Titanic Arrives

The successful premiere of "The Escape from Devil Island" and the buzz generated by Charlize Theron and Cruella de Vil DeVoice have led women to strive to increase their exposure in their respective fields.

In contrast, Henry, merely a supporter, wasn't as busy as the women. It's said that besides the Scream on, if he tried to get involved, the two women would look down on him...

Cruella de Vil DeVe's assertiveness needs no further explanation; Charlize Theron, as if to rival Cruella de Vil, has shown enthusiasm in every aspect.

I don't want to be seen by this annoying designer as a weak person who only knows how to rely on men.

What else could CEO Hengda say? He simply focused on being a cheerleader and support team member to avoid getting caught in the crossfire. He usually just stayed in his office slacking off.

At this time, a big shot, both expected and unexpected, came to visit. James Cameron arrived at Stark Studios.

Mr. Brown.

"Director Cameron."

Henry personally went down to the reception hall on the first floor and shook hands and exchanged pleasantries with the famous director who had come alone.

Such respect flattered James Cameron, a former truck driver, who had recently been universally disliked.

After all, the massive investment in that Titanic has led industry insiders to predict that Cleopatra tragedy is on the horizon. Moreover, the cautionary tale of Kevin Costner's Waterworld is still fresh in everyone's mind; the disaster just occurred last year.

With a production cost of $175 million and unspeakable distribution costs, the result was a global box office of only $264 million. It didn't even reach the basic double profit margin, which made the executives of Universal Pictures collectively cry in the bathroom.

There are countless examples of a film's staggering losses crippling a movie studio. United Artists, once one of Hollywood's Big Eight studios and founded by Charlie Chaplin, is a prime example, ultimately being acquired by MGM.

Even before filming has officially begun, the initial investment for "Titanic" has already put 20th Century Fox under immense strain. Meanwhile, James Cameron is still chasing after Volkswagen executives for more money.

Fortunately, the project was initiated by James Cameron himself, and no one else knew what to do next. Simply put, it's not something that can be done by firing someone and replacing them with a new director.

To prevent the life-size model already moored in the Gulf of Gulf of Mexico from becoming a pipe dream, 20th Century Fox had no choice but to grit their teeth and let James Cameron continue his haphazard work, while secretly hoping that his past successes, such as the Terminator, could be replicated once again.

Although Volkswagen didn't have the courage to replace Cameron as director, getting them to invest more money was out of the question. All the board members agreed that they would never, under any circumstances, pull out a single penny from their pockets for this debt-collecting director.

So from 20th Century Fox to Jon Landau, one of the producers of the Titanic, and Cameron himself, they were all looking for new sources of funding.

Henry had given this famous director a hint at the beginning of the year at the Stark Studios celebration party. That's why he came to his door today.

Just as he was about to invite the man into his office, James Cameron spoke first, "Mr. Brown, would it be convenient for you to take a tour of Stark Studios ' supercomputer and the area where they operate?"

Henry didn't think much of it and said, "Of course. Come on, let me personally introduce you to the pride of Stark Studios."

Visiting the "Hollywood Kid" supercomputer isn't a big deal, because this isn't something you can just look at and imitate. The value of a supercomputer lies in its hardware configuration; it's a wasteful machine that can be built simply by throwing money at it.

The server room wasn't inside the Stark Studios building, but it wasn't far away. For James Cameron, who also valued film technology, Henry's discussion of performance data wouldn't be entirely incomprehensible.

So on the way to the server room, the two chatted about the data on paper. Once they arrived at the server room, they introduced the main staff and maintenance personnel, and then went on to the various departments that used the terminals.

The department currently using the name "Hollywood Kid" has two profit-making units. One is the digital restoration department, which not only digitally restores old movies in its inventory, but also provides services such as restoring old photos and films for the Old Money.

One option is the digital editing studios that are rented out. Although Stark Studios also sells digital editing software and provides film companies with their own hardware to set up their own studios, no human can be more efficient than a supercomputer.

Moreover, the film companies currently using digital shooting are mainly small studios producing low-budget B-movies. For them, renting from Stark Studios is more cost-effective than building their own editing studio. This includes adult film production companies like San Fernando Valley.

The most important users of "Hollywood Kid" were, of course, the film-level digital imaging technology research team led by Henry Brown.

In addition to image encoding, these individuals are also responsible for the development of supporting cameras and projectors. They also connect digital technology with traditional film technology, enabling the two to complement each other, rather than severing the old system and building an unrelated new one.

The invention of digital restoration technology was based on this idea.

Then there's a small group of white-hat Hacker hired by Stark Studios.

In addition to maintaining the creation and deletion of virtual hosts within "Hollywood Kid," they also manage internal corporate security, such as the Git distributed version control system.

They also have to contend with Hacker around the world trying to infiltrate "Hollywood Kid" and patch vulnerabilities in their own firewall.

As for Tony Stark's virtual machine and the virtual machine Henry used himself, that was the boss's private hobby. Even the mainframe administrators might not know about it, and Henry certainly wouldn't tell James Cameron.

After touring everything surrounding the supercomputer, the two returned to Henry's office. James Cameron abruptly asked, "Mr. Brown, would you be interested in starting a new software department?"

Instead of giving a direct answer, Henry asked, "Oh, what does Director Cameron want to do?"

"I need to use the computing power of computers to simulate wind, waves, sunlight, light refraction, vortices, and physical collisions."

"Sounds similar to what Steve Jobs ' Pixar Animation Studios did."

"No, no, no, I don't want cartoonish visuals. I want the most realistic visuals, so realistic that people will believe it's something that actually happened. Steve's company won't do."

Steve Jobs ' original intention in taking over Pixar Animation Studios was to promote Pixar Image Computer. The animated film Toy Story was actually just an expensive project that took five years to complete and was a collaboration with Disney.

Who knew that the film's revenue would far exceed expectations, and then the world saw the emergence of the "Hollywood Kid" supercomputer, shattering Steve Jobs ' hardware dreams.

These unexpected events not only forced Pixar Animation Studios to shift its focus earlier than expected, but also led it down a path of no return in animated films, retracing the old path that Henry knew before his time travel.

Pixar Animation Studios ' work was clearly not what James Cameron wanted. So he approached Henry Brown, the man who spearheaded Hollywood's advancement of cinematic digital imaging technology.