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Have you seen Drive? A NWR film that's definitely not slow ...

On an impulse I've decided to go to Japan. Here's a glimpse of what I saw.

Extra Extra, 3 years old d5100 gets 1920x1080p 60fps mode thanks to nikonhacker. http://nikonhacker.com/viewtopic.php?f=2&t=1814

Hmmmm...the Letus is basically invisible here. You don't get any anamorphic aesthetic just "scope" aspect ratio without cropping, which is to be expected more or less in the daylight exteriors but curious for the night stuff and interiors at the train station. I don't like the highlights at all compared to your better GH1/GH2 or maybe even GH3 videos. It's videos like these that would prevent me from ever considering a GH4. That sounds awful. Maybe it's just bad encoding.

Well, I checked out "Only God Forgives" based not the fact I too like Ryan Gosling. It was certainly an interesting film and I can definitely see how the craft could definitely inspire. It was beautifully shot, and the acting was an interesting exercise in restraint. The whole film felt like that. It seemed to linger forever... to the point I almost thought it'd got stuck on freeze frame ;). Not sure how I felt about it overall though. Great poetic violence that's expertly executed. But also had to wake up and back up a few times to get through it. ;) That reminds me, I would add most of Wong Kar Wai's work to my list.

Hello, I've been traveling since may 2013, and making travel videos with my gh3 and a ts3cine highspeed camera. I was inspired by EOSHD to try out an anamorphic lens. Having blown my budget on gear before i left, I was looking for something on the cheap. I managed to grab a Bell & Howell Kowa 2x from ebay for $340. I had it sent to my mom and she met me in Bangkok. So here is the first stuff I have shot with a anamorphic. Run and gun with a dual focus anamorphic, not the easiest..... If you like please check out my vimeo page for lots of other travel videos.... Thanks, James

Julian's images: saving the 4K example at quality 6 creates DCT macroblock artifacts that don't show up in the 444 example at quality 10. All the images posted are 420: that's JPG. To compare the 1080p 444 example to the 4K 420 example: bicubic scale up the 1080p image to match exactly the same image region as the 4K image (examples posted are different regions and scale). The 1080p image will be slightly softer but should have less noise and artifacts. Combining both images as layers in a image editor then computing the difference (and scaling the brightness/gamma) up so the changes are clearly visible will help show exactly what has happened numerically; helpful if the differences aren't very obvious on visual inspection. We agree that 420 4K scaled to 1080p 444 will look better than 1080p captured at 420 (need to shoot a scene with camera on tripod and compare A/B to really see benefits clearly). 444 has full color sampling per pixel vs 420 having 1/4 the color sampling (1/2 vertical and 1/2 horizontal). My point is that we're not really getting any significant color element bit depth improvement which allows significant post-grading latitude as provided by a native 10-bit capture (at best there's ~8.5-9-bits of information encoded after this process: will be hard to see much difference when viewed normally (vs. via analysis)). Another thing to keep in mind is that all > 8-bit (24-bit), e.g. 10-bit (30-bit) images, need a 10-bit graphics card and monitor to view. Very few folks have 10-bit systems (I have a 10-bit graphics card in one of my machines, but am using 8-bit displays). >8-bit systems images need to be dithered and/or tone mapped to 8-bit to take advantage of the >8-bit information. Everything currently viewable on the internet is 8-bit (24-bit) and almost all 420 (JPG and H.264). re: H.264 being less that 8-bits- it's a effectively a lot less than 8-bits not only from initial DCT quantization and compression (for the macroblocks), but also from the motion vector estimation, motion compression, and macro block reconstruction (which includes fixing the macroblock edges on higher quality decoders).

I would think there's a lot of crossover between favorite films and influential films but I can say in my case there would be specific shots or sequences from each that I would say are my touchstones for specific types of photography or shots, color and composition. These would represent personal taste so folks should refrain from projecting their's onto others or questioning why their own personal taste isn't represented by other's choices. It's not a contest. You don't win anything coming up with the most predictable AFI selection. Deviations from the norm are a lot more interesting and revealing than some list that could be created with a statistical algorithm.

Beautifull, weird so few react here but I guess they are too busy counting pixels. :)