The 20 Scariest Movie Soundtracks of All Time

By Luis Bevilacqua

Suspiria

Soundtracks often provide additional danger, mystery and scariness to a movie. This technique is mostly common in Horror movies or Thrillers in which hair-raising moments are essential parts.

Some movie scores became immortal because they were so spooky that only listening to them is enough to bring back the movie memory. Some are such masterpieces that without them the movies would not be as remarkable and creepy as they are. This list presents 20 movie soundtracks that are true classics in the art of scaring the audience.

20. Halloween – John Carpenter

halloween laurie

John Carpenter took only 3 days to compose the soundtrack of his classic first Halloween. The 5/4 theme piece was something that he used to bash out on his bongos. The combination between 5/4 beat and piano provided the sense of urgency and evilness necessary to the score, along with his trademark the creepy synthesizer.

19. Maniac – Jay Chattaway

Maniac (1980)

This 80’s slasher classic achieved a cult status over the years due to its qualities and its excesses (graphic violence provided by the genius Tom Savini). The soundtrack is a brilliant low budget effort by Jay Chattaway. Hypnotic synth noises provide tense background for the murders committed by Frank Zito. Its theme is an incredible piece combining a beautiful flute melody, creepy music box lines and a dreamy bass line.

18. All the Colors of Dark – Bruno Nicolai

Bruno Nicolai was certainly not famous as his musical partner in many scores’ projects: Ennio Morricone. He did not have the same recognition as Morricone, Nino Rota, Riz Ortolani and other great Italian soundtrack composers, although he was an immensely talented composer.

This Giallo flick directed by Sergio Martino was not the best (as any of his movies → continue…

From:: Taste Of Cinema

10 Iconic Movie Scenes Borrowed From Other Movies

By David Zou

Movies are made from other movies. There’s no way around it. To profess complete originality is equal to professing divinity; you’re either God or a charlatan, and there’s only one position available—if this can even be granted. Most directors know this; if they don’t they’re not helping the stereotype. Yes, art is a complex thing, but it’s only as complex as your favorite artists. The greatest directors have borrowed, wittingly or unwittingly, covertly or clearly, benevolently or malevolently, from their predecessors. This list will show ten scenes of such happenstance.

Some scene-peats are admitted homages, while others are too similar to be mere coincidence, but we’re not attributing fraud to the directors who have taken stylistic and thematic traits from the movies they love. It’s as simple as being inspired—and imitation is the sincerest form of flattery.

Warning: Spoilers

10. The Blair Witch Project Ending (Don’t Look Now)

Few scenes evoke such a helpless, visceral fear as that of the Blair Witch Project finale. The lack of resolution is the most unnerving part of what is a comparably tame horror movie climax. All we see, after the hour and a half of snotty buildup, is Heather stumbling upon Michael in an abandoned house. He is facing a wall in the corner of the basement.

What he’s doing against the wall, we’re not sure. Who put him against the wall, we’re also not sure. What is going to happen to him, and her, after this misfortune is also not revealed—she drops the camera and screams, then the film ends. Like most good tension-building horror films, it’s what’s not shown that is most effective, but Blair Witch takes this mandate to another level.

Never do we see the titular witch, and the circumstance surrounding the main characters’ disappearance is never made → continue…

From:: Taste Of Cinema

The Filmmaker’s Mental Checklist: 9 Things to Nail Down Before You Hit Record

By V Renée

Ready to shoot? Not so fast! Have you checked these 9 things first?

Whether you’re a professional or a total noob, there are going to be a lot of things you don’t know how to do when you arrive on a film set, but making sure your camera is set up properly shouldn’t be one of them. In this video, Darious Britt of D4Darious provides you with a great 9-step mental checklist that will help you correctly adjust your camera settings so you’ll be ready and raring to go before you start recording.

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From:: No Film School

Watch: 6 Ways to Make Realistic Fake Blood

By V Renée

Need a good recipe for fake blood? Well, here’s six.

It’s that glorious time of year again when we inundate you with non-stop Halloween and horror-related content to the point where you are literally sick to death of all of the blood, gore, and grossness. Joy!

To kick things off this year, let’s start with something that all horror filmmakers need to have plenty of when working on set: fake blood. I’m sure you’ve come across many different recipes, including legendary special effects artist Dick Smith’s famous recipe, but if I know anything about fake blood it’s that you 1.) you can’t have too much of it, and 2.) you can’t have too many different kinds of it. This video from Film Riot shares six recipes that give you a little of everything, from runny to goopy to creamy red peanut butter.

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From:: No Film School

Fiilex P360 Classic portable LED fixture

By Matthew Allard ACS

Fiilex have announced the P360 Classic portable LED fixture, which is essentially an updated version of their original P360. As the old saying goes, if it ain’t broke don’t fix…

The post Fiilex P360 Classic portable LED fixture appeared first on Newsshooter.

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From:: News Shooter

“Filmmaker Summer Camp:” 25 New Faces Converge at the Tacoma Film Festival

By Nick Dawson

With the Tacoma Film Festival kicking off tonight, Filmmaker former managing editor Nick Dawson writes about what’s become one of its signature events: a screening series organized around our 25 New Faces list, with the majority of each year’s filmmakers in attendance. — Editor Since I first worked at Filmmaker 10 years ago, I have been passionate about the 25 New Faces list, its importance and its ability to transform the career of filmmakers who truly deserve it. The list has also spawned an event that is an antidote to the big festivals — no distractions, no competitive vibe, no […] → continue…

From:: Filmmaker Magazine

“A Straight Shot into the Vein”: Pitching Documentaries at Points North Pitch at the Camden International Film Festival 2017

By Steve Dollar

Each year, the Points North Institute magnetizes the fog-kissed landscape of coastal Maine to lure the best and brightest of the non-fiction universe to the towns of Camden, Rockport and Rockland. The Camden International Film Festival offers an immersive overlay of screenings, panels, workshops, virtual reality installations, parties and intensive personal encounters that elevate the proceedings far above the standard festival formula of films and frolic. Exhibit A: What other festival turns a pitch session into a kind of centerpiece presentation? Staged under the banner of the Points North Institute, the festival’s umbrella organization, the program invites a group of […] → continue…

From:: Filmmaker Magazine

Writer/Producer Nancy Cartwright and Director Taron Lexton Find Fellini

By Scott Essman

For the new film In Search of Fellini, writer/producer Nancy Cartwright and director Taron Lexton took Cartwright’s true-life experiences and created an independent production which pays homage to the legendary director and carves its own niche in surprisingly refreshing ways. Of course, international audiences will recognize Cartwright’s name as the voice of Bart Simpson. Yet, […]

The post Writer/Producer Nancy Cartwright and Director Taron Lexton Find Fellini appeared first on Below the Line.

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From:: BLT News

Watch: Why You Should Study ‘Twin Peaks: The Return’ if You Want to Experiment with Time

By Max Winter

Nolan and Tarantino took a cue from Lynch. Would you?

More than perhaps any other creative medium, film enables narrative time travel. Immediately, and without any preamble, a story can jump from its present back into its past or fast-forward into its future, and usually viewers simply accept it, often enjoying it. In fact, it would be difficult to think of any film that doesn’t expand or contract time in some way, with jumps from scene to scene or from one character’s perspective to another.

Lynch continually adjusts and re-adjusts our sense of time, to disorienting but also enlightening effect.

Some directors have historically played with time frames in a self-conscious way, making sure we know time is being manipulated, and the effect of this sort of open switching and flip-flopping is usually the deepening and broadening of the film’s symbolism. Christopher Nolan did this to memorable effect in Memento. Quentin Tarantino changed American film by doing it in Pulp Fiction.

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From:: No Film School

Correction: 6 Canon CN-E Full Frame Primes

By Jon Fauer Correction to error on page 29 of FDTimes September Edition #84: There are 6 (not 5) Canon Full Frame EF-mount Cinema CN-E Prime Lenses. The online PDF has been updated. Thanks to Chris Hurd, Mitch Glick and the many readers who pounced on this egregious omission in our growing list of Full Frame cine primes. → continue…

From:: FD Times

“A Coming of Age Story–with Jump Scares”: Jason Ballantine on Editing It

By Matt Mulcahey

In horror movies, kids are often exempt from the carnage. It’s a trope of the genre—the cute moppet that any experienced horror viewer knows is in absolutely no peril within the confines of the film. Andy Muschietti’s adaptation of It opens with a grade-schooler in a yellow rain slicker having his arm torn off by a sewer dwelling clown—a creature who then drags the child into the underground bowels of Derry, Maine. The film’s brutal ground rules are immediately established – anyone is fair game and no appendage is safe. “I am very conscious watching any film where the main cast […] → continue…

From:: Filmmaker Magazine

Billingham introduces the tiny ‘72’ for premium compacts and small mirrorless kits

Premium British bag manufacturer Billingham has launched a new small shoulder bag called the Billingham 72, aimed at users of fixed lens premium cameras and those with small mirrorless bodies. The Billingham 72 features a new padding design that puts a double layer of high-density foam all around the body of the bag in a continuous form that leaves no spaces between the sides and the base.

Traditional Billingham canvas or FibreNyte finishes are available, both of which are weather, water and heat resistant for the entire life of the bag. All fittings are made from leather and brass, and a quick release catch allows easy access to the cover whether the bag is over the shoulder or attached to your belt.

The bag is available in a choice of five color combinations that will go on sale in the UK tomorrow for £100. Sales in the USA are expected to begin after Christmas.

For more information visit the Billingham website.

Press Release

Small and perfectly formed. Billingham announces the ‘72′

High quality, lightweight, compact bag with dense foam padding offers outstanding protection for fixed prime lens and small system cameras

Designed for owners of fixed prime lens cameras and the growing range of small mirrorless and compact systems, Billingham has today announced the Billingham 72. The new, high quality, lightweight bag will be available to view and order for the first time at the Digital Splash 17 exhibition in Liverpool, 7-8 October.

The Billingham 72 will come in five colour combinations and will cost £100 inc. VAT:

  • Sage FibreNyte & Chocolate Leather
  • Khaki Canvas & Tan Leather
  • Burgundy Canvas & Chocolate Leather
  • Black Canvas & Tan Leather
  • Black FibreNyte & Black Leather

At 150 x 130 x 190mm (WxDxH), the Billingham 72 is the ideal → continue…

From:: DPreview

RED unveils Monstro 8K VV full-frame sensor with 17+ stops of dynamic range

RED has just announced its new Monstro 8K VV full-frame sensor for Weapon cameras. The device features a 35.4MP 40.96mm x 21.60mm sensor and is able to record at a full 8K/60fps resolution. RED explains that the Monstro 8K VV replaces its existing DRAGON 8K VV sensor, and that anyone who has ordered the DRAGON 8K VV will be offered the Monstro as of October 5th.

The Monstro 8K VV sensor has full support for RED’s IPP2 image processing pipeline, as well as an “unprecedented dynamic range [of 17+ stops] and breathtaking color accuracy,” according to RED President Jarred Land. When coupled with the Weapon 8K VV, the device can simultaneously record Redcode RAW and either Avid DNxHD/HR or Apple ProRes, likewise offering data speeds up to 300MB/s. The sensor’s full technical spec sheet is insane, and available for your viewing pleasure here.

Existing carbon fiber Weapon customers have the option of upgrading for $29,500, while the new Weapon with the full-frame Monstro sensor is priced at $79,500. New orders for the device will start shipping to customers in early 2018.

Press Release

RED ANNOUNCES THE NEW MONSTRO 8K VV

Today RED announced a new cinematic Full Frame sensor for WEAPON cameras, MONSTRO™ 8K VV. MONSTRO is an evolutionary step beyond the RED DRAGON 8K VV sensor with improvements in image quality, including dynamic range and shadow detail.

This new camera and sensor combination, WEAPON 8K VV, offers Full Frame lens coverage, captures 8K full format motion at up to 60 fps, produces ultra-detailed 35.4 megapixel stills, and delivers incredibly fast data speeds of up to 300 MB/s. Like all of RED’s DSMC2 cameras, WEAPON shoots simultaneous REDCODE RAWand Apple ProRes or Avid DNxHD/HR → continue…

From:: DPreview

Visual Effects Society Announces Inaugural Hall of Fame Honorees

By Admin

LOS ANGELES

Today, the Visual Effects Society (VES), the industry’s global professional honorary society, announced its inaugural inductees to the VES Hall of Fame. In concert with the Society’s milestone 20th Anniversary,…

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From:: Shoot OnLine

Tutorial: How to Create an RGB Split Effect in After Effects

By Jason Boone

Isolating color channels can yield some interesting results.

For this tutorial, we’ll take a look at how to create an RGB split effect in Adobe After Effects. This technique can help you create a variety of different glitch effects and transitions, or simply help to stylize your footage. Use RGB split by itself or in conjunction with other glitch effects to achieve powerful and interesting results.

Step 1: Duplicate and Rename the Layers

The first thing you need to do is create two duplicates of your original layer, as you want to have a layer for each color channel. Having a layer for each color gives you total control over the RGB split effect. Once you have all three layers created, rename them according to the varying color channels—red, green, and blue. This will help you to stay organized throughout the project.

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From:: No Film School