The 30 Best Horror Movies of The 1990s

By James Swift

Anthony Hopkins, Silence of the Lambs

For whatever reason, a lot of genre fans tend to reflect on the 1990s as a lackluster decade for horror movies. Considering the countless, bloodsoaked classics of the 1980s, I suppose it was going to be difficult – if not impossible – for the decade ahead to placate a generation of fans weaned on Cannibal Holocaust, The Evil Dead and a deluge of Freddy and Jason flicks.

While there weren’t as many slasher, cannibal and zombie masterpieces in the 1990s, it’s also a bit disingenuous to say the decade was devoid of quality horror offerings. In fact, one could argue the 1990s actually had a greater spate of top-notch horror movies than the ‘80s, only with the cream of the crop spread out across a wider array of subgenres. The ‘80s was a great time to be a horror fan, for sure, but the fact of the matter is that horror films in the 1990s were more diverse, more experimental and arguably more interesting.

Which brings us to this gargantuan list of 1990s horror movies. Now, the point here isn’t to count down the best or most entertaining horror flicks of the decade, but to give moviegoers who may not be as well versed in the decade’s offerings a chance to see how horror movies changed throughout the ‘90s. Some of these movies are unquestionably all-time masterpieces of cinema and some of them are unquestionably all-time masterpieces of crap.

Regardless, in their own unique ways, they capture something noteworthy about 1990s horror tropes and stylings and demonstrate the chronological evolution of the medium. Moreover, these movies are ephemeral encapsulations of the times, a snapshot of the greater 1990s culture, be it the fashion, the music, the lingo or the technology. Not only will watching these movies give you a good → continue…

From:: Taste Of Cinema

10 Best Examples of Nicolas Winding Refn’s Visual Storytelling

By Eric Nielson

After exploding onto the European film scene in the mid-1990s, Nicolas Winding Refn made a name for himself early on by using his colorful knack for attitude and style to direct gritty crime dramas, including Pusher (1996) and Bleeder (1999).

The Danish filmmaker has since gone on to create some of the most vividly violent thrillers of modern cinema and has solidified his reputation for unquestioning individuality and undeniable controversy. Met with as much aversion as acclaim, Refn’s work continues to push the boundaries of narrative structure and characterization, and strives to dismantle the typical conventions of Hollywood in favor of a more abstract approach.

Each of Refn’s films presents the audience with a vibrant display of visual storytelling and demonstrates the director’s deep sense of wonder at what transforms us into the individuals we inevitably become. Out of his brief-but-bold filmography, 10 scenes have been chosen that exemplify Refn’s use of audacious imagery to illustrate the characters and narratives which inhabit his cinematic landscape.

Ranging from the crimson hallucinations of a man haunted by his past, to the ritual sacrifice of a fashion model to extract her beauty, these scenes encompass the darkest fears and obsessions on which many (Refn especially) find themselves inexorably fixated.

1. Pusher Trilogy (1996-2005), Tonny Finds “Respect”

Pusher

Scene: In Refn’s Pusher trilogy, each film examines the personal and professional lives of several sordid drug “pushers” as they go about their daily routines, chronicling everything from meeting friends for coffee to setting up the daring robbery of rival dealers. The series firmly established Refn’s career as an energetic young filmmaker whose eye for striking visuals and kinetic storytelling helped to elevate the crime genre to new and inspired heights.

Pusher II (2004) is the obvious standout here and features an impressive leading role → continue…

From:: Taste Of Cinema

5 Things That Will Help You Record Audio That Doesn’t Totally Suck

By V Renée

If you’re a filmmaker who gets completely lost when it comes to audio, you’re not alone.

Most of us got into filmmaking because we wanted to tell stories with beautiful images. That’s not really news to anyone. However, there’s the visual side of cinema, which is important, and then there’s the audio side, which is arguably even more important, and the unfortunate thing about is many new filmmakers don’t know a whole lot about how to record great audio. If that’s you, you might want to take a look at this video from Matti Haapoja of TravelFeels. He admits to not being much of an “audio guy,” but provides some really simple, really basic tips that can help you get better sound without knowing much about it.

I’ll be the first to tell you that if you want to be good at something, you have to learn everything you can about that thing. However, I’ve tried for well over ten years to understand audio and, like chemistry (which I failed miserably in high school), I just don’t f**king get it. Sorry about it, but I don’t. That’s why I need clear and simple directions on recording that don’t require me to know much about how sound works.

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From:: No Film School

Things I Never Travel Without

By philcooke

I travel nearly 200,000 miles a year, and over the course of millions of miles and more than 100 countries, I’ve learned a few things about not just “surviving” but “thriving” on the road. A few years ago I was really frustrated about so much travel, but then realized it was part of what I […] → continue…

From:: Phil Coke

Why using recommended recording media is important

By Matthew Allard ACS

Why should you use manufacturer-recommended recording media? Well to put it bluntly, because it has been thoroughly tested by the manufacturer whose device it’s to be used in. I always scratch…

The post Why using recommended recording media is important appeared first on Newsshooter.

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From:: News Shooter

Sci-Fi Masterpiece? Cult Classic? B.O. Bomb? ‘Blade Runner’ Will Always Be an Enigma

By Christopher Boone

If history is our guide, ‘Blade Runner 2049’ was never going to open big. But it will likely have us talking for years to come.

On Friday, June 25, 1982, two films shared the title for the widest release of the weekend with 1,295 screens: Star Trek II: The Wrath of Khan (down from its initial screen count of 1,621 on June 4, 1982) and a new release, the strangely titled Blade Runner.

Neither of those films, however, would capture the top spot at the box office that weekend. That honor went to E.T., which in its third week in release recorded its best weekly box office of its one-year theatrical run, bringing in $24.9 million between June 25 and July 1 on its way to an historic $353.3 million in its initial theatrical release. During that same week, Blade Runner captured the No. 2 spot on the box office chart, bringing in $9.55 million for the week after a weekend opening of $6.15 million.

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From:: No Film School

The Control Room app lets you control Lightroom from your smartphone

Need to spice up your Lightroom editing experience on the desktop? No need to wait for whatever Adobe has waiting for us at AdobeMAX, you can try out the Control Room app instead. Available for both Android and iOS, the app lets you control all of your Lightroom sliders (and more) from your smartphone, allowing you to lean back and edit the photos on your desktop without touching a mouse or keyboard.

The app was created by software engineer and photographer Aaron Vizzini, who only recently decided to share his creation with the general public.

Using Control Room, you can both edit and manage (rate, flag, create rapid collections) your photos using your smartphone as the control pane. Any changes you make on your device will update in real time on the computer through a companion plugin. It’s exactly as seamless as it sounds:

Whether or not this will actually help speed up your Lightroom workflow is entirely dependent on you, but the idea, at least, is pretty neat. To learn more about Control Room or get the $4 app for yourself, head over to the iTunes App Store or Google Play, and then visit the Control Room website to download that plugin as well.

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From:: DPreview

Google shares high-resolution Pixel 2 sample photos

As with the original Pixel handsets, Google is stressing the quality of its Pixel 2 phone’s 12MP camera, calling it the “world’s highest rated smartphone camera” thanks to its DxOMark score of 98. The smartphone doesn’t start shipping to buyers until November 15th, but ahead of that the company has shared a gallery of unedited images and videos taken with the handset.

The gallery was shared on Saturday by Google employee Issac Reynolds, who explained that the content includes two videos that were edited to demonstrate the camera’s video stabilization through a side-by-side comparison. In addition, Reynolds says that the only equipment used in these shots, the Pixel 2 aside, were hand grips and, in certain instances, handheld reflectors.

Anyone can view and download the gallery’s content for analysis using third-party software. As recently reported, Google will allow Pixel 2 owners to upload unlimited full-resolution videos and photos to Google Photos for free until 2020. Once that date arrives, and assuming the regular 15GB threshold is reached, Pixel owners will need to pay for additional storage or continue using free backups at a lower quality compressed resolution.

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From:: DPreview

Google’s unlimited full-res photo storage for Pixel 2 owners ends in 2020

Google is offering Pixel 2 buyers a special perk that allows them to store an unlimited number of full-resolution photos and videos through Google Photos, but it comes with a catch. Fine print listed at the bottom of Google’s Pixel 2 product page notes that the free unlimited full-res storage is only available until 2020; at that point, the handsets will revert to Google Photos’ typical ‘high-quality’ unlimited storage option.

‘High-quality’ is the term Google uses to denote a 1080p video resolution and 16MP image resolution.

Google Photos allows any user to upload an unlimited number of photos and videos at up to this high-quality threshold; anything that exceeds it is compressed when uploaded and that compressed version is stored. The Pixel 2 will sidestep this restriction, but only for a couple years.

Non-Pixel phone users can upload full-resolution videos and images for free up to a 15GB threshold. Once that threshold is reached—or, for Pixel 2 owners, once 2020 arrives—additional storage space can be purchased starting at $2/month (depending on location).

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From:: DPreview

Flight School’s Debut Original VR Experience Manifest 99 Wins Future of Storytelling Independent Jury Award

By Press Kitchen

DALLAS

Dallas-based new media creative studio Flight School has been awarded the Independent Jury Award for its debut original VR experience Manifest 99 at the 2017 Future of Storytelling Festival, which took place…

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From:: Shoot OnLine

Fantastic Films with Matthew Monagle

By Film School Rejects In part two of our special report from Fantastic Fest 2017, Neil chats with After the Credits host Matthew Monagle about Brawl in Cell Block 99, The Line, Wheelman, and more.

Don’t forget to support this month’s sponsor, VideoBlocks. Go to videoblocks.com/rejects to get all the stock video your heart desires for only $149/year. → continue…

From:: Sound Cloud

Directors David Serota and Henrik Hedin Join Yard Dog

By Artisans PR

LOS ANGELES

Continuing to add unique talent to its creative roster, Yard Dog has signed directors David Serota and Henrik Hedin for exclusive representation in the United States. Both directors are known for their storytelling ability and skill in creating emotional bonds between consumers and brands

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From:: Shoot OnLine

Perspectives on Filmmaking, Episode 3 – How Producing Content is Being Affected by Modern Tools

By Nino Leitner

cinema5D together with Olympus Europe is proud to present the 3nd out of six episodes of “Perspectives on Filmmaking”. A discussion between leading filmmakers who endorse working with compact tools in their film productions.

In case you missed the first episode, please watch it by clicking here, and the 2nd one here!

In this 3rd episode of “Perspectives on Filmmaking”, we talk about how some manufacturers seem to “neglect” their “small cinematic camera” market completely, because they were almost created by accident in the early days, 8 or 9 years ago.

We go on to talk about shooting music videos – and the way of making them work financially as there usually isn’t a lot of budget. Florian Lein talks about shooting an improvised music video for the major artist Macklemore.

Noaz Deshe mentions how the challenges, restrictions and accidents – being technically or otherwise – are actually gifts for the final product. He likes to work the tools until they break apart, to find their limitations. The journalistic piece he saw shot on a DSLR when they came out impressed him, because he saw a kind of access that he didn’t see before because of the look and the size of the tool.

OLYMPUS DIGITAL CAMERA

Dirk Wilutzky mentions how he was preparing big Hollywood films like Mission: Impossible 3 and similar projects, but then found it a more interesting challenge to work on smaller projects as a producer – and he really always wanted to work as a director. Then he started with very small projects because of the availability of small tools, and he says there are no limits to filmmaking anymore.

I posed the question of the “cinema form”, whether it’s something everyone is only obsessing about? Dirk agrees that right → continue…

From:: Cinema 5d

Review: Sigma 24-70mm f/2.8 DG OS Art by TDP

By Canon Rumors The-Digital-Picture has completed their extensive review of the Sigma 24-70mm f/2.8 DG OS Art series lens. From TDP: The promise of Sigma Art lens quality coming to the 24-70mm focal length range along with an f/2.8 max aperture and optical stabilization had a large number of photographers signing up to add this lens to their kits … → continue…

From:: Canon Rumors

Video: Why the Profoto A1 is a ‘gamechanger’ for wedding photographers

Daniel Inskeep and Rachel Gulotta of popular photography YouTube channel Mango Street Lab recently got to test out the Profoto A1—an ultra-high-end $1,000 speedlight that Profoto is calling “the world’s smallest studio flash.” The flash has raised a lot of eyebrows with that steep price tag, but as they explain in their short ‘review’ of the A1, Daniel and Rachel believe this is a ‘gamechanger’ for wedding photographers.

Why is that exactly? Because while it might look like a speedlight, it offers a combination of power, simplicity, and reliability that has the duo tossing their Canon speedlights in the bin.

Their adulation for these flashes really comes down to three main advantages:

1. Simplicity and Ease of Use – The menus are easy to navigate and syncing multiple flashes is a cinch.

2. Built-in Air Remote – No need to purchase a separate air remote, just use the A1 on your camera to control all of your other Profoto lights.

3. Fast Recycle Time – The duo’s favorite feature by far, this ensures that they don’t miss key shots, even when they’re running on only a partial charge.

Check out the video to hear their thoughts on this light, and share your own in the comments down below. Are you considering the Profoto A1? Are the advantages worth the price tag? And if they’re not, what would you recommend instead?

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From:: DPreview