Here is a clip of the fight between Shaw and the Engineer. I tried my best to remove the scorched face and think that´s now watchable altogether the deleted scene.  

What do you guys think? Maybe somebody can model the engineer's head in 3ds max and share it and probably could make the scene perfect.

http://www.break.com/index/insanity-praying-mantis-edition-2442081

Going to look for the goblin shark eating a dog or something now

• Extended dialogue between David and the Last Engineer
• Sex scene with Janek and Vickers
• Janek consoles Vickers after she does a "horrible thing"
• Janek: "Ho ho ho"
• Janek: "Kill everything... do you copy me?"
• Janek: "Prometheus has landed"
• Holloway: "You're smiling"
• Holloway: "It is the sweetest air I've ever tasted"
• Holloway making out with Shaw while standing
• Shaw crying while looking up at the mural
• Shaw: "They're gonna think we crazy.", Holloway: "Not if you (we?) keep it scientific."
• Shaw: "Pleeease"
• Shaw: "I came here for answers, I'd rather die with those answers than leave without them"
• Shaw clasping hands
• Shaw crying  (still shot)
• Shaw hugging Holloway  (still shot)
• David grins at "dancing" black goo
• David crying while, presumably, watching Lawrence of Arabia
• David looking back up the tunnel on The Juggernaut  (still shot)
• Vickers: "Don't you want to know why we're here?"
• Vickers running through the corridor (still shot)
• Milburn looking up while, presumably, being attacked by the Hammerpede
• Elder Engineers by the waterfall  (another shot)
• Extended Sacrifice Engineer DNA breakdown scene  (another shot)
• Shaw in the background as the Last Engineer goes through door  (still shot)
• Shot of Last Engineer's legs on the life boat
• A crew member torching someone/something  (still shot)

• Fifield - more monster in appearance  (another shot)
• Weyland, David, Shaw, Ford, and two mercenaries enter the garage bay
• Shaw reverses RT vehicle
• Shaw: "Not a map, an invitation"
• Shaw whacks the Last Engineer with an ax
• Shaw in the medpod as it closes  (Gif version)
• Last Engineer grabs Shaw by her throat
• David looks back before or after opening door to ampule room
• Holloway finds a bowl instead of the green crystal in front of the altar
• Close-up shot of Vickers in escape pod
• Vickers: "Changing into what?"
• "It's a star map"

Thanks to TankJr, alm_bd, redbeard, and Cosmik for their contributions!

I have a moddb page setup with some screenshots and videos on youtube of some of the progress I have made so far.

I'm curious to know if anyone is really interested in my work in making this. I'd like to know if there are any 3d modellers out there that might like to contribute to this project as I'm only a one man operation building EVERYTHING, and it's a real handfull, more than I thought when I first started this project. I'm probably not saying everything I want to say here, but I do want to get the communitys input and feedback.

I know the mod is not an exact replica, then it would be too predictable, I still like to have some elements not explored but a possibility.

however I am recreating most of it closely as I can.....so much still to do and make.

for now, I'd thought I'd introduce myself and say hello and show some of my work on the mod so far. and discuss this with everyone, thanks !

and if you'd like to see the moddb page you can see that here:

http://www.moddb.com/mods/prometheus-doom-3-movie-mod

and some videos on my youtube channel:

http://www.youtube.com/user/scythewraith

Comments opinions ,suggestions, I'd like to hear what on your mind about my PD3 project, Thanks Everyone! looking forward to your thoughts and perspectives.

http://www.usatoday.com/story/news/nation/2013/04/25/hudson-head/2113675/

Any idea where this came from?

keeping the basic building blocks of the film, see what you come up with, or just comment on parts that could be done better. I'll start with a quickly written version of how I thought the plot might have played to be more pleasing - of course this is entirely subjective. It's like a wish list for the tone that I was hoping for.

Prometheus in Space
David on Prometheus – obviously synthetic. Make him seem spooky to create unease. He does not have a hidden agenda – too cliché now. But he acts quirky and robotic. Main point as a character is to explain things about the engineers.

Crew woken – keep crew simple, cut Weyland subplot – he exists only as backstory and motivation for Vickers.

Shaw – character who believes there is a greater power in the universe, that the creation of life is by design and not chance. Not a traditional Christian god, as such, though she keeps a cross in memory of her father who taught her about faith. She also can’t have children.

Holloway – archaeologist who loves Shaw. No need to overcomplicate him with an opposing POV to hers on creation and faith. He believes in her, plain and simple. Would do anything for her but knows he can’t fulfil her.

Fifield – geologist, wuss and bully. Believes in pay check, not much else. No need to change him that much. Remove the pot smoking – not really professional for a trillion dollar mission to find the answers to human existence.

Milburn – biologist who believes fully in science. Finds it hard to make friends. No need to change him that much either.

Vickers – Queen bitch of Prometheus. Knows it is expensive mission. Wants to succeed because it was her father’s dream to discover intelligent life. Driven for a result.

Ford – crew doctor. Mostly in it for pay check. Religious but doesn’t really want to meet her maker before she is dead.

Janek, Chance and Ravel – as is. Flight crew. No scientific or religious affiliations of note, there to fly ship and assist Vickers with mission security.

No hidden characters. No need. No extra random security guys either – flight crew can fill that role.

Crew on Prometheus – character development and tension building.
Different characters should occupy a clear space in science vs religion and logic vs faith arguments.
There should be a lot of discussion about where humans come from and what the engineers have to do with us. Use the logic of Spaiths script, whereby the engineer visitations were to advance us and not seed us. Have the question of how they advance us hang in the air as a question.

Land on planet – do not name planet. Never name planet.

First exploration – find worms, engineer bodies and headless engineer. They do not open their helmets at any time, even though they note the atmosphere is breathable.
Dead engineers scare the willies out of science driven characters like Fifield and Milburn – because they are obviously humanoid. It throws their whole core beliefs about human life evolving on Earth.

Revitalise engineer head – note it is infected. David theorises that the engineers create by sacrificing their own bodies. He believes this is done with the goo. Sometimes in order to create, you must first destroy. He also believes the engineers were planning a revisitation to Earth but something went wrong – though is not certain what.

Vickers tells David they have to return with something more than gods that made a mistake and he should explore the temple more. David explores and finds hibernating engineer. He returns to ship and after discussion Vickers agrees to wake engineer. David says he will offer the engineer an ampule, to show that they understand their technology a little.

Second exploration – wake engineer. Engineer is full 10ft tall. Observes humans wordlessly. Fifield pisses his pants and runs off, Milburn follows him. Shaw stands in adoration, Holloway is smiling because Shaw looks fulfilled. Ford and Vickers obviously nervous. David holding ampule. Holloway opens helmet, saying to Shaw, “Our creators should be able to see us.”
Engineer is oblivious to crew, walks to David, rips off his head and takes ampule. Engineer then drinks goo. Sacrifice engineer effects used here. Engineer body breaks down and tiny molecules are released. This should be the equivalent of the chestbuster – if the mystery and awe of the engineer is built up enough, seeing a god destroy itself mid-point in the film should be shocking.
Ford and Vickers run. Shaw starts crying. Holloway tries to comfort Shaw and get her to leave, during which he swallows engineer molecules.

Fifield and Milburn lost. Encounter big worm affected by Engineer molecules. Fifield acts like a total wuss, Milburn tries to be reassuring. Big worm jumps Milburn and scene can play out similar to normal, instead smashing Fifield helmet and engineer molecules being swallowed.

Back on Prometheus Shaw is still upset. Holloway tries to comfort her – at least we know how they create life or something. Holloway notes he feels different, refreshed, or reborn since the experience. Shaw all sad, cannot create life. Holloway says she is his life, or something similar and they make love.

Vickers telling Janek they have to leave, something is wrong. Janek says they can’t go without Fifield and Milburn. Is getting life signs from Fifield but not Milburn. Storm comes in and they agree to retrieve Fifield next morning.

In morning Holloway sees something in eye and knows he is changing. Shaw wakes and feels sick, goes to see Ford. Shaw is pregnant and foetus gestating at rapid rate. Wants it removed, something is wrong. Ford contacts Vickers.

Vickers says to put Shaw in hibernation; her baby may be the only thing they have gained from the ill-fated trip. She is going to get Fifield with Janek and then they are leaving.

Vickers, Janek, Chance and Ravel find Fifield changed – similar to big head proto-morph Fifield design. Fifield kills Chance & Ravel. Janek try to shoot Fifield but he moves too fast – so they run back to ship – we are leaving. Fifield lopes after them.

Shaw escapes Ford, runs to medpod. Births cuddles. Is rightly disgusted and wants to kill cuddles. Locks cuddles in medpod and is about to destroy it when Holloway enters. Holloway has become a proto morph also and Shaw runs away.

Vickers and Janek meet Shaw and Ford on Prometheus. Shaw explains that Holloway has changed and is in the medpod room with the thing that came out of her. Vickers determines to destroy them both and leave. Ford goes with Vickers, Janek and Shaw go to prepare ship for launch.

Fifield gets aboard Prometheus.

On entering medpod room Vickers and Ford cannot see Holloway but can see cuddles is laying something. They go to torch cuddles and Holloway attacks, killing Ford and knocking Vickers out.

Fifield finds Janek and Shaw in flight deck. Janek fights with Fifield, using some kind of weapon. Shaw runs off in fear. Fifield gets over Janek and Janek stabs him, though blood that is turning acidic drips onto Janek and kills him.

Holloway finds Shaw. He is barely human now. He drags Shaw to medpod room. In medpod room Shaw can see that cuddles has grown and made egg sacks from Ford’s body. One of the egg sacks is open. Vickers lies on the floor, a facehugger looking thing curled up dead next to her and a hole in her chest. As Holloway holds Shaw, an egg sack opens in front of her and David’s words echo in her head – sometimes in order to create, you must first destroy.

I think that Ridley Scott wanted back into the Sci-Fi Genre. So he basically took the original movie  with a much larger budget and an Original and  semi-revised script of the original Alien Movie  and Just remade his original masterpiece.

First he said he's basically sick of the Zenomorph's, Prometheus is an Original movie with hints of Alien DNA, The Movie has Space Jockeys "Engineers", The Weyland Corperation, Gieger's Designs, and Alot of the first act from the original Obannon Script.

That being said , I still think this movie will kick ass but I just think it's a Re-Imagining of the original or maybe what he intended to do all along with Retrospect , bigger budget and tech of today he didnt have back in 1979

Your Thoughts ...

Clothes on Film
caught up with Ms. Yates for an exclusive chat about the space suits
and fatigues in Prometheus, which she describes as containing some of
her proudest work since Gladiator. SPOILER WARNING: We suggest only reading this after you have seen the film.

Clothes on Film, Chris: What was the costume brief for Prometheus?

Janty Yates: We wanted to go somewhere where it
wasn’t traditional spacesuits. Sleek and slimline, to avoid the sort of
‘Michelin Man’ look of the NASA suit.

CoF: So, to get away from any direct Alien references?

JY: Well, it is a prequel, but Nostromo (the
spacecraft featured in Alien) was a space tank. It was a functional
space tank, and they were functional engineers, so that was a functional
space suit. Basically, it was issued with the spacecraft; it was
literally intended to be used to maintain space stations and vehicles.
But this spaceship for Prometheus was custom-built by Weyland
Industries, so the spacesuits were custom-built with it. The idea that
we went with was all of your body functions would be integral to the
suit.

The spacesuit helmet was intentionally designed to resemble an
egg. An Alien egg..? Unfortunately the helmets had to be packed up and
returned to production studio Fox at the end of the shoot, so are
unlikely to be display anywhere.

CoF: The blue and orange piping suit was designed to be worn underneath the all-blue suit?

JY: Yes. These were designed to monitor heart-rate,
blood sugar levels… all of that, the things that NASA spacesuits had
bags for and they were great big things. We rented a very good replica
of a NASA spacesuit built by Asylum Models and Effects Ltd. It was huge;
it almost had compartments. The blue suits we designed did have armour,
but that was it. Ivo (Coveney) made the spacesuits. He’s great. He also
created all of Russell Crowe’s armour in Gladiator.

CoF: Why are the orange and blue under-suits worn at the end of the film?

JY: Basically because they didn’t need the
outer-suits and armour, and that’s why they took their helmets off,
because they knew they could breathe in the Pyramid. And also,
everything was so panicked there wouldn’t have been any time in the
momentum of the story to ‘suit up’ any more than they did. Ideally, we
wanted them to be wearing the orange piping costumes on board a lot, but
although it looked gorgeous on the girls, for the men to be walking
around like that…well, it was much better for them to have a crew
uniform which was slightly individualised. We had a bit of a mishmash of
civilian wear on board. Really, Ridley Scott was very keen to avoid
anything that had gone before; that sort of Star Trek uniform which they
are all wearing all the time.

CoF: Can you tell us about the helmets?

JY: Those helmets I am most proud of in my whole
career, apart from maybe Russell’s armour in Gladiator; actually all
Gladiator, full stop. The whole helmet was created by FB-FX. Ridley
wanted the globe to be like an egg. So we went through like 100,000
different globes, trying to get the correct shape and without
imperfections in the Perspex; there are no joins at all. It was the
number one major challenge.

To save visual effects we installed 11 working monitors, which had
video, data and graphs. They all worked, but it was a complete
nightmare. The batteries, which had to be charged overnight, would fail
halfway through a take, but the only way we could do it was battery-run.
Some amazing people installed them; we found the smallest monitors we
could. There are five in the base and six overhead on a yellow strip.
Sadly though, the way the film is cut, you don’t really see them that
well. We also had to install about 1000 LED lights. Those helmets
actually lit the actors. They had torches, but there was no other
lighting in what we called the ‘pyramid’. We had two powerful fans
installed in the back of the helmet so the globe didn’t condense and so
the actors didn’t panic as they had constant air.

Logan Marshall-Green (left) had very time to prepare for his role
as Charlie Holloway, still acting in an off-off Broadway play when
Prometheus began shooting. He went for his first costume fitting and was
back on a plane to New York the same day.

CoF: Surely that must have caused an issue with sound?

JY: Yes it did, the bigger ones were slightly noisy.
The microphone is in the skullcap – the battery pack leads through to
the back yoke. We had the tiniest HD cameras in the world installed at
the last minute on top of the helmet. We actually asked for these in
prep to be fitted on the helmet ‘ears’ but Ridley said “we don’t need
them.” Then two weeks into shooting our editor said that we do need them
for feedback, that sort of Blair Witch Project wobbly camera, so sadly
we had to install them externally. That meant more battery packs, more
receivers… we wanted to try and build them in but really the whole thing
was on such a tight schedule. We only had four months prep by the time
everything was approved. The Tron Legacy crew apparently had a year and
hundreds of people in the costume department to make the light-suits,
etc.

CoF: Those Tron suits did have a lot of problems
too. The battery power failed constantly and the actors couldn’t even
sit down in them.

JY: Well, each actor in Prometheus needed two
stand-bys because those helmets were so precious. You had to have
somebody rebooting the batteries and polishing the globe; you couldn’t
any have hands directly on it. I think we made about 100 in the end
because we needed some for breaking and stunts.

Unlike a traditional NASA spacesuit, the Prometheus’ neoprene
suits were intended as sleek and body contoured, to function as an
extension of the human body.

CoF: So, looking at Ridley Scott’s original Alien film… did you take inspiration or move as far away as possible from it?

JY: Well, originally Ridley wanted to do the fatigue
suits from Alien, which Sigourney Weaver looked so great in. Then he
changed his mind and wanted to move away from it. Even though the crew
have Hawaiian shirts, etc adding to their fatigues, John (Mollo) did
create an actual uniform. They have a lot of signage and insignias. In
our own way we created a uniform too. We had t-shirts printed with the
Weyland logo in lots of different colours, though I think they are only
visible on Benedict Wong (Ravel) and Idris Elba (Captain Janek).

CoF: How about Noomi Rapace’s costume, because she is the focal point?

JY: We went through a million choices for Noomi. We
had cream fatigues, uniform blue, combat trousers, even a leather
outfit… we tried them all and went full circle back to the fatigues. We
had the luxury of working with Noomi early. She was nearby on the
Sherlock Holmes: A Game of Shadows set. She was wonderful. In a way, she
was a guinea pig. We didn’t alter the costume shape because we had to
follow the lines of non-extension. But it was more to do with what was
comfortable for her. She’d be in the fitting room rolling on the floor,
on all fours, virtually doing somersaults. She knew how physical the
role was – she knew what these suits had to go through. All the actors
felt very comfortable in their costumes and it comes across on screen.
They could run, they could muck about, but I was worried about wrinkles
all the time.

CoF: Really didn’t notice any wrinkles…

JY: I know. I said to myself halfway through “Why am
I stressing about this? They aren’t superhero suits, they aren’t
spray-on… these are human beings.” But I was so worried about a wrinkly
crotch!

The sweater worn by Rafe Spall as Millburn was custom made for the film; his spectacles were vintage.

CoF: What was your intention with David’s (Michael Fassbender) costume?

JY: We tried all sorts on Michael. Even zips that
went across the body, but none of it worked. The best was the most
simple. He actually has three or four separate outfits but they all look
rather the same. There’s the all-in-one boiler suit, then he changes
into a jacket and trousers, then a dark green jacket and trousers.

CoF: And the flip-flops?

JY: Ridley has a thing about flip-flops. He loves
flip-flops! So I said “Fine, if that’s what you want to do”. We put them
on the actors and they worked. Ridley has great moments of inspiration
like that. I truly believe he is an inspirational genius; having studied
at the Royal College of Art and been a production designer, his heart
is mainly visual. The flip-flops were really emphasised by David’s short
trousers. Why would a robot have a break in his trousers? They are
purely functional. Those narrow trousers are a great 60’s reinvention
now. We wanted him sleek, we didn’t want him to stand out; he wouldn’t
have looked good in Oxford bags.

The Nehru style suits worn by David (Michael Fassbender) Meredith
Vickers (Charlize Theron) and Peter Weyland (Guy Pearce) are intended
as a Weyland Industries design, like a uniform. Pearce’s suit was made
by Timothy Everest, tailors in London.

CoF: Charlize Theron looked stunning in that sculptured suit…

JY: Her suit is just the best thing. My cutter,
Dominic Young, is amazing. He works with Sandy Powell, Colleen Atwood… I
was very lucky to have him. I was really blown away every time I saw
Charlize. It just really worked. It’s made from one of the most
expensive suiting fabrics I’ve ever used. It’s silk and vicuña; it has a
slight sheen on it.

CoF: What was your overall costume budget for this film?

JY: Honestly, I don’t know. We did do a budget and
we were hammered down. We didn’t have any way to chisel though. If the
spacesuits weren’t charged up and maintained, the film wouldn’t get
finished. Really, the first week of shooting was very difficult until we
had the overnight crew who came in to maintain all this stuff. Really, I
don’t have the physical time to go poring over things. It costs what it
costs and I go away and do it. Nobody queues up at the box-office
because you come in under budget!

With thanks to Janty Yates.