time.
Cal sees three dogs run by, including the black French bulldog. Someone hasreleased the pets from the kennels.
Cal sees Murdoch turn from the davits of boat 15 and start walking towardthe bow. He catches up and falls in beside him.

CAL

Mr. Murdoch, I'm a businessman, as you know, and I have a businessproposition for you.

CUT TO:

219 EXT. BOAT DECK, PORT
Jack, Rose et al burst out onto the boat deck from the crew stairs just aftof the third funnel. They look at the empty davits.

ROSE

The boats are gone!
She sees Colonel Gracie chugging forward along the deck, escorting twofirst class ladies.

ROSE

Colonel! Are there any boats left?

GRACIE

(staring at her bedraggled state)

Yes, miss... there are still a couple of boats all the way forward. Thisway, I'll lead you!
Jack grabs her hand and they sprint past Gracie, with Tommy and Fabrizioclose behind. ANGLE ON THE BAND... incredibly they are still playing. Jack, Rose and theothers run by.

TOMMY

Music to drown by. Now I know I'm in First Class.

CUT TO:

220 EXT. BOAT DECK, STARBOARD, FORWARD
Water pours like a spillway over the forward railing on B-Deck. CAMERASWEEPS UP past A-Deck to the Boat Deck where Murdoch and his team areloading Collapsible Car the forward-most davits.
NOTE: There are four so-called collapsibles, or Engelhardts boats,including two which are stored on the roof of the officer's quarters. The crowd is sparse, with most people still aft. Cal slips his hand out ofhte pocket of his overcoat and into the waist pocket of Murdoch'sgreatcoat, leaving the stacks of bills there.

CAL

So we have an understanding then?

MURDOCH

(nodding curtly)

As you've said.
Cal, satisfied, steps back. He finds himself waiting next to J. BruceIsmay. Ismay does not meet his eyes, nor anyone's. Lovejoy come sup to Calat that moment.

LOVEJOY

I've found her. She's just over on the port side. With him.

MURDOCH

Women and children? Any more women and children?

(glancing at Cal)

Any one else, then?
Cal looks longingly at his boat... his moment has arrived.

CAL

God damn it to hell! Come on.
He and Lovejoy head for the port side, taking a short-cut through thebridge.
Bruce Ismay, seeing his oppurtunity, steps quickly into Collapsible C. Hestares straight ahead, not meeting Murdoch's eyes.

MURDOCH

(staring at Ismay)

Take them down.

CUT TO:

221 EXT. BOAT DECK / PORT SIDE – NIGHT
ON THE PORT SIDE Lightoller is getting people into Boat 2. He keeps hispistol in his hand at this point. Twenty feet below them the sea is pouringinto the doors and windows of B deck staterooms. They can hear the roar ofwater cascading into the ship.

LIGHTOLLER

Women and children, please. Women and children only. Step back, sir. Even with Jack's arms wrapped around her, Rose is shivering in the cold.
Near her a WOMAN with TWO YOUNG DAUGHTERS looks into the eyes of a HUSBANDshe knows she may not see again

HUSBAND

Goodbye for a little while... only for a little while.

(to his two little girls)

Go with mummy.
The woman stumbles to the boat with the children, hiding her tears fromthem. Beneath the false good cheer, the man is choked with emotion.

HUSBAND

Hold mummy's hand and be a good girl. That's right.
Some of the women are stoic, others are overwhelmed by emotion and have tobe helped into the boats.
A MAN scribbles a note and hands it to a womanwho is about to board.

MAN

Please get this to my wife in DeMoines, Iowa.
Jack looks at Tommy and Fabrizio.

JACK

You better check out the other side.
They nod and run off, searching for a way around the deckhouse.

ROSE

I'm not going without you.

JACK

Get in the boat, Rose.
Cal walks up just then.

CAL

Yes. Get in the boat, Rose.
She is shocked to see him. She steps instinctively to Jack. Cal looks ather, standing there shivering in her wet slip and stockings, a shockingdisplay in 1912.

CAL

My God, look at you.

(taking off his boat)

Here, put this on.
She numbly shrugs into it. He is doing it for modesty, not the cold.

LIGHTOLLER

Quickly, ladies. Step into the boat. Hurry, please!

JACK

Go on. I'll get the next one.

ROSE

No. Not without you!
She doesn't even care that Cal is standing right there. He sees the emotionbetween Jack and Rose and his jaw clenches. But then he leans close to herand says...

CAL

(low)

There are boats on the other side that are allowing men in. Jack and I canget off safely. Both of us.

JACK

(he smiles reassuringly)

I'll be alright. Hurry up so we can get going... we got our own boat tocatch.

CAL

Get in... hurry up, it's almost full.
Lightoller grabs her arm and pulls her toward the boat. She reaches out forJack and her fingers brush his for a moment. Then she finds herselfstepping down into the boat. It's all a rush and blur.

LIGHTOLLER

Lower away!

The two men watch at the rail as the boat begins to descend.
CAL

(low)

You're a good liar.

JACK

Almost as good as you.

CAL

I always win, Jack. One way or another.

(looks at him, smiling)

Pity I didn't keep that drawing. It's going to be worth a lot more bymorning.
Jack knows he is screwed. He looks down at Rose, not wanting to waste asecond of his last view of her.
222 ROSE'S PERCEPTION... IN SLOW MOTION:
The ropes going through thepulleys as the seamen start to lower. All sound going away...
Lightollergiving orders, his lips moving... but Rose hears only the blood pounding inher ears... this cannot be happening... a rocket bursts above inslow-motion, outlining Jack in a halo of light... Rose's hair blowing inslow motion as she gazes up at him, descending away from him... she seeshis hand trembling, the tears at the corners of his eyes, and cannotbelieve the unbearable pain she is feeling...
Rose is still staring up, tears pouring down her face.
SUDDENLY SHE IS MOVING. She lunges across the women next to her. Reachesthe gunwale, climbing it...
Hurls herself out of the boat to the rail of the A-Deck promenade, catchingit, and scrambling over the rail. The Boat 2 continues down. But Rose isback on Titanic.

JACK

No Rose! NOOOO!!
Jack spins from the rail, running for the nearest way down to A-Deck. Hockley too has seen her jump. She is willing to die for this man, thisgutter scum. He is overwhelmed by a rage so all consuming it eclipses allthought.

CUT TO:

223 INT. GRAND STAIRCASE
TRACKING WITH JACK as he bangs through the doors to the foyer and sprintsdown the stairs. He sees her coming into A-deck foyer, running toward him,Cal's long coat flying out behind her as she runs.
They meet at the bottom of the stairs, and collide in an embrace.

JACK

Rose, Rose, you're so stupid, you're such an idiot--
And all the while he's kissing her and holding her as tight as he can.

ROSE

You jump, I jump, right?

JACK

Right.
Hockley comes in and runs to the railing. Looking down he sees them lockedin their embrace. Lovejoy comes up behind Cal and puts a restraining HANDon him, but Cal whips around, grabbing the pistol from Lovejoy's waistbandin one cobra-fast move.
He RUNS along the rail and down the stairs. As he reaches the landing abovethem he raises the gun. SCREAMING in rage, he FIRES.
The carved cherub at the foot of the center railing EXPLODES. Jack pullsRose toward the stairs going down to the next deck. Cal fires again,running down the steps toward them. A bullet blows a divet out of the oakpanelling behind Jack's head as he pulls Rose down the next flight ofstairs.
Hockley steps on the skittering head of the cherub statue and goessprawling. The gun clatters across the marble floor. He gets up, andreeling drunkenly goes over to retrieve it.

CUT TO:

224 INT. D-DECK RECEPTION ROOM
The bottom of the grand staircase is flooded several feet deep. Jack andRose come down the stairs two at a time and run straight into the water,fording across the room to where the floor slopes up, until they reach dryfooting at the entrance to the dining saloon.
STEADICAM WITH HOCKLEY as he reels down the stairs in time to see Jack andRose splashing through the water toward the dining saloon. He FIRES twice.Big gouts of spray near them, but he's not a great shot.
The water boils up around his feet and he retreast up the stairs a coupleof steps. Around him the woodward groans and creaks.

CAL

(calling to them)

Enjoy your time together!!
Lovejoy arrives next to him. Cal suddenly remembers something and starts tolaugh.

LOVEJOY

What could possible be funny?

CAL

I put the diamond in my coat pocket. And I put my coat... on her. He turns to Lovejoy with a sickly expression, his eyes glittering.

CAL

I give it to you... if you can get it.
He hands Lovejoy the pistol and goes back up the stairs. Lovejoy thinksabout it... then slogs into the water. The icewater is up to his waist ashe crosses the pool into the dining saloon.

CUT TO:

225 INT. DINING SALOON
Lovejoy moves among the tables and ornate columns, searching...
listening... his eyes tracking rapidly. It is a sea of tables, and theycould be anywhere. A silver serving tolley rolls downhill, bumping intotables and pillars.
He glances behind him. The water is following him into the room, advancingin a hundred foot wide tide. The reception room is now a roiling lake, andthe grand staircase is submerged past the first landing. Monstrous groansecho through the ship.
ON JACK AND ROSE, crouched behind a table, somewhere in the middle. Theysee the water advancing toward them, swirling over the floor. They crawlahead of it to the next row of tables.

JACK

(whispering)

Stay here.
He moves off as--
Lovejoy moves over one row and looks along the tables. Nothing.
The ship GROANS and CREAKS. He moves another row.
ANGLE ON A METAL CART... five feet tall and full of stacks of china dishes.It starts to roll down the aisle between tables.
ON ROSE as the cart rolls toward her. It hits a table and the stacks ofdishes topple out, EXPLODING across the floor and showering her.
She scrambles out of the way and--
Lovejoy spins, seeing her. He moves rapidly toward her, keeping the gunaimed--
That's when Jack tackles him from the side. They slam together into atable, crashing over it, and toppling to the floor. They land in the waterwhich is flowing rapidly between the tables.
Jack and Lovejoy grapple in the icy water. Jack jams his knee down onLovejoy's hand, breaking his grip on the pistol, and kicks it away. Lovejoyscrmbles up and lunges at him, but Jack GUTPUCHES him right in the solarplexus, doubling him over.

JACK

Compliments of the Chippewa Falls Dawsons.
He grabs Lovejoy and slams him into an ornate columb. Lovejoy drops to thefloor with a splas, stunned.

JACK

Let's go.
Jack and Rose run aft... uphill... entering the galley. Behind them thetables have become islands in a lake... and the far end of the room isflooded up to the ceiling.
Lovejoy gets up and looks around for his gun. He pulls it up out of thewater and wades after them.

CUT TO:

226 INT. GALLEY / STAIRWELL
They run throught the galley and Rose spots the stairs. She starts up andJack grabs her hand. He leads her DOWN.
They crouch together on the landing as Lovejoy runs to the stairs.
Assumingthey have gone up (who wouldn't?) he clombs up them two at a time. They wait for the footstep to recede. A long CREAKING GROAN. Then they hearit... a CRYING CHILD. Below them. They go down a frew steps to looks alongthe next deck.

CUT TO:

227 INT. E-DECK CORRIDORS
The corridor is awash, about a foot deep. Standing against the wall, about50 feet away, is a little BOY, aobut 3. The water swirls around his legsand he is wailing.

ROSE

We can't leave him.
Jack nods and they leave the promise of escape up the stairwell to run tothe child. Jack scoops up the kid and they run back to the stairs but-- A torrent of water comes pouring down the stairs like rapids. In seconds itis too powerful for them to go against.

JACK

Come on.
Charging the other way down the flooding corridor, they blast up spray witheach footstep. At the end of the hall are heavy double doors. As Jackapproaches them he sees water spraying through the gap between the doorsright up to the ceiling. The doors groan and start to crack under the tonsof pressure.

JACK

Back! Go back!!
Rose pivots and runs back the way they came, taking a turn into across-corridor. A MAN is coming the other way. He sees the boy in Jack'sarms and cries out, grabbing him away from Jack. Starts cursing him inRussian. He runs on with the boy--

ROSE

No! Not that way! Come back!
228 DOUBLE DOORS BLAST OPEN. A wall of water thunders into the corridor.The father and child DISAPPEAR instantly.
Jack and Rose run as a wave blasts around the corner, foaming from floor toceiling. It gains on them like a locomotive. They make it to a stairwaygoing up.

CUT TO:

229 INT. STAIRWELL
Jack and Rose pound up the steps as white water swirls up behind them. PULLBACK to reveal that a steel gate blocks the top of the stairs. Jack SLAMSagainst the fate, gripping the bars.
A terrified steward standing guard on the landing above turns to run at thesight of the water thundering up the stairs.

JACK

Wait! Wait! Help us! Unlock the gate.
The steward runs on. The water wells up around Jack and Rose, pouringthrough the gate and slamming them against it. In seconds it is up to theirwaist.

ROSE

Help us! Please!
The steward stops and looks back. He sees Jack and Rose at the gate, theirarms raching through... sees the water POURING through the gate onto thelanding.

STEWARD

Fucking 'ell!
He runs back, slogging against the curretn. He pulls a key ring from hisbelt and struggles to unlock the padlock as the water fountains up aroundthem.
The lights short out and the landing is plunged into darkness. The water rises over the lock and he's doing it by feel.

JACK

Come on! Come on!
Jack and Rose are right up against the ceiling...
Suddenly the gate gives and SWINGS OPEN. They are pushing through by theforce of the water. They make it to stairs on the other side of the landingand follow the steward up to the next deck.

CUT TO:

230 EXT. BOAT DECK, STARBOARD SIDE
Cal comes reeling out of the first class entrance, looking wild-eyed. Thelurches down the deck toward the bridge. Waltz music wafts over the ship.Somewhere the band is still playing.
CAL'S POV: A little girl, maybe two years old, is crying along in thealcove. She looks up at Cal beseechingly. Cal moves on without a glanceback... reaching a large crowd clustered around COLLAPSIBLE A just aft ofthe bridge. He sees Murdoch and a number of crewmen struggling to drag theboat to the davits, with no luck.
Cal pushes forward, trying to signal Murdoch, but the officer ignores him.Nearby Tommy and Fabrizio are being pushed forward by the crowd behind.PURSER MCELROY pushes them back, getting a couple of seamen to help him. Hebrandishes his gun, waving it in the air, yelling for the crowd to stayback.

CUT TO:

231 EXT. BOAT DECK, PORT SIDE / ROOF OF OFFICERS' QUARTERS
Lightoller, with a group of crew and passengers, is trying to getCollapsible B down from the roof. They slide it down a pair of oars leanedagainst the deck house.

LIGHTOLLER

Hold it! Hold it!
The weight of the boat snaps the oars and it crashes to the deck, upsidedown. The two Swedish cousins, OLAUS and BJORN GUNERSEN, jump back as theboat nearly hits them.

CUT TO:

233 INT. STAIRWELL
Jack and Rose run up seemingly endless stairs as the ship groans andtorgues around them.

CUT TO:

234 EXT. BOAT DECK, STARBOARD SIDE
Murdoch, at Collapsible A, is no longer in control. The crowd isthreatening to rush the boat. They push and jostle, yelling and shouting atthe officers. The pressure from behind pushes them forward, and one guyfalls off the edge of the deck into the water less than ten feet below.

TOMMY

Give us a chance to live, you limey bastards!

Murdoch fires his Webley twice in the air, then point it at the crowd. MURDOCH

I'll shoot any man who tries to get past me.
Cal steps up to him.

CAL

We had a deal, damn you.
Murdoch pushes him back, pointing the pistol at Cal.

MURDOCH

Get back!
A man next to Tommy rushes forward, and Tommy is shoved from behind.Murdoch SHOOTS the first man, and seeing Tommy coming forward, puts abullet into his chest.
Tommy collapses, and Fabrizio grabs him, holding him in his arms as hislife flows out over the deck.
Murdoch turns to his men and salutes smartly. Then he puts the pistol tohis temple and... BLAM! He drops like a puppet with the strings cut andtopples over the edge of the boat deck into the water only a few feetbelow.
Cal stares in horror at Murdoch's body bobbing in the black water. TheMONEY FLOATS out of the pocket of his greatcoat, the bills spreading acrossthe surface.
The crew rush to get the last few women aboart the boat.

PURSER MCELROY

(calling above the confusion)

Any more women or children?!
THE CHILD crying in the alcove. Cal scoops her up and runs forward,cradling her in his arms.

CAL

(forcing his way through the crowd)

Here's a child! I've got a child!

CAL

(CONT'D)

(to McElroy)

Please... I'm all she has in the world.
McElroy nods curtly and pushes him into the boat. He spins with his gun,brandishing it in the air to keep the other men back. Cal gets into theboat, holding the little girl. He takes a seat with the women.

CAL

There, there.

CUT TO:

235 INT. FIRST CLASS SMOKE ROOM
Thomas Andrews stands in front of the fireplace, staring at the largepainting above the mantle. The fire is still going in the fireplace. The room is empty except for Andrews. An ashtray falls off the table.Behind him Jack and Rose run into the room, out of breath and soaked. Theyrun through, toward the aft revolving door... then Rose recognizes him. Shesees that his lifebelt is off, lying on a table.

ROSE

Won't you even make a try for it, Mr. Andrews?

ANDREWS

(a tear rolls down his cheek)

I'm sorry that I didn't build you a stronger ship, young Rose.

JACK

(to her)

It's going fast... we've got to keep moving.
Andrews picks up his lifebelt and hands it to her.

ANDREWS

Good luck to you, Rose.

ROSE

(hugging him)

And to you, Mr. Andrews.
Jack pulls her away and they run through the revolving door.

CUT TO:

236 EXT. BOAT DECK AND VARIOUS LOCATIONS
The band finishes the waltz. Wallace Hartley looks at the orchestramembers.

HARTLEY

Right, that's it then.
They leave him, walking forward along the deck. Hartley puts his violin tohis chin and bows the first notes of "Nearer My God to Thee". One by onethe band memebers turn, hearing the lonely melody.
Without a word they walk back and take their places. They join in withHartley, filling out the sound so that it reaches all over the ship on thisstill night. The vocalist begins: "If in my dreams I be, nearer my God tothee..."
THE HYMN PLAYS OVER THE FOLLOWING SEQUENCE:
237 A seaman pulls off his lifebelt and catches up to Captain Smith as hewalks to the bridge. He proffers it, but Smith seems to stare through him.Without a word he turns and goes onto the bridge. He enters the enclosedWHEELHOUSE and closes the door. He is alone, surrounded by the gleamingbrass instruments. He seems to inwardly collapse.
238 IN THE FIRST CLASS SMOKING ROOM Andrews stands like a statue. He pullsout his pocketwatch and checks the time. Then he opens the face of themantle clock and adjusts it to the correct time: 2:12 a.m. Everything mustbe correct.
239 IN CAL'S PARLOUR SUITE water swirls in from the private promenade deck.
Rose's paintings are submerged. The Picasso tranforms under the water'ssurface. Degas' colors run. Monet's water lilies come to life.
240 DOWNANGLE on the two figures lying side by side, fully clothed, on abed in a FIRST CLASS CABIN. Elderly Ida and Isador Strauss stare at theceiling, holding hands like young lovers. Water pours into the room througha doorway. It swirls around the bed, two feet deep rising fast.
241 IN A STEERAGE CABIN somewhere in the bowels of the ship, the youngIRISH MOTHER, seen earlier stoically waiting at the stairs, is tucking hertwo young children into bed. She pulls up the covers, making sure they areall warm and cozy. She lies down with them on the bed, speaking soothinglyand holding them.

CUT TO:

EXT. BOAT DECK / BRIDGE

242 IN A WIDE SHOT we see a wave travel up the boat deck as the bridgehouse sinks into the water.
243 ON THE PORT SIDE Collapsible B is picked up by water. Workingfrantically, the men try to detach it from the falls so the ship won't dragit under. Colonel Gracie hands Lightoller a pocket knife and he sawsfuriously at the ropes as the water swirls around his legs. The boat, stillupside down, is swept off the ship. Men start diving in, swimming to staywith it.
244 IN COLLAPSIBLE A Cal sits next to the wailing child, whom he hascompletely forgotten. He watches the water rising around the men as theywork, scrambling to get the ropes cut so the ship won't drag thecollapsible under.
Fabrizio removes the lifebelt from Tommy's body and struggles to put it onas the water rises around him.
245 CAPTAIN SMITH, standing near the wheel, watches the black waterclimbing the windows of the enclosed wheelhouse. He has the strickenexpression of a damned sould on Judgment Day. The windows burst suddenlyand a wall of water edged with shards of glass slams into Smith. Hedisappears in a vortex of foam.
246 Collapsible A is hit by a wave as the bow plunges suddenly. Itpartially swamps the boat, washing it along the deck. Over a hundredpassengers are plunged into the freezing water and the area around the boatbecomes a frenzy of splashing, screaming people.
As men are trying to climb into the callapsible, Cal grabs an oar andpushes them back into the water.

CAL

Get back! You'll swamp us!
Fabrizio, swimming for his life, gets swirled under a davit. The ropes andpulleys tangle around him as the davit goes under the water, and he isdragged down. Underwater he struggles to free himself, and then kicks backto the surface. He surfaces, gasping for air in the freezing water.
247 WALLACE HARTLEY sees the water rolling rapidly up the deck toward them.He holds the last note of the hymn in a sustain, and then lowers hisviolin.

HARTLEY

Gentlemen, it has been a previlege playing with you tonight.

CUT TO:

248 EXT. A-DECK AFT, PORT SIDE
Jack and Rose run out of the PALM COURT into a dense crowd. Jack pushes hisway to the rail and looks at the state of the ship. The bridge is underwater and tehre is chaos on deck. Jack helps her put her lifebelt on.People stream around them, shouting and pushing.

JACK

Okay... we keep moving aft. We have to stay on the ship as long aspossible.
They push their way aft through the panicking crowd.

CUT TO:

249 EXT. FORWARD FUNNEL
Collapsible A is whirled like a leaf in the currents around the siningship. It slams against the side of the forward funnel.

CAL

(to the crew in the boat)

Row! Row you bastards!!
250 NEARBY: Fabrizio is drawn up against the grating of a STOKEHOLD VENT aswater pours through it. The force of tons of water roaring down the shiptraps him against it, and he is dragged down under the surface as the shipsinks. He struggles to free himself but cannot. Suddenly there is a concussion deep in the bowels of the ship as a furnaceexplodes and a blast of hot air belches out of hte ventilator, ejectingFabrizio. He surfaces in a roar of foam and keeps swimming.

CUT TO:

To be continued…