Problem: Article: Cut across the boards perpendicularly at intervals. This will reduce them to a more manageable size and make them easier to pry up later. Run the saw in a straight line from one end of the work area to the other, then turn and continue in the opposite direction. Set the depth of the saw blade to the same thickness as the hardwood so that you don't accidentally scar your subflooring. For instance, if your flooring is 58 inch (16mm) thick, your saw guard should also be positioned at 58 inch (16mm). Make your cuts approximately every one to two feet, and be sure to avoid sawing over the "tongue" end of the board. Wedge the tip of the pry bar underneath a section of flooring. Pull back sharply on the handle to wrench the board from its place. Assuming you've sawed the boards into small enough sections, they should pop right out. Repeat this process until all the flooring has been removed. Always pry up the boards in the same direction that they're nailed down. This will help prevent cracking and splintering. If the boards are stuck too firmly to be budged, strike the underside of the board where it meets the subflooring with a chisel to create separation. Keep a large, lined trash receptacle in your work area so that you'll have something to drop the discarded wood fragments into as you go. This is a much safer and more organized approach than throwing everything into a loose pile. When you're finished, the old flooring will be carted off to the dump or recycling center. Be careful around the disposal bin, as there will likely be lots of stray nails and jagged edges exposed. There will likely be a few loose metal fasteners littering the floor, so be careful moving throughout your work area. You can collect these materials by hand or use a powerful handheld magnet to pick up whatever metal scraps happen to be lying around. Spent nails and staples should go straight into the trash. Protruding nails can be bent prior to disposal to make them less of a hazard. Keep your work gloves on throughout the cleanup process in case you come into contact with any sharp objects. Sweep the sawdust, wood chips and other debris into small piles, then use a shop vac to suction them up. Take down the tarps, roll them up carefully and move them outside to be cleaned or thrown away. If necessary, go over the area again with a vacuum or mop to clear away any especially fine dust remaining. For deep cleaning jobs, use dust-attracting sprays and a microfiber towel to small particles.
Summary: Saw the boards into small sections 3 feet (0.91m) wide. Use a pry bar to pull up the boards. Dispose of the old flooring. Pick up remaining nails and staples. Clean your work area thoroughly.

Problem: Article: This rule holds for any scene, from suspense to romance, but it is extra important here since most directors want low-lighting in order to be dramatic. While editing, you can easily darken up a scene to make it more mysterious or suspenseful, but adding light will dramatically decrease picture quality. A good rule of thumb is to work with a wide range of lighting, using big, clear bright areas offset by dramatically dark shadows. Putting your camera into black and white mode is often the best way to check for well-lit scenes. A good shot is like a photograph -- you could stop the movie and still see a compelling image. As such, the shots need depth, and this is doubly true in suspense filmmaking, where you can use the background to show things to the audience that the character might not notice. A woman washing dishes, followed by a shot of someone entering her house, is creepy. But a shot over the woman's shoulder as she washes, as a shadowy frame fills the doorway, is downright terrifying. This is where storyboarding ahead of time is your best friend. How can you compose each shot to have suspense -- not just the scene as a whole. The most famous example of this is in Kubrick's The Shining, where he breaks the essential "180-rule" that claims that cameras shouldn't be on opposite sides of the room. Without knowing this rule, viewers were completely unsettled because it was unlike anything they'd ever seen. These subtle details separate the masters from the amateurs. Other ideas include: Voyeuristic shots, where the camera acts like a predator hunting prey. As an audience member, you understand someone is watching your hero without every showing the villain. Frequently, filtering the shot through tree leaves, blinds, etc. can help. Unnaturally low or high shots, as well as extreme close-ups, don't feel like real life. They jar the viewer and keep them on edge. Hand-held camera work with shakes and unsteadiness, give a chaotic, uncomfortable feel, especially in moments of tension. Suspense requires silence, stillness, and moments of quiet, which build feelings of dread until the big moment happens. Don't just film the "action" of the scene -- make sure you get plenty of slower, creepier, and more atmospheric footage as well. You editor will thank you. Long shots naturally put viewers on edge, as we're used to relatively short cuts between each shot. The longer you hold the frame, the more people feel like there is something they are missing or is about to happen, building the coveted suspense. No one is suspenseful after they know what happens -- you're only feeling nervous when waiting to see what is coming. Once you show your cards, you've moved away from suspense and into action -- an essential part of the movie or scene, but not just yet. The best suspense gives you little pieces and clues, knowing that the creature in the audience's imagination is far more terrifying than any you can show on screen. Another classic Hitchcock technique, the transition between a super shallow shot to a big wide-angle lens will keep interest and force the audience to suddenly scan the screen -- why the change? Am I missing something dangerous? Is something big about to happen? These subtle technical points will make your scene not just suspenseful, but artful, as well. Just because the biggest scare or worry has to come last doesn't mean you need to be suspense-free until the final minute. Good suspense artists know that close calls pull you further up in your seat while also giving you a bit of hope for success. Without that balance of fear and hope, you can't get suspense, so be sure to "pay off" the viewer to keep them engaged. Ideas include: The villain just missing his/her strike. Frequently, the hero doesn't know how close they got to dying yet. But the audience does, and it is terrifying. "False scares," like when the viewer expects to see the villain, but it is just a stray cat popping out. Be careful about using too many of these, however, as they can feel easy and cheap very quickly if viewers never get real suspense. Cutting before the climactic action is often a good way to hide the villain or scare for later. It also makes the next time the characters visit that spot extra terrifying.
Summary: Set dramatic, moody lighting, but remember it is always easier to remove light while editing then add it. Make the most of both the foreground and background. Experiment with odd or dramatic camera angles to unsettle the audience. Keep the camera rolling, and the actors in motion, both before and after the scene. Slowly tease out your major scare of tension, saving the full reveal for last. Mess around with changing lenses and angles. Pepper in 1-2 "false scares" and close calls to ratchet up the tension.

Problem: Article: and create a really cheap home or buy one. This will give you the cheat box, as you will see a white text bar at the top of your screen.
Summary:
Create a family Move the family to a home that they can afford. Hold down Shift, Ctrl (control), and C.