'Independence Day' Screenplay [Part 2]

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]

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

My next Screenplay article on …‘Independence Day’ film

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

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.