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Prometheus - Dunkle Zeichen ist ein Science Fiction-Film aus dem Jahr von Ridley Mehr Infos: HD, SD | Deutsch, Englisch. Zum Streaming-Anbieter. HD € More purchase options. Add to. Watchlist. All prices include VAT. By ordering or Format: Prime Video (streaming online video). Devices Bei Prometheus handelt es sich um einen ergänzenden Teil der Alien Filmen. Ridley Scott. () HD Stream» StreamKiste tvYour browser indicates if you've visited this linkhttps streamkiste tv/movie/prometheus-dunkle-zeichenAls die​. Min. HD FSK Flatrate. Leihen SD € HD €. Film Prometheus - Dunkle Zeichen Online HD kostenlos auf Deutsch schauen. Prometheus - Dunkle Zeichen anschauen.

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Dort müssen sie sich einem schrecklichen Kampf stellen, um die Zukunft der Menschheit zu retten. Rechte: Twentieth Century Fox Film Corporation. All rights​. Prometheus - Dunkle Zeichen ist ein Science Fiction-Film aus dem Jahr von Ridley Mehr Infos: HD, SD | Deutsch, Englisch. Zum Streaming-Anbieter. Film Prometheus - Dunkle Zeichen Online HD kostenlos auf Deutsch schauen. Prometheus - Dunkle Zeichen anschauen.

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It held unknown consequences. Many people thought that perhaps we were playing with something that we should not have been playing with.

The story of Shaw focuses on religion, creation, the beginnings of human life. She's seeking God and just-so-happens to find a way to get to him — but we all know how well that turned out for the Babylonians.

The story that belongs to the remainder of the characters is brilliant. Peter Weyland Guy Pearce , the old tycoon who is funding Shaw's deep space mission, has sent a few of his own employees along with Shaw and her boyfriend.

The most important and interesting of them all is David Michael Fassbender , a humanoid robot.

A few who I thought would dislike it, wound up loving it. Knowing this, no matter how you perceive it prior to seeing, this is one of those films that you need to see for yourself because not a single person can judge how you're going to take it based on your taste and preferences.

Considering how damn amazing this Blu-ray release is, you definitely deserve to give it a shot. At startup, the UHD goes straight to a main menu screen with full-motion clips, the usual options along the bottom and music playing in the background.

Prometheus wanders about Ultra HD with an excellent and often beautiful H. Immediately, in the opening shots of an alien drinking the dark liquid, the picture is noticeably brighter and more dynamic, showing better contrast than before.

The edges of clouds seem to glisten and radiate from the sun, the foam of the roaring waters sparkle and the white body of the Engineer appears more true to life.

Specular highlights are also a bit more intense, providing a realistic sheen around the edges of the counters aboard the ship, the various weapons and along the moist walls of the damp alien spacecraft.

However, it doesn't quite compare to some of the best we've seen of the format, occasionally showing a bit of blooming around the brightest spots and the many light sources, engulfing some of the finer details.

Black levels, too, are significantly richer and more luxurious with inky, Stygian shadows penetrating deep into the screen, adding some appreciable depth.

But often those darker areas tend to slightly crush the tiny objects and specifics in the background, and there doesn't seem to be much gradational difference between the shades.

The movie was deliberately shot with a limited teal-orange palette that makes much of the 4K presentation appear monochromatic and grayish.

Nevertheless, the colors have been nicely touched up, largely looking a bit more luminous and resplendent, especially in the primaries.

The greens and reds of computer monitors, for example, shine with a more realistic intensity, giving the holograms a believable 3D effect.

The various shades of blue are arguably most impressive, looking more metallic in the Engineer technology while the interior of the Prometheus ship is immersed in a dull, droning bluish light, and Vickers' outfit comes in a noticeably darker shade.

The secondary hues probably benefit the most from the jump to UHD, such as the vibrant yellow glow of the helmets worn by the expedition team and the subtle hints of purple and pink inside Shaw's quarters.

The gray of the Engineer's head has a bit more pop to it, and the sand surrounding the alien temple actually looks like brown dirt.

Shot entirely on Red Epic camera system with a max resolution of 5K and later mastered in a 2K digital intermediate, the 2.

Not only do facial complexions appear much healthier with a rosier glow around the cheeks, but faces are also highly revealing with better, more lifelike textures during closeups.

Bright scenes aboard the ship or inside the temple are very detailed, exposing the intricate design and individual components of either. Viewers can better make out the stitching of the outfits and the fact that some are made of different materials.

Sadly, there are a few softer moments, mostly related to the CG imagery, and various instances of very mild aliasing along the sharpest edges, which is likely the result of an upconversion from a 2K source.

Thankfully, it's nothing too egregious or frequent to ruin the overall quality of an otherwise excellent p video. For this 4K presentation of Scott's prequel, 20th Century Fox has opted to recycle the same, reference-quality DTS-HD soundtrack enjoyed on the Blu-ray, and Luke did a great job detailing what makes it such a thrilling listen at home.

The following is from his review of the audio. If I could give Prometheus 7. Hearing it cranked up on a 7. The first time I screened Prometheus , I was immediately reeled into the film by the beautiful score overlaying breathtaking landscapes during the opening credits.

Hearing the score via this mix is just as wowing. It establishes a grand tone equal to that of the movie that you're about to see.

Once the film takes us into the flight deck of the Prometheus ship, the mixing of the effects makes itself apparent.

The effects emitting from every channel are clearly audible. As quiet as some might be, you can easily hear them all - sensors beeping behind you, controls being toggled to the side of you, thrusters outside the ship causing a low bassy rumble.

When we're taken to exterior shots of the ship cutting its way through the atmosphere, those same thrusters combined with the atmospheric friction create a deep and resonant LFE that will shake your theater room.

One of my favorite sounds in the film is that of the LV storm rolling in. The gusts blast small pieces of metallic rock through the air.

As they collide with one another mid-flight, the high-pitch clanking sounds amazing. One thing that I never noticed until listening to this 7.

The imaging effects of this mix are seamless and astounding. Take, for example, this same storm sequence.

It's obvious that it was shot with the audio in mind because every shot of the storm shows the rocks blowing from left to right.

Not a single frame shows it any other way. This causes the wind to relentlessly throw debris in that same direction.

It's furious and never lets up. The non-stop left-to-right sound is unnerving. I found myself wanting the shot to switch angles just so that the left-to-right motion would let up.

The level of detail put into these imaging sounds is phenomenal. It sounds as if you can literally track these individual blowing rocks from one side of the theater to the other — and there are hundreds, if not thousands, of them.

The vocal detail of this mix is also worth noting. The character that warrants the most attention vocally is David.

Fassbender's voice resonates with a rich, deep bass. There's one effect applied to a certain character's voice that I'd like to explain to you, but I cannot because it would reveal a major plot point.

If you want to know, ask me in the forums. Just like I did with the effects mixing, I heard vocals in the Blu-ray mix that I didn't know existed during my theatrical viewings.

They say that no one can hear you scream in space; well, we can surely hear them scream on the surface of LV Part of Huante's early design work included developing precursors to Alien ' s Facehugger, and a primitive Alien creature, but these were cut from the final release.

Turner , and classical sculptures. The snake-like alien dubbed the "Hammerpede" was given life through a mixture of CGI and practical effects, and the wires controlling the practical puppet were digitally removed.

For a scene in which the Hammerpede is decapitated, the VFX team digitally animated and inserted the spontaneous growth of a replacement head.

Scott did not inform Dickie about what was to occur in the scene and her screaming reaction was real.

The creature's design was partially inspired by translucent sea creatures with visible arteries, veins, and organs beneath the skin's surface, and cobras.

The designers gave the creature a smooth, muscular, and powerful appearance. Early designs of the "Trilobite", the tentacled offspring cut from Shaw, resembled an octopus or squid.

Page redeveloped this creature as an embryo in an early state of development, with tentacles that began fused together and would gradually split, creating new tentacles, as the creature developed.

The mutated Fifield effects were achieved mainly through the use of make-up and prosthetics. Due to concerns that the practical effects would be unsatisfactory, the filmmakers completed an alternative version of the sequence, in which Fifield was rendered as "a digital character with elongated limbs and an engorged, translucent head, incorporating a semblance of Harris's face".

For its grown form, the "Adult Trilobite", Max found inspiration from an arthropod -like creature from Earth's Cambrian period, and the alien octopus in Jean Giraud 's illustrations for the comic strip The Long Tomorrow.

Further inspiration came after Max found a formaldehyde-preserved giant squid, an image which met with Scott's approval. The film's last-unveiled creature, the " Deacon ", was named by Scott for its long, pointed head that he considered resembled a bishop's mitre.

Scanlan aimed to represent the creature's genetic lineage, beginning with Shaw and Holloway who produce the Trilobite which impregnates the Engineer, in its design.

However, the creature was given a somewhat feminine appearance, since "it was born of a female before being born of a male.

Sound effects were generated with a variety of sources including Pop Rocks —a brand of popping candy—and a parrot.

The glistening ice forming on the stone cylinders discovered in the film was created by applying the popping candy to materials such as wet metal and stone that was then sprayed with water to produce the "popping, cracking" sound.

Sound designer Ann Scibelli's parrot was recorded over several weeks to document her variety of vocalizations which were then used as beeps, alarms and the cries of Shaw's alien offspring.

Prometheus contains approximately 1, digital effect shots. The scene was difficult to produce because it had to convey the story of the Engineer's DNA breaking apart, reforming and recombining into Earth DNA in a limited span of time.

The team focused on making the DNA stages distinct to convey its changing nature. Scott requested the studio to focus on the destruction occurring within the Engineer.

A light color scheme was used for the Engineer's DNA and decayed fish spines were used as an image reference, while the infected DNA had a melted appearance.

To find methods of depicting the DNA destruction, the team carved vein-like structures from silicone and pumped black ink and oils into them while filming the changes occurring over an extended period of time.

A key scene involving a large 3D hologram star map, dubbed the Orrery , was inspired by the Joseph Wright painting A Philosopher Lecturing on the Orrery , in which a scientist displays a mechanical planetarium by candlelight.

While discussing the necessity of a star map with Spaihts, Scott mentioned that he envisaged a physical representation being similar to the painting, although he was unaware of its title and described it as "circles in circles with a candle lit image".

Using Scott's description, Spaihts located an image of the painting. Spaihts said, "making the leap from a star map, to an Enlightenment painting, and then back into the far future.

Prometheus ' marketing campaign began on July 21, at the San Diego Comic-Con International , where images and footage from the film were presented by Lindelof and Theron; Scott and Rapace participated via satellite contribution.

On April 29, , the international launch trailer debuted in the United Kingdom on Channel 4 during the first advertisement break of the TV show Homeland.

Viewers were encouraged to share their opinions about the trailer on Twitter, some of which were then shared in a live broadcast during a later break.

This was the first time that viewers' tweets were used in a broadcast advertisement. The broadcast potentially broke a ruling that advertising and teleshopping must be clearly distinguishable from editorial content.

Amazon directed interested users to purchase tickets through Fandango , and placed promotional material in products shipped to customers; this was the first time that Amazon had allowed such marketing by an external company.

The event was facilitated by BumeBox, which took audience questions from social sites and gave them to reporters to ask at the event.

A viral marketing campaign began on February 28, , with the release of a video featuring a speech by Pearce, in character as Peter Weyland, about his vision for the future.

The segment was conceived and designed by Scott and Lindelof, and directed by Scott's son, Luke. The production was made in collaboration with, and made available through TED because Lindelof wanted to introduce new audiences to the conference itself.

Lindelof said that the scene takes place in a futuristic stadium because "a guy like Peter Weyland—whose ego is just massive, and the ideas that he's advancing are nothing short of hubris—that he'd basically say to TED, 'If you want me to give a talk, I'm giving it in Wembley Stadium.

TED community director Tom Rielly helped the film's producers gain approval for the use of the TED brand, which had not previously been used for promotional purposes.

Rielly was involved in designing the conference, and said that the association generated millions of unique visits to the TED website.

During the WonderCon, attendees at the film's panel were given Weyland Corporation business cards that directed them to a website and telephone number.

After calling the number, the caller was sent a text message from Weyland Corporation that linked them to a video that was presented as an advertisement for the "David 8" android, narrated by Fassbender.

The site referenced the philosophical novel Thus Spoke Zarathustra by Friedrich Nietzsche , and featured a video of Weyland, who quotes from the book.

At the May Digital Hollywood conference, Lindelof said that the videos originated from the question of the film's status as an Alien prequel.

It was decided that creating videos with the film's stars would generate more interest than any commentary about its connection to the Alien films.

He also said that the videos needed to be cool enough to justify their existence, but not so important that their absence from the final film would be an issue for audiences.

In North America, audience tracking showed high interest among males, but low among females. The online tracking for Prometheus surged with each additional promotional footage.

Prometheus was considered a financial success overall. After a strong start in North America, the film failed to meet the studio's expectations, but it continued to perform strongly in other territories until the end of its theatrical run.

Prometheus was released in 15 markets between May 30 and June 1, —about a week before its North American release. The earlier start in these countries was timed to avoid competition with the start of the UEFA European Football Championship the following week.

The figure made it the number 43 highest-grossing film to never finish a week as the number 1 film.

However the plot drew a mixed response from critics, who criticized plot elements that remained unresolved or were predictable, tempered by appreciation for the action and horror set-pieces.

The Hollywood Reporter ' s Todd McCarthy called the film's visuals vivid, stunning, and magnificent on a technical level, and praised the performances of Fassbender, Rapace, and Theron, but wrote that the film "caters too much to imagined audience expectations when a little more adventurous thought might have taken it to some excitingly unsuspected destinations.

After an enjoyable setup, the central act is baggy, confusing and, in places, slightly boring, while the climax has flash and fireworks but no real momentum.

Ebert thought that the plot raises questions and does not answer them, which made the film intriguing and parallel to the "classic tradition of golden age sci-fi".

Total Film ' s Jonathan Crocker wrote that the plot successfully integrated itself with Alien ' s mythology while offering its own original ideas.

O'Hehir also mentioned Wolski's cinematography and Max's production design. Scott criticized the story as weak, and argued that the narrative's twists and reversals undermine its "lofty, mindblowing potential".

He said the film has no revelations, just "bits of momentarily surprising information bereft of meaning or resonance", and that Rapace is a "fine heroine, vulnerable and determined".

Variety film critic Justin Chang wrote that the film's narrative structure was unable to handle the philosophical dimension of the plot, and that Prometheus was lazily deferring key plot points under the presumption that a sequel would be made.

James Cameron said: "I enjoyed Prometheus. I thought it was great. I thought it was Ridley returning to science fiction with gusto, with great tactical performance, beautiful photography, great native 3D.

There might have been a few things that I would have done differently, but that's not the point—you could say that about any movie.

In North America, Prometheus DVD and Blu-ray disc releases were listed for pre-order in partnership with Amazon on June 1, , a week before the film was released in theaters.

A limited number of cinema tickets for the film were offered as a pre-order incentive. Both versions contain the theatrical cut of Prometheus , commentary by Scott, Lindelof and Spaihts, a DVD and digital copy of the film, alternate and deleted scenes, and other features.

Additionally, the Collector's Edition contains the 3D version of the film and approximately 7 hours of supplemental features including a documentary on the film's production.

Scott discussed a continuation of the series in March , saying that Prometheus leaves many questions unanswered and that these could be answered in a sequel.

The series, titled Fire and Stone , is an Alien vs. Predator crossover featuring content exclusive to Prometheus.

The first issue of Fire and Stone was released on September 10, Prometheus film. Prometheus Theatrical release poster.

Jon Spaihts Damon Lindelof. Further information on individual characters: List of Alien characters. We're exploring the future Space exploration in the future is going to evolve into this idea that it's not just about going out there and finding planets to build colonies.

It also has this inherent idea that the further we go out, the more we learn about ourselves. The characters in this movie are preoccupied with the idea: what are our origins?

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It's a tough one, particularly with the success of four. I think if you close the lid it should be the end of the first chapter, and I think very simply what no one's done is simply gone back to re-visit 'what was it?

What was that battleship? Is it a battleship? Is it an aircraft carrier? Is it a bio-mechanoid weapon carrier?

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