The Importance of a Film Director

Trying to excel in a particular career or field depends largely on the type of instruction a person has received throughout their life. No matter how much natural talent someone has, reaching the highest potential is largely aided by the quality of mentors a person has had in their life. We have teachers in school, instructors in the arts, and coaches in sports, all types of mentors that help their students succeed. The same thing applies to the arts, particularly film. In the making of a film, the director is a type of creative leader and mentor, not only to the actors or crew, but also to the story. He shapes it and directs its creativity.

Because of all the work that goes into his job, a film director gets most of the creative credit for his finished piece of work. This is largely because he is so intimately involved in all aspects of the film’s development. He helps the screenwriter visualize the script. In most cases, what the director says, goes. He also guides the actors and crew into the direction of his creative vision. Because of the amount of influence a director has, the selection of the director is one of the most important decisions a film’s producer must make in the early stages of film development. Often the film director and producer must work together to ensure the best possible end results.

Not only is the director heavily involved in the production phase of a film, he is also influential in post-production. The director will work with the film’s editor to make sure that the final product of editing results in a cohesive story that adheres to his creative vision. He may also work directly with the sound mixers and film scorer for this reason. In the end, when you see a great film on the big screen, it’s creative vision is the result of the hard work of a film director.

Carrie Fisher Remembered

Carrie Fisher’s death in December 2016, at the age of just 60, came as a great shock to all movie fans, particularly to those who loved the movie for which she was most famous, Star Wars, in which she played Princess Leia.

Carrie Fisher was born in Beverley Hills, California, on 21st October 1956. She was the daughter of singer Eddie Fisher and actress Debbie Reynolds. As well as being an actress, she was also a screenwriter, producer, author and public speaker.

Fisher made her screen debut in the Columbia Pictures comedy Shampoo (1975), which also starred Warren Beattie, Goldie Hawn and Julie Christie. But it was in 1977 that she really came to the movie-going public’s attention, when she landed the part of Princess Leia in George Lucas’s sci-fi blockbuster Star Wars. She also went on to reprise her role of Princess Leia in a number of Star Wars sequels.

Some other top movies in which Fisher starred are The Blues Brothers (1980), Hannah and Her Sisters (1986), When Harry Met Sally (1989), and The Burbs (1989).

Fisher published her autobiography, entitled The Princess Diarist, in 2016, in which she wrote that she had a three-month affair with Harrison Ford during the filming of Star Wars in 1976.

In addition to all her writing and acting work, Fisher was also one of the major script doctors in Hollywood. She read and gave constructive feedback on the screenplays of other writers. She even did unaccredited polishes on various movies from 1991 to 2005.

Fisher did the voiceover for Peter Griffin’s boss, Angela, in the animated sitcom Family Guy. She also appeared in a book of photographs entitled Hollywood Moms (2001), for which she wrote the introduction.

In 2016, Fisher was given the Annual Outstanding Lifetime Achievement Award in Cultural Humanism by Harvard College.

Towards the end of her life, Fisher owned a French Bulldog Therapy animal called Gary. She would always bring him along to her various interviews and appearances.

Shortly before her tragic death, Fisher had just completed filming her role as Leia in Star Wars: Episode VIII. She was also due to reprise her role in Star Wars: Episode IX, the filming of which was due to start in spring 2017. Ambiguity has now arisen in regard to what the producers will do with the Leia character.

Carrie Fisher died on 27th December 2016, four days after suffering a cardiac arrest on a flight from London to Los Angeles. She is survived by her daughter Billie Lourd, her mother Debbie Reynolds, her brother Todd Fisher, and her half-sisters Joely Fisher and Tricia Leigh Fisher.

3 Simple Rules For Making Your Own Sex Tape – Advice For Making a Homemade Erotic Movie

For a lot of guys the moment when they finally get their girlfriend to make a sex tape can be one of disappointment. While the sex is great, the resulting tape can be a little disappointing. Far from the erotic, well lit world of erotic movies, homemade sex movies often are more weird than sexually exciting. For that reason, I decided to enjoy a month of experimenting and give you a guide to making your own homemade erotic video.

Rule 1: Get Those Angles Right

Angles are actually one of the most important things to consider in making these kinds of erotic films. The camera needs to be somewhere with a good view of the action and out of the way enough that it doesn’t accidentally get smashed. Usually it is best to then have sex with your body angled so that it can record both of your bodies. Usually this angle is sideways on and further back if you plan on moving around a lot.

If she has long hair, it becomes vital that she watches her angles and makes sure that her hair doesn’t obscure what she is doing. This is especially important during oral sex as many of my tapes had to be edited thanks to her luscious locks blocking the camera’s view.

Rule 2: Always Try and Look Good on The Camera

A lot of couples have one big worry about being on camera: they won’t look sexy enough. Some people can find that their confidence really suffers if they don’t like the way that they look while having sex.

The first thing to understand is that the camera actually distorts your body, so you can use this is your advantage. Lean back and both your bodies will look great (This move is very common to professional shots). Let her go on top and arch your body up while she arches back and you will both look awesome.

Rule 3: Leave Your Inhibitions at Home

Small movements and gentle touches are great for couples, but will be barely noticeable on tape. Therefore now is the time to go a little crazy, make lots of big motions and just have a great time. Not only will it feel better, but it will look better too.

Your Own Sex Tape

Making and viewing the pornography should be great fun for the two of you. The key thing to remember is that the camera adds a third ‘voyeur’ to the room, making the fantasy about voyeurism (Enjoying being watched having sex). Therefore don’t be ashamed about playing up to the camera, it is part of the thrill. Just let yourselves go and enjoy having your own secret tape that you can bring out any time you want to add something extra to sex.

Panic Attack Or Anxiety Attack – How Does it Happen?

Panic attacks or anxiety attacks as they are known in psychiatric circles, are a body wide manifestation of sympathetic system. This system is responsible for the making your body ready for 3 Fs- Fright, Fight and Flight.

During panic your adrenal glands pour massive amounts of adrenaline into your circulation causing your heart to race, your airways to narrow, your muscles to twitch, your sweat glands pour out their contents.

The blood is diverted away from the areas where you don’t need them (such as skin) to the places that actually need them such as muscles and brain. This leads to the feeling of unreality and the numbness and tingling that you feel. Thus panic attack symptoms are simulated physiologically by your body under special circumstances.

So, it is normal for all of us to feel such sensations when we are angry, frightened or excited. But suppose you start feeling such panic symptoms without any apparent cause. That is when it is called a panic attack or anxiety attack.

Such an attack can be an intensely frightening experience. In fact panic plays such havoc with your brain that you tend to become intensely disturbed at the prospect of such an attack. When you start to dread such panic attacks then it becomes a panic disorder.

Remember an important Quote – When a psychological state comes on to disturb the normal life of a person it becomes a psychiatric disorder.

Thus if you have panic attacks and you are not afraid of it, then you don’t have a panic disorder.

You remember the lead actor in the recent movie ‘Wanted’ (starring Angelina Jolie). Well, he too had panic attacks (in the film) and he used them to improve his skills. The bad news is that you cannot use the panic attacks to your benefit as was shown in the movie, but you CAN learn to CONTROL them.

Script Analysis – Where the Wild Things Are – Archetypes and Emotional-Symbolic Screenplay Structure

Script Analysis: WHERE THE WILD THINGS ARE

SPOILER ALERT: If you haven’t yet seen “Where The Wild Things Are,” you may want to check it out before you read this article. Let’s set aside the question right now of whether or not Where The Wild Things Are is a good movie. Let’s set aside the question of whether you liked it or not (or were a little bit embarrassed for liking it as much as you did).

And if you feel like you wasted your twelve bucks on a movie in which essentially nothing happens, let’s set that aside too. Love it or hate it, Wild Things is a movie worth studying, because of the bold and unique ways it is structured to reflect its authors’ premise, both in its most wonderful, and its most problematic elements.

PREMISE? WHAT PREMISE?

Wild things is governed by a simple idea– or at least a strong suggestion– that we are seeing the whole world through the perspective of a young boy– as he works out his rage over his isolated life (and more importantly, his parents divorce) by playing with a bunch of stuffed animals in his room.

The writer-director team of Jonze and Eggers make a very strong (and very risky) decision that nothing in the world of the Wild Things is going to exist outside what a boy Max’s age could reasonably imagine. This is embodied in every element of the film:

In the dialogue and actions of the Wild Things (who reason and dream and play and rage and even accept the impossible just like children). In a plot limited to events that a moderately intelligent child could be expected to dream up–more interested in reflecting the way children play (with exaggerated simplicity, loose ends, and non-linear and non-sensical elements) than it is with telling a linear narrative story.

In the production design– which looks a lot more like what a child like Max might think was “cool and magical” than what we’ve come to expect from the grown up Hollywood minds that bring us movies like Harry Potter or Pan’s Labyrinth. In Where the Wild Things Are, boats to magic lands show up out of nowhere, Wild Things instantly accept little boys as Kings, and torn off arms drip sand and not blood. We are in a little boys world of stuffed animals, and if things seem cheesy, overly simple, or just plain goofy, it’s because they’re supposed to.

Because of these choices, the experience of Where The Wild Things Are completely violates almost everything we’ve come to expect in a Hollywood movie. We come expecting magic and spectacle, and are given only the simplest special effects. We come expecting a smooth ride, that’s safe for kids, and fun for adults, and instead are taken on a chaotic journey that floats along the impetuous currents of Max’s joy and rage. We come expecting a “well-made” film, and instead experience the inner world of a child at play.

STRUCTURE? WHAT STRUCTURE?

Most Hollywood movies are built around simple structural rules. If a character shows up at the beginning of the movie pretending to be King, the movie isn’t over until he’s learned what it is to be a real King. If a character shows up at the beginning of the movie in a land where a bunch of otherwise lovely creatures are filled with rage and misery, the movie isn’t over until he’s healed their pain (and his own) and found a way to bring them peace.

As you probably noticed, Wild Things doesn’t play by these rules. Max doesn’t heal the Wild Things. Max doesn’t learn how to be a good King. Max doesn’t even “finish” the story. Rather, he leaves abruptly (if reluctantly) abdicating his crown like a child called inside for dinner.

For the most part, nothing happens in Wild Things. And yet, from a character perspective, so much happens. The difference is that unlike almost every other Hollywood film of its genre, Wild Things builds its structure not linearly and logically, but emotionally and symbolically, through the use of archetypes.

WHAT THE HECK IS AN ARCHETYPE?

Archetypes are an idea derived from the work of psychologist Carl Jung, and later seized upon by Joseph Campbell and a slew of his disciples as they sought to better understand story. You could spend years studying the different ways different critics, professors, and authors of screenwriting books have described and categorized archetypes.

Fortunately, you don’t have to.

Your job as a writer is not to categorize or memorize archetypes, but to understand them. And understanding them begins with this simple concept:

An archetype is a character who embodies some repressed element of your main character’s psyche, and exists structurally in your movie to force your character to deal with that repressed element. All movies have archetypes. Big Hollywood movies. Tiny independent movies. Broad Comedies. Serious Dramas.

Even big dumb action movies. They all have archetypes. They have to. Otherwise, your main character would never have to deal with the repressed elements in his or her psyche, and wouldn’t have to go through the story. The difference is that within Wild Things, instead of existing in a traditional linear plot, these archetypes exist within an emotional and symbolic one.

THE NORMAL WORLD

One of the truly remarkable things about Where The Wild Things Are is how quickly screenwriters Jonze & Eggers establish all of the real world emotional and symbolic elements that will comprise the structure of Max’s mythical journey. His isolation and loneliness. His emotional and physical pain. His feelings of betrayal by his sister and his mother. HIs feelings of being left behind as his mother and sister build relationships with new people that he doesn’t like or understand. His shame at being out of control. And most importantly, his violent and destructive reactions to those feelings.

These emotional elements have symbolic counterparts: The Snowball Fight That Ends In Tears. The Destroyed Fort. The Heart He Made For His Sister (which he destroys when he trashes her room). And the moment in which he Bites His Mother after seeing her with her new boyfriend.

THE EMOTIONAL/SYMBOLIC WORLD OF THE WILD THINGS

On a metaphorical level, Max’s journey in the world of the Wild Things is quite simply an attempt of a child’s mind to make sense of his own destructive rage. Each emotional and symbolic element of the normal world has its Wild Things World equivalent, creating a system of metaphorical mirrors through which Max ultimately can see himself and his world more clearly (as he self soothes his way through the guilt and trauma).

The Wild Things bite, just as Max bit his mother. The Wild Things destroy their homes, Just as Max destroyed his sister’s room. Max attempts connect with the Wild Things by building a fort and throwing dirt clods, just as he once built a snow fort and threw snow balls at his sister’s friends. The connections are simple, giving the movie the clarity and through line it needs to take the audience along for the journey. But also complex, honoring the complexity of Max’s pyschology, as he navigates the complexities of his parents divorce and his feelings about it, by navigating his relationships with one archetypal Wild Thing after another.

CAROL: The loving, but violent father, with whom Max’s mother no longer wants to live despite Max’s love for him, and whose behavior Max is emulating in his own.

KW: The perfect mother figure, who “inexplicably” no longer wants to live with Carol, and is instead enamored with “boyfriends” Bob and Terry, the owls that neither Max nor KW can understand.

JUDITH: The embodiment of his jealousy and discontentment– who feels like it’s Max’s job to make her feel better, just as Max wants his mother to do for him.

Even Max himself is an archetype: the quintessential Jungian “Hero”. The developing Ego that wishes to be King of his own world.

Over the course of the story, by interacting with his archetypes and attempting to do for them what he wishes to do for himself, Max develops empathy and understanding that prepares him to return to his new world. He is forced to confront who his father really is, who his mother really is, and even who he really is. He is forced to confront the consequences of his choices, and the terrifying idea that he may not be in control, that he may not be King, that he may, in fact, just be a “boy, pretending to be a wolf, pretending to be a king” and that in fact Kings may not exist at all.

It ends with the gift of a heart that Max has made. Not coincidentally, it looks a lot like the one he once made for his sister, and destroyed at the beginning of the movie. Linearly, not a darn thing happens. But metaphorically, emotionally, and symbolically, Max undergoes a profound change. He must, otherwise he wouldn’t need to go through the story.

THE WRITER’S JOURNEY

On an archetypal level, Max’s journey echoes the journey of every writer. We must reduce ourselves to children, allow ourselves to play, breathe life into our own archetypes through the words and actions of our characters, create metaphorical and symbolic equivalents for the confusing and contradictory events of our own lives, and ultimately create a structure that forces us to unearth our own repressed emotions, and takes us, and our main characters, on a journey that changes us both forever.

Though your own work may not be as structurally radical as that of Where The Wild Things Are, if a movie in which so little happens can create such a profound journey for its main character, imagine what exploring these emotional, archetypal, and symbolic elements could do for your own work.

Impact of American Movies On Our Lives

Providing thorough entertainment, movies are a source of indulging us in an imaginary world. At times, the movies are so enticing that we start believing in being a part of that movie. With work load and stress, life can get worked up, watching a good movie will help a person relax his mind by releasing emotional stress. A good entertaining movie will help you laugh and that can be a high stress reliever. Watching a good movie also revitalizes the mind to perform a stressful work in the future.

With over 2,577 movies roughly produced each year, movies are a very prominent part of entertainment industry. Movies are watched by individuals irrespective of their age, apart from the children under 18, for which parental guidance is required in some cases. Though movies are created for all watchers, there are movies created that are gender specific. For example, action and thriller movies are made predominantly for males. While romantic and drama movies are preferred by women. Genres of comedy, horror and suspense are watched by both the genders equally.

Animated movies though created fundamentally for children are one of the best kinds for all age group. These movies showcase an imaginary world and teach us lessons about love, morals and relationships. The movies help us understand and realize minor things in life that we shouldn’t overlook.

Not only do movies teach us about humanitarian values. They also provide us knowledge on diversified subjects of culture, science, history, politics, technological advancements and so much more. The sci-fi movies help us glimpse into the future providing the amazing visual effects with 3D technology. We are also able to understand different environments and work culture and historical geographies of different countries.

Movies made on biographies helps us know the lives of legends and learn from their struggles, during their journey of success. Such movies inspire us to be at our best. It delivers hope and a new set of determination in fighting for our goals. Film industry is loaded with such inspirational movies that it uplift our spirits when we are passing through a tough phase of our life, whether it’s instability of love, health or financial.

It is difficult to ignore the fact that American movies are also responsible for establishing false notion on several aspects. Showcasing perfect body image and portraying flawless characters give rise to unrealistic expectations. Movies give rise to violence as well, however, It’s through the movies that we have learned that good guys always wins in the end.

5 Great Horror Anthology Movies

Looking for some good horror anthology movies other than the Amicus ones? Well, here are five you might like to check out:

Dead of Night (1945) – This black-and-white masterpiece was the first real horror portmanteau movie. Martin Scorsese once described it as “the granddaddy of all horror anthology films.” The Ealing Studios production certainly has some real creepy moments, and in the tradition of all good horror portmanteau flicks, it has an excellent framing story concerning an architect (Mervyn Johns) who arrives for an appointment at a house he’s never visited before. However, it’s not long before he realises he has vivid recollections of the place and all the people gathered in it from a dream. Then, one by one, each guest relates their own strange experience, as an oppressive sense of impending doom grows in the house. Among the tales told are “Golfing Story” and “The Haunted Mirror” (which features the lovely Googie Withers). But the story that really stands out in Dead of Night is “The Ventriloquist’s Dummy”, in which Michael Redgrave plays a performer who is terrorised by his wooden partner.

Black Sabbath (1963) – No, not the group, but the movie. Starring the Master of Horror himself, Boris Karloff, as the framing-story narrator (as well as appearing in one of the tales himself as a Russian vampire), this portmanteau classic brings you three stories: “The Telephone,” “The Wurdalak,” and “The Drop of Water.” The English language version of the movie differs somewhat from the Italian one, although both versions are extremely effective Gothic chillers.

Trilogy of Terror (1975) – This is the made-for-television movie that is especially noted for its story “Amelia,” in which Karen Black is terrorised by a malevolent fetish Zuni doll. Produced by Dan Curtis and based on a trio of short stories by Richard Matheson, Trilogy of Terror is an extremely entertaining, fun film, and if you ever manage to come across a copy on DVD – especially the Special Edition one released by MPI Home Video – I would highly recommend that you snap it up for your collection, as it is well worth having. A sequel, Trilogy of Terror 2, was released in 1996, in which the crazed Zuni doll returns in the story “He Who Kills,”, this time to terrorise a young female doctor.

Trick ‘r Treat (2007) – The ideal horror anthology to watch on Halloween night, as its title seems to suggest. Bearing some similarities to Stephen King’s Creepshow in its comic book credits, this movie was initially planned for a theatre release by Warner Brothers for Halloween 2007, but this fell through and so the film just went straight to DVD in 2009. A highlight of the movie is the story starring True Blood actress Anna Paquin, who plays a virginal Red Riding Hood-turned-supernatural-being. The busload of severely disturbed kids and Dylan Baker as a sinister school principal are other memorable, creepy segments. The four stories are tied together by a mysterious child trick-or-treater called Sam, who wears shabby orange pyjamas with a burlap sack over his head. This entity shows up in all the stories whenever someone flouts Halloween traditions. Over the years, Trick ‘r Treat has amassed quite a cult following.

Grave Tales (2011) – In the tradition of the old British Amicus movies, Grave Tales is a great little portmanteau film which, the instant I saw it, I just HAD to add to my DVD collection. Quite a difficult movie to fin, Grave Tales stars Brian Murphy (who played George Roper in Man About The House and George and Mildred) as an old gravedigger who’s eager to share creepy stories with a visiting genealogist (Heather Darcy), each of which relates to a certain grave in the cemetery. There are four stories in all – “One Man’s Meat,” “Callistro’s Mirror,” “The Hand,” and “Dead Kittens.” – and they are all brilliant. The late, great Christopher Lee actually starred in the original theatre release, but does not appear in the DVD release.

Wes Craven – A Tribute

Wes Craven, one of my all time favourite horror directors, sadly passed away in August 2015, aged 76. Although all we horror fans can no longer look forward to a new Craven production, we can of course always savour and revisit the wonderful legacy he left with such classic franchises as A Nightmare On Elm Street and Scream.

Wesley Earl Craven was born on 2nd August 1939. He was raised in Cleveland, Ohio, by a strict baptist family, who did not approve of his watching the more extreme kinds of movies for which he was later to become so famous. However, they didn’t mind him watching more innocent, family oriented films like the Disney ones.

Craven graduated with an Honours Degree in Psychology and English, later attaining a Master’s Degree in Philosophy and Writing. He then went into teaching, and while he was in this profession he made a short action feature with a student film club in Potsdam, New York. Much to Craven’s surprise, this film actually made a fair amount of money for him, and this undoubtedly encouraged him to pursue film making seriously.

Craven’s first major feature film was the notorious horror The Last House On The Left (1972), on which he collaborated with Sean Cunningham. This movie, about two travelling teenage girls who are viciously attacked and sexually assaulted by a group of psycho killers, shocked audiences all over America, and even made the video nasties list. And the movie’s notorious reputation was only exacerbated by the fact that it came out just a few years after the horrific Charles Manson murders at Sharon Tate’s home.

In 1977, Craven directed his second horror masterpiece: The Hills Have Eyes. This movie centred on a group of tourists who fall victim to a group of dysfunctional cannibal killers in the vast desert. Craven, apparently, got the inspiration for this movie from the 16th century story of the notorious Sawney Bean Clan, who were said to have committed similar atrocities along the costal pathways of Ballantrae, Ayrshire.

When Craven made A Nightmare On Elm Street in 1984, he certainly brought something outstandingly different to overdone slasher genre in the form of the hideously disfigured dream killer, Freddy Krueger. The Elm Street series of movies – although becoming a bit too facetious for some horror fans with all those Freddy wisecracks – went on to become one of the largest, lucrative franchises in American cinema history.

In 1988, Craven temporarily departed from the slasher genre to make The Serpent and The Rainbow. This was a voodoo/zombie movie reminiscent of the kind of films made so famous by such directors as George A. Romero and Lucio Fulci.

Twelve years later, Craven repeated the success of his Elm Street franchise when he made Scream. The creepy white mask that the black-hooded killer wore in this movie, and in all the sequels, became so synonymous with the Scream franchise, and has even become a popular item to wear with Halloween trick-or-treaters.

Aside from all the aforementioned movies, Craven did make some pretty good lesser-known films like Deadly Friend (1985), Cursed (2004), Dracula 2000 (2000), My Soul To Take (2010), and many more.

The tenth episode of the Scream TV series was dedicated to Wes Craven’s memory.

Dario Argento’s Dracula

Being a big fan of the Hammer Dracula films starring Christopher Lee (who, in my opinion, was the best Dracula ever), I always tend to view modern reboots of Stoker’s famous vampire lord with a certain degree of cynicism. For me, all the Dracula films since Christopher Lee’s have failed to recapture the magic and sheer entertainment value of the Hammer vampire, concentrating far too much on making the Count a sad, misunderstood, teen-appealing pinup boy rather than the traditionally terrifying, bloodsucking monster that we all come to expect. However, in regard to the latest take on the Dracula story – this time from Italian horror director Dario Argento – I have to say that I was pleasantly surprised, for it wasn’t a bad little movie at all. And I liked it that much that I am even keeping it my DVD collection, something I rarely do, especially in regard to modern vampire flicks.

Without giving too much away, I will say that Dario Argento’s spin on the Dracula saga is, for the most part, quite stunning and unique, for it includes certain elements (e.g. the way Dracula changes form and becomes not only the customary wolf but other animals too) which I have never seen before in a Dracula movie. There are also some quite sexy scenes in this movie too, which will raise quite a few eyebrows among those who are used to the tamer kind of vampire movie.

The photography, the costumes, the use of colors and the gothic set designs all combine beautifully to evoke great memories of the vampire movies of old. The fact that Argento made the storyline a little different to that of the Stoker novel did not at all detract from my general enjoyment of the movie, for it was quite interesting to see where the plot was going next, and after a couple of shocks I hadn’t seen coming (especially the one involving the village axeman), I even thought that maybe this story would not have the happy ending we have seen time and time again in a Dracula movie, with the vampire hunters staking Dracula in his coffin as the young hero rescues his captured fiancee from the Count’s clutches in the nick of time. It was such a dark, vicious, edgy movie that I even feared that Van Helsing himself might come to a grisly end at the hands of this monstrous, seemingly omnipotent vampire lord. Rutger Hauer – whom I loved in The Hitcher and who has played a vampire himself (in Dracula III Ascenscion and in the remake of Salem’s Lot) – is fantastic in the role of Van Helsing, and I was really on the edge of my seat at the climax of the movie when he confronts Dracula and tries to save Mina, whom Dracula has hypnotised into believing that she is his for the taking.

The awesome special effects in this movie – especially where the staked vampires dissolve into dust – were the icing on the cake, and whilst the actor who played Dracula (Thomas Kretschmann) did not really have the creepy, menacing look that Christopher Lee had, he certainly made up for this when he launched into his ferocious attacks and his stunning transformations, in which he dispatched his victims in the most bloody way imaginable.

All in all, Dario Argento’s Dracula is quite an impressive movie, and whilst I would not go as far as to say that it equals the brilliance of the Hammer Dracula films, it certainly is one I would highly recommend to any vampire fan to check out.

Movie Settings for the Canon Eos 1300D or Rebel T6 DSLR Camera

The Canon 1300D or Rebel T6 is an excellent camera for shooting both stills and movies and these are the best settings to shoot movies. In order to make any changes in the 1300D for video you need to be in the Video Mode. Turn the Dial Mode round to the very bottom option which shows a video camera, and you will hear that the mirror inside the camera pop up. That enables you to see through the viewing screen at the back which is the only way you can shoot video on this camera. It also gives you access to the menu tabs which are dedicated to video and the first thing that you really need to do here is choose your video system. This was developed when TV systems were very different and if you wanted to show your videos on a TV screen you had to align what was shot on the camera to the TVs that you are going to be showing the video on. There are two systems, one is PAL and the other is NTSC. NTSC tends to be the system which is operated in the United States and PAL tends to be the system which is operated in Europe and other parts of the world. There’s not an enormous amount of difference. However it does change the way that the camera operates very slightly. So when you start to look at the frame rates you will see that under NTSC you get a frame rate option of 60 frames per second or 30 frames per second. When you’re in PAL you get the option of 50 frames a second and 25 frames per second. They’re the real differences that you will notice. Most people these days don’t shoot on DSLR in order to show their videos on televisions. They tend to use it for social media or showing on a laptop. In which case it doesn’t make really any difference. But in order to change that you need to go into the menus and you go to Tab 2 and down at the bottom you have the option to change Video System.

The second thing you need to think about is file size and frame rate. These things are quite important because they will decide the quality of the videos that you shoot. This camera is pretty good – it’ll shoot 1080p which is full HD and it will also shoot 720p which is standard HD – both of which are perfectly acceptable for social media platforms. In order to make those changes we go again into Video Tab 2 and find Movie Recording Size. If we press on that option then we get four choices. Depending on whether you’ve chosen NTSC or PAL, you maximum rates will be either 60fps or 50fps.

The third thing you need to think about when shooting movies with this camera is exposure. When you’re shooting stills with the Canon 1300D you have lots of choices. They’re all on the Mode Dial and they go from entirely manual to semi-automatic and then to entirely automatic options In most of these Modes the camera is trying to get the best exposure for the stills that you’re shooting within the given parameters that you have presented to it. With movies it’s different. You have two options – you can either shoot Automatic or you can shoot Manual. With Automatic in the movie setting the camera will try to get the best possible exposure for you and in many cases it works very well, so I would suggest that initially at least you shoot in Automatic just to get a feel for how the camera works and you don’t have to worry then about the exposure because the camera will do the best it can for you. However, if you want to go into Manual there are different ways of changing the various parameters for Manual that are different to the way that you would do that for stills. In the Menu, Movie Exposure is in Video Tab 1 and you get the two options, Auto or Manual. If you choose to go into Manual then you have much more control over the settings that you can have. You will see that you have options for setting the Shutter Speed for setting the Aperture and for setting the ISO. For the Shutter Speed, rotate Main Dial. By depressing the AV button here and rotating that Main Dial you can change the Aperture. The ISO is changed by pressing the flash button and rotating the Main Dial.

The fourth thing you need to think about is sound. The Canon 1300D does not have an external microphone socket. It just has an internal microphone, so sound can be a bit limited with this camera. But if you go into Menus and on Shooting Tab 2, the second one down is Sound Recording and you can set that to one of three options. You can have either Auto, Manual or Disabled. I would argue against disabling it entirely because sometimes it’s useful to have sound, even if you don’t intend to use it in the final cut. Auto is not bad but it will try to pick up as much sound as possible and you may not want that – you may not want the ambient sound. Manual is not too bad provided you’re reasonably close to the source of sound. There is a decibel bar going across the bottom and, as with most cameras, the objective is to try to peak on about 12. In terms of its recording in itself it’s actually pretty good, so I wouldn’t be adverse to using the internal microphone, you just have to be a little bit careful.

The next couple of options that we are going to look at are in Video Tab 3 and it may seem that they’re less important than other options, but they do affect the way that your video looks and so they are worth checking out. If we go to Video Tab 3 then at the bottom is the Picture Style option. These are the same options that you get with stills and you can choose to have Vivid or Sepia or many other options and some of them are set so that they bring out the best qualities for portrait and landscape. With video it tends to be better to try and shoot video as flat as possible and so the best option to start with is neutral and so you should always set that to neutral for video until you make the decision that you want to change the Picture Style and shoot something differently. The one just above that in Video Tab 3 is Custom White Balance. It’s very important for shooting videos because if you start moving around and shooting things in different light then the one stable element – the one constant – will be the white balance.