Humans Don't Handle Abrupt Braking In Autonomous Cars Very Well. Do you love that sensation of suddenly being hurled forward when you have to abruptly slam on the brakes? If you’re in a self- driving car, the effect’s apparently even more dramatic, researchers from the University of Michigan announced Thursday. People have a tendency to jolt forward as much as 8 inches when the vehicle abruptly slams on the brakes, according to the Detroit Free Press, and that amount of movement presents a number of implications for automakers developing automated technology like emergency braking. Ford became the first manufacturer to test its driverless car in Fakecity, Michigan (OK, it’s not…Read more Read.

The U- M researchers brought 8. May and June, and plopped them inside autonomous testing cars. Matthew Reed, a U of M research professor, told the Freep they recorded the acceleration and how people respond to a “hard braking event.” The Freep explains what they found: They discovered that when passengers unexpectedly had the brakes slammed, they pitched forward as much 8 inches despite wearing a seat belt in the front passenger seat. That’s a significant amount of movement while being restrained and has implications as an increasing number of vehicles employ emergency braking and other types of self- driving technology. Automatic braking systems tend to brake harder than you or I would, the Freep says. So for passengers inside an autonomous car, especially if they’re not expecting it, that could cause them to dramatically pitch forward.

The Freep goes on: Reed said the research could be used to help design features that automatically adjust seat belts or send out a warning sound before the brakes are applied or before the vehicle maneuvers to avoid a crash. It’s an interesting dynamic to consider as automakers are feverishly working to develop self- driving cars and bring them to the market. A number of carmakers have staked out ambitious timelines to have autonomous cars that don’t require human intervention on the road by next decade.

Download and play Collector's Editions. Our Collector's Editions offer the full game, bonus gameplay, strategy guides, and more! Watch breaking news videos, viral videos and original video clips on CNN.com. The Mist (also known as Stephen King's The Mist) is a 2007 American science-fiction horror film based on the 1980 novella The Mist by Stephen King.

The state of self- driving cars on the road at the moment is we have some semi- autonomous systems…Read more Read. Two things come to mind: humans have already proved to be terrible at taking the wheel of semi- autonomous cars when they require drivers to intervene and resume control. So I wonder if drivers would have enough time to respond to automatic seat belt- tightening or warning signals, and be more prepared before the self- driving car comes to a halt.

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Beyond that, can’t you just have the brakes not be applied so hard? I imagine that would take more finesse, where the technology’s capable of assessing how close the car is and brake at a corresponding level—but the research suggests it’s simply more about how humans react above all else. The university announced the findings on Thursday and said the study was funded as part of a $3. Toyota to support several research institutions across the U.

Beautifully Shot Horror Films That Changed Cinematography Forever. Talk about killer cinematography. Cinematography is one of the most important elements of a horror film. With their game- changing technical innovations, surreal imagery, and the power of subjectivity, these 1. Credit: Criterion Collection. The Phantom Carriage (dir. Victor Sjöström, 1. This Swedish film has widely influenced directors throughout cinema history—most notably, Ingmar Bergman, whose film The Seventh Seal paysdirect homage to The Phantom Carriage, and Stanley Kubrick's.

The Shining, which features multiple thematic and visual similarities, such as the famous ax scene. To tell the story of a ghostly coachman who comes to steal the souls of the dead after the clock strikes midnight, director Victor Sjöström and DP Julius Jaenzon employed double exposures, at the time a highly innovative special effect. The superimpositions were layered up to four times, providing the illusion of ghosts wandering in and out of the film's elaborate sets. Each "ghost" was lit differently with a filter. Jaenzon followed them with a hand- held camera that was capable of exceptionally deep focus—highly unusual for the time—made possible with studio lighting. The film also features complex narrative structural elements, such as meta- flashbacks (or flashbacks- within- flashbacks) that diverge from stories as they are being told, fusing past and present into one ethereal reality. Credit: Decla- Bioscop.

The Cabinet of Dr. Caligari (dir. Robert Wiene, 1. Considered the quintessential work of German Expressionism, The Cabinet of Dr. Caligari is the story of a deranged hypnotist who uses a sleepwalker to commit murders. Cinematographer Willy Hameister used no- frills camera work to emphasize the film's elaborate hand- painted sets, featuring twisted cityscapes, spiraling streets, and nightmarish forms. The sets were designed with distorted perspectives—they feature not a single right angle—in order to create a disorienting and unhinged world. Shot entirely in a limited studio space, each set was restricted to 2.

In addition to its fantastical use of set design, Robert Wiene's film bears significant historical importance; Dr. Caligari can be seen to represent the brutal German war regime, while the sleepwalker stands in for the common man who shows deference to a murderous authority.

Credit: Film Arts Guild 3. Nosferatu (dir. F. W. Murnau, 1. 92.

Not only is Nosferatu a seminal horror film, but it is also one of the most influential films of the silent era—and one of the first major public cases of intellectual property law. Because it was based on Bram Stoker's original Dracula novel (though with character names, setting, and plot details changed), the Stoker estate sued for copyright infringement. The court ruled that Nosferatu was indeed a derivative work and ordered all copies of the film to be destroyed, but one print had already been distributed worldwide; Nosferatu was subsequently revived by a cult following. Unlike the Expressionist techniques achieved in The Cabinet of Dr. Caligari with studio lighting and elaborate sets, Nosferatu was shot almost entirely on location; the natural environment of the castle, landscapes, and town were contrasted with unnatural lighting.

Cinematographer Fritz Arno Wagner introduced camera tricks to the mise en scène—several shots were printed in reverse- negative, while other scenes were under- cranked, and still others utilized stop- motion photography, such as in the film's most famous shot, in which Count Orlock pops out of a coffin. To watch F. W. Murnau's Nosferatu," wrote Roger Ebert in 1.

It seems to really believe in vampires.". Credit: Vereinigte Star- Film Gmb. H. 4. Vampyr (dir.

Carl Theodor Dreyer, 1. Adorned with mist and rolling fog, Carl Theodor Dreyer's hypnotic Vampyr elicits an overwhelming sense of dread. The washed- out, soft focus of Rudolph Maté's cinematography enhances the striking visuals, all of which were filmed at dawn. But the greatest aesthetic achievement in this film happened by accident. At the beginning of production, when Dreyer first screened a scene's rushes, he noticed a gray sheen to one of the takes.

Upon further investigation, he and Maté discovered that a false light had been projected onto the lens. They loved the look so much that they deliberately recreated this light by directing a spotlight hung with a blacklight onto the lens.

Credit: Paramount Pictures. Watch The Plan Online Metacritic more. Psycho (dir. Alfred Hitchcock, 1. Hitchcock's famous shower scene was so complicated to shoot that it required 7.

The bathroom set was built with collapsible walls in order to maximize the usable camera angles; in the final cut, 9. Cinematographer John L.

Russell used a fast- motion reverse shot to give the impression of the knife entering Lila's abdomen. He also made use of a wide variety of subjective close- ups throughout the film, such as Lila's hand pushing open a door, which served to enhance a sense of immediate danger for the audience. Credit: Toho. 6. Kwaidan (dir. Masaki Kobayashi, 1. Kwaidan, which translates to "ghost stories," is a compendium of four classic Japanese ghost tales that plays less like a horror film than an eerie fever dream. Director Masaki Kobayashi and cinematographer Yoshio Miyajima gave each story its own hand- painted set, which was intricately designed to reflect the changing mood and narrative arc of each shot. Built in an airplane hangar (the only space big enough to accommodate them), the set pieces themselves are works of Expressionist art.

Kobayashi's meticulousness is evident in every frame. In conjunction with Miyajima's creative lighting techniques (such as backlights of every color), watching Kwaidan is like being transported into an uncanny alternate reality. Credit: Royal Films International 7. Repulsion (dir. Roman Polanski, 1.

Roman Polanski's horror masterwork was shot with a budget of $3. Excited by the prospect of improving upon the aesthetics of Knife in the Water, which he thought looked "absolutely dreadful.. Gilbert Taylor turned down a Bond movie to make Polanski's sophomore feature. Repulsion is indeed characterized by extremely contrasty black- and- white. It increasingly adopts the perspective of its disturbed protagonist; as she descends into a massive psychotic break, Taylor unmoors the camera. He shot much of the film with a handheld Arriflex with a very wide lens and "a tiny tobacco tin on the front, fitted with a wee bulb to add a bit of fill—just enough to see Catherine Deneuve’s skin in the shadows until I moved in close." Polanski remembers that Taylor used mostly reflected light bounced off the ceiling or walls, never consulting a light meter.

Credit: Bryanston Pictures. The Texas Chain Saw Massacre (dir. Tobe Hooper, 1. 97. Another notable low- budget sensation, The Texas Chain Saw Massacre was filmed with $3. Texas, where it was shot. Cinematographer Daniel Pearl shot on 1. Eclair NPR 1. 6mm camera, using fine- grain, low- speed film that required four times more light than modern digital cameras.

The film's final shot, in which Leatherface swings his chainsaw with primal fury in the early morning light, has become one of the most iconic in cinema history. Credit: Warner Bros.

The Shining (dir. Stanley Kubrick, 1. John Alcott 's cinematography emphasizes isolation and paranoia with unsettlingly cold, symmetrical imagery. It's stunning throughout, but it will go down in the history of cinematography for its innovative use of Garrett Brown’s Steadicam, which Kubrick hired Brown himself to operate in what Brown would later term "the Steadicam Olympics." Riding on a wheelchair to capture Danny's low- angle point of view as he rode on a tricycle through the halls of the Overlook Hotel, Brown honed his operating skills by repetition; on the first day of the shoot, Kubrick had him do 3. Watch Carny Online on this page. The technique was most famously used for the hedge maze chase, for which he built a variety of special mounts. We determined by testing that the 9.