Canon 1D Mark IV Cinema Package

EOS HD movie with manual exposure control and multiple frame rates (1080: 30p (29.97) / 24p (23.976) / 25p, 720: 60p (59.94) / 50p, 480: 60p (59.94) / 50p) - The EOS-1D Mark IV captures video with all the benefits of shooting with an EOS digital SLR. The HD recording area on the EOS-1D Mark IV is approx. 27.9mm x 15.7mm, similar when compared to the 24.89 x 18.65mm recording area of Super 35 motion picture film. By shooting video with a large sensor camera, photographers as well as videographers can take advantage of the creative features native to SLR photography. Along with its manual controls, the EOS-1D Mark IV allows for full use of Canon EF lenses, including wide angle, macro, super-telephoto, tilt-shift lenses and fisheye, providing a wealth of depth-of-field and other creative shooting options once reserved only for still photography. The resulting HD video is a standout in its stunning depth-of-field characteristics, remarkable capture capability under poor lighting conditions with its vast ISO range, and deep clean blacks with nearly undetectable noise.

When shooting HD video in AE modes, the EOS-1D Mark IV employs Center-Weighted average metering to help ensure stable motion-picture exposure with the camera automatically selecting the ISO speed, shutter and aperture. Full manual exposure control is also available while shooting video when the camera is set to Manual mode.

Video can be captured at 1920 x 1080 resolution at frame rates of 24 (23.976), 25 or 30 (29.97) frames per second, for up to 4GB per clip. Movies are saved as MOV files and can be viewed in Full HD with HDMI output. Other recording sizes include HD at 1280 x 720 (50/60 (59.94) fps) or SD/VGA at 640 x 480 (50/60 (59.94) fps). The EOS-1D Mark IV has a built-in microphone for simple mono recording and stereo sound can be recorded through a self-powered external microphone.

16.1 Megapixel APS-H CMOS sensor and Dual DIGIC 4 Image Processors for high image quality and speed - The EOS-1D Mark IV features a high-resolution APS-H sized 16.1 Megapixel CMOS sensor (with a focal length multiplier effect of 1.3x) and Dual DIGIC 4 Image Processors that can process images at full resolution continuously up to 10 frames-per-second. The combination of the CMOS sensor and Dual DIGIC 4 Image Processors help to ensure smooth, detailed and refined images that are recorded quickly, accurately and reliably. This impressive combination of speed, quality and performance will make the EOS-1D Mark IV a staple among many professional photographers, including sports photographers, and a familiar sight on the sidelines of professional sporting events.

10.0 fps continuous shooting up to 121 Large JPEGS or 28 RAW using a UDMA CF card - The EOS-1D Mark IV’s rugged, high-speed shutter can shoot up to 10.0 frames per second (fps) for up to 28 consecutive RAW files or 121 full-resolution JPEGs when used in conjunction with UDMA (Ultra Direct Memory Access) Mode 6 CF cards. The EOS-1D Mark IV’s spectacular new 45-point high-speed AF sensor locks on and maintains focus, ensuring that the camera keeps up with its amazing shutter.

3.0-inch ClearView II LCD monitor, 160° viewing angle, 920,000-dot VGA, reflection resistance with multi coating and high-transparency materials for bright and clear viewing - The EOS-1D Mark IV features the finest Canon LCD screen to date (October 2009): the new, high-resolution, 3.0-inch ClearView II VGA LCD has 920,000 dot resolution and provides a new level of clarity and sharpness with a 160° angle of view. Its performance is admirable, not only in confirming focus and composition, but in composing and shooting in Live View mode, or when shooting video. It features a tempered glass protective cover with an anti-reflective film and a new resin filling between the actual LCD and glass cover that helps minimize internal reflections and further improves visibility in bright viewing situations. During image playback, pressing the illumination button displays an LCD brightness screen, so brightness can be adjusted quickly and easily.

ARRI ALEXA DTE-SxS Pro 35 Format Film-style Digital Camera

The ARRI ALEXA EV Digital Cinema camera is designed for broadcast, motion picture and commercial applications. Using the new ALEV III Super-35 sized CMOS Bayer-pattern sensor, the ALEXA is capable of 1920x1080 HD outputs as well as 3.5K Uncompressed RAW. ALEXA shoots 1-60fps with a base sensitivity of 800 ISO and 13.5 stops of Exposure Latitude. It can record in ProRes via internal hot-swap SxS cards, or output Uncompressed HD-SDI or ARRIRAW.

The unique construction of the ALEXA  allows for various output signals to be generated, accommodating diverse production needs and pipelines.

ALEXA can simultaneously record Apple QuickTime/ProRes files, output uncompressed HD video or uncompressed ARRIRAW data. This output versatility makes it ideal for a myriad of productions and workflows from television series to feature films.

As the best recording media for the QuickTime/ProRes files, ARRI has chosen SxS cards because of their high data throughput. Two SxS cards fit into a module on the camera's left side for convenient on-board recording and are hot swapable.

Two outputs which can be configured to 3G or 1.5G HD-SDI deliver an uncompressed high definition video stream with various options such as recording in 4:2:2 or 4:4:4 and ITU Rec709 or Log C tone mapping and color matrixes.

Key Features:

3.5K CMOS Imager
Produces sharp and clean 2K or 1920 X 1080 HD images

800 EI Base Sensitivity
Captures striking images on night shoots and in low-light conditions (camera can be rated from ISO 200-ISO 1600 while maintaining excellent signal to noise performance)

Direct to Edit
Allows immediate access into post

Natural Color Rendition
Gives rich, vibrant pictures and pleasing skin tones

Excellent Color Separation
Makes compositing effortless

Very Low Noise Guarantees
Beautiful results, even on the big screen

Easy and Widely Accessible Workflows
Allows the use of best proven, existing technology

13.5 Stops of Latitude
Helps capture every detail, from the brightest highlights to the darkest shadows

Details

Camera Type:

35 format film-style digital camera

Sensor Type:

35 format ALEV IIICMOS

Aperture: 
Mode / Aspect Ratio / Pixels

HD and ARRIRAW outputs / 16:9 / 2880 x 1620

Monitoring with surround area / 16:9 / 3168 x 1782

Lens Mount:

PL mount. Options for Canon, Nikon

Frame Rate:

0.75 – 60 fps

Shutter:

Electronic shutter, 5.0 to 359.0

Exposure Index:

800 EIbase sensitivity

Exposure Latitude:

> 13 stops

Sound Level:

< 20 dB(A)

Power:

12 or 24 V DC

Weight:

6.2 kg/13.7 lbs body only

6.9 kg/15.2 lbs body, viewfinder, mounting bracket and cable

Viewfinder:

ARRIElectronic Viewfinder EVF-1

In-camera Recording:

Apple QuickTime/ProRes 4:2:2 (HQ) or QuickTime/ProRes 444 HD files with embedded audio and metadata, recording to 2x SxS 32GB memory cards

20 min 422HQ
15 min 4444

Recording Outputs:

Uncompressed HD video or uncompressed ARRIRAW with embedded audio and metadata

THE ACTION MOVIES YOU MUST SEEN

 1.  Drive (2011) 

2.  Inception (2010)        

3.  The Dark Knight (2008)           

4.  Star Wars: Episode V - The Empire Strikes Back (1980)             

5.  The Lord of the Rings: The Return of the King (2003)

6.  Star Wars: Episode IV - A New Hope (1977)   

7.  The Lord of the Rings: The Fellowship of the Ring (2001)        

8.  Raiders of the Lost Ark (1981)             

9.   The Matrix (1999)     

10.  The Lord of the Rings: The Two Towers (2002)           

11.  Terminator 2: Judgment Day (1991)               

12.  Saving Private Ryan (1998)

13.  The Treasure of the Sierra Madre (1948)     

14.  Das Boot (1981)      

15.  Aliens (1986)           

16.  The General (1926)               

17.  Yojimbo (1961)       

18.  Braveheart (1995)  

19.  Gladiator (2000)     

20.  Ran (1985) 

21.  For a Few Dollars More (1965)          

22.  Star Wars: Episode VI - Return of the Jedi (1983)     

23.  Indiana Jones and the Last Crusade (1989)

24.  Die Hard (1988)       

25.  Elite Squad 2 (2010)      

          

TOP 25 ROMANTIC FILMS

                     1.       Casablanca (1942)

               2.       Rear Window (1954)

               3.       Forrest Gump (1994)

               4.      City Lights (1931)

               5.       North by Northwest (1959)

               6.       Vertigo (1958)

               7.        Modern Times (1936)

               8.        Amélie (2001)          

               9.         Life Is Beautiful (1997)

              10.       Eternal Sunshine of the Spotless Mind (2004)

              11.       The Apartment (1960)

              12.       Singin' in the Rain (1952)

              13.        The General (1926)

              14.       The Big Parade (1925)

              15.       Sunrise: A Song of Two Humans (1927)

              16.       Scenes from a Marriage (1973)

              17.      Rebecca (1940)

              18.      The Girl with the Red Scarf (1978)

              19.      A Brighter Summer Day (1991)

              20.       It Happened One Night (1934)

              21.      Safety Last! (1923)

              22.      The Best Years of Our Lives (1946)

              23.      The Gold Rush (1925)

              24.      The Best of Youth (2003)
25.     WALL·E (2008)

GY-HM790U

The GY-HM790U is a modular HD camera with solid state recording capability as well as studio functionality. It was developed to address the needs of modern broadcast and production facilities offering the highest level of HD picture quality in both 1080i and 720p formats. Whether used on the shoulder for electronic newsgathering, field production, or as a primary studio camera, the GY-HM790U is everything that a broadcast camera should be.

GENERAL

·         Patented 3-CCD optical system provides full HD resolution images

·         4:2:2 processing

·         Built-in Genlock

·         1080i / 720p / 480i multiscan

·         Industry standard bayonet lens mount

·         JVC offers a wide range of lenses and accessories

·         HDSDI output

·         Can also provide downconverted SDI output—live or playback.

·         Patented Focus Assist function

·         Extensive image customization modes (gamma, matrix, knee, detail, etc.)

ENG / FIELD PRODUCTION

·         Compact Shoulder form factor

·         Records to dual hot swappable SDHC memory cards

·         Professional recording with selectable data rates up to 35Mbps

·         1920 x 1080 (1080p24/p25/p30, 1080i60/i50)

·         1280 x 720P (p60/p50/p30/p25/p24)

·         SD recording capability (DV data format>

·         Native file recording—world's fastest shoot-to-edit workflow.

·         Native Final Cut Pro format

·         Edit immediately without conversion or transcoding

·         .MP4 file format

·         Compatible with most popular editing systems

·         Pool feed input (analog SD)

·         Time code IN/OUT

·         High resolution (1.22 million pixel) Liquid Crystal on Silicon (LCOS) viewfinder

·         Large (4.3-inch) flip-out LCD monitor

·         Pre Rec (retro cache up to 20 seconds) function prevents "missed shots"

·         Variable frame rate recording (over crank, under crank)

·         Built-in clip viewer and management system

·         Uncompressed LPCM audio (2ch) recording

·         Manual level controls with audio meter

·         XLR inputs with phantom power

·         Optional ASI output module

STUDIO OPTIONS

·         Sturdy, sleek studio housing (sled)

·         Large lens support

·         High resolution 8.4-inch Studio Viewfinder

·         26-pin Multicore Module

·         Fully featured multicore CCU

·         Local Remote Panel (shader)

·         Fiber Remote Module

·         Wide range of lenses and lens accessories

EOS 5D MARK II

 High Performance for High Expectation

Canon's update to the wildly popular full frame EOS 5D is here, and it's better than ever. The EOS 5D Mark II has a stunning 21.1-megapixel full-frame CMOS sensor with DIGIC 4 Image Processor, a vast ISO Range of 100-6400 (expandable to ISO L: 50, H1: 12800 and H2: 25600), plus EOS technologies like Auto Lighting Optimizer and Peripheral Illumination Correction. It supports Live View shooting, Live View HD videos, and more. It can shoot up to 3.9 fps, has 9 AF points plus 6 AF assist points, a new 98% coverage viewfinder, a 3.0-inch Clear View LCD (920,000 dots/VGA) and a rugged build. Full-frame shooters rejoice!

PANASONIC AK-HC931B

The AK-HC931B is a versatile, multi-format HDTV studio camera system. The studio/EFP camera delivers pristine HD images in both 1080i and 720p formats and offers easy switching between the formats right in the camera menu. This flexible camera offers 2/3" 3-CCDs to deliver 1 million-pixel (1280 x 720) progressive scan resolution, advanced digital signal processing (DSP) and analog-to-digital conversion circuits with 38-bit internal processing. The camera system also provides superb 480i standard definition images (option). The AK-HC931B studio camera system can be configured for either studio or hand-held use and comes standard with a bayonet lends mount.

RED EPIC

The name is not an overstatement. The much anticipated addition to the RED family is the answer to the professional's wildest dreams and exists as the most sophisticated and capable camera ever engineered and built. In a package one third the size of a RED ONE, resides a 5K Mysterium-X™ sensor and a 27 layer ASIC, the most advanced processor of its type in the world, enabling EPIC to capture up to 120 frames per second, each frame at full 14MP resolution. EPIC is engineered to be a DSMC™ (Digital Still & Motion Camera), a camera that excels in both worlds ... by design. Providing native dynamic range of over 13 stops and resolution that exceeds 35 mm motion picture film, this is the camera of the epoch. Add to that RED's newly developed HDRx™ extended dynamic range technology and EPIC boasts an amazing dynamic range of up to 18 stops. Purpose-built for perfect multi-camera synchronization, EPIC comes to market at a time when 3D capture requires the sophistication of a new generation of innovative technology. EPIC, very simply, is epic.

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CONON EOS 7D

Things are moving very quickly in the world of DSLR HD, or HDSLR as the format has now been termed. It seems that every month a new camera enters the spotlight, and now Canon is fighting back with the new 7D. The Canon 7D is not a replacement for the 5D Mark II, it's a new camera that is even more video oriented. First off, the sensor is smaller that the 5D, which means that it is not quite as sensitive and won't perform quite as well in low light. Second, the depth of field won't be as shallow as it is on the 5D, and third, lenses intended for the 35mm chip size (as in the 5D) won't be as wide on the 5D. So, this new APS-C sensor is smaller, but it's actually the same size as the RED's sensor, and 35mm motion picture film (which is smaller than 35mm still negative, go figure). In that case, from the point of view of a filmmaker, it's not really much of a loss. Plus, even though the depth of field is not as shallow, the difference is enough to make it easier to focus but not enough to loose that 35mm movie look.

But the news doesn't stop there, the 7D has a real 24p mode, and 30p, and 25p all in full HD 1080 resolution. Next, it also has 720p60 and 720p50 modes, meaning that if you don't mind going down in resolution for a shot, you can get real slow motion! Other fantastic video friendly features include a dedicated video button, manual exposure controls and better monitor output. It's also $1,900, which is $900 less than a 5D.

So, for a filmmaker, the 7D is definitely the right choice when it comes to a Canon. It may not be as high end of a still camera, but for video features, it has the necessities of a film camera. Here are some great samples of what you can do with the 7D in the right hands:

RED ONE

The camera that started a revolution in digital cinema. From its humble beginnings, rising from a smoke cloud of intrigue, labeled a scam and claimed to be impossible technology, the RED ONE has materialized as one of the most significant American inventions of the 21st Century. With over 5 times the resolution of an HD video camera, the RED ONE has earned its rightful place as the successor to 35mm film acquisition. The RED ONE has been responsible for creating thousands of films, from independent to Hollywood blockbuster, as well as a growing impact on the capture of episodic television.  In the short span of three years, RED has come to dominate the music video and television commercial landscape, as well. Wherever 35mm film once tread, the RED ONE has emerged, bringing with it the advantages of lower cost, lighter weight, same hour dailies, brilliant workflow and grainless, organic images. 

Silicon Imaging SI-2K Digital Cinema Camera

The full-reatured, all-in-one portable design of the Silicon Imaging SI-2K combines a digital cinema class 2048x1152 resolution camera head, IRIDAS color-management technology, and the power of CineForm RAW™, to deliver a direct-to-disk raw recording platform with unprecedented image quality and shooting flexibility. It's low-noise, high-dynamic range images, with over 11 f-stops of dynamic range via an on-chip 12-bit A/D converter, are freely manipulatable with user-generated IRIDAS .look files, creating a "blank-slate" for the cinematographer to freely express his or her vision. IT-friendly connectivity through integrated 802.11g wireless access, Touchscreen interface, Anton-Bauer battery-powered operation, and up to 4-hours of continuous shooting on a 160GB notebook hard drive round out an impressive array of digital cinema firsts in the industry.

The Silicon Imaging SI-2K uses a single large 16:9 format 2/3” CMOS sensor, with it's design enabling the use of lower-cost 16mm film-style lenses, eliminating the optical aberrations caused by a 3-chip prism assembly. Shooting flexibility is enhanced with its interchangeable optical assembly, supporting the use of high-quality modern cinema PL-mount lenses as well as affordable and compact C-mount lenses. The integral support for 15mm lightweight rods and direct attachment of 19mm ARRI style bridge-plate adapters make the SI-2K an ideal platform for the latest in follow-focus attachments, matte boxes, and other cinema-style gear and accessories. An industry standard, Anton-Bauer Gold-Mount is used for battery power and portable operation. For situations too extreme or space-limited for the camera operator to maintain direct physical operation, the SI-2K features the ability to remotely tether the camera head via gigabit ethernet over long distances while maintaining full control of the camera. The separable camera head's built-in power regulator allows battery operation from 5-17VDC with a miniscule 6W of power consumption. For very long distances, off-the-shelf fiber optic converters can be added to extend distances past the threshold of copper-based gigabit.

The SI-2K captures full resolution, DCI-compliant 2K and 1920 x 1080 progressive-scan 12-bit raw images for use in both digital cinema projection and HD television or optical disk environments. It uses Silicon Imaging's proprietary 48-bit digital processing algorithms to perform adaptive pixel-by-pixel black calibration and color image enhancement.

Standard 2K and 1080P resolutions can be recorded at up to 30fps. Special Effects and off-speed shooting modes include a variety of overcranking and undercranking options. Slow-Motion shots can be captured at speeds up to 72fps in 720P mode, 3-times the nominal 24P film rate. Long-duration events are captured using the time-lapse recording feature or using the long exposure mode, which accumulates light over several frame times to exaggerate motion for streak-style effects.

The SI-2K was used for Slumdog Millionaire, a feature film from Fox Searchlight, directed by Danny Boyle, DP Anthony Dod Mant

Specifications

2/3" 16:9 high-dynamic range CMOS Imaging sensor with 5um pitch

Full-raster, 2K DCI-compliant resolution progressive scan sensor

Direct-to-Disk Recording via connected laptop or PC controller

Direct-to-Edit AVI and Quicktime files compatible with Cineform Prospect HD

Removable optical low pass filter with IR cut filter

12-bit A/D conversion and 48-bit digital signal processing

11 f-stops dynamic range

180-degree film shutter equivalent with variable speed control

ISO 250 sensitivity at 0db

Embedded SiliconDVR software interface with industry-leading feature-set, ease-of-use, and future upgradeabilit

2K Formats: 2K/23.976p, 2K/24p 2K/25p

HD Formats: 1080/23.976, 1080/24p, 1080/25p, 1080/29.97, 1080/30p, 720p (variable)

720P/85fps and 540P/150fps for slow-motion special effects

Overcranking and undercranking for special effects (12~72fps)

Time-Lapse Recording with programmable images per minute

Visually lossless CineForm RAW™ wavelet-based codec using SiliconDVR recording software

Four variable bit-rate quality encoding CineForm RAW™ settings ranging from 4:1 to 9:1 compression

Auto-file naming and project management with metadata

Up to 4 hours of recording on 160GB HDD in highest quality mode

SONY HDWF900R

SONY HDWF900R

CineAlta 24P HDCAM Camcorder without Viewfinder

The highly respected HDW-F900 camcorder has now been refined into the next-generation HDW-F900R, offering a variety of further enhanced functionalities. The HDW-F900R camcorder records images in accordance with the CIF (Common Image Format) standard, which specifies a sampling structure of 1920 x 1080 active pixels (horizontal x vertical). Plus, as well as recording at 24P, the HDW-F900R camcorder is switchable to record at 25P, 29.97P progressive scan, and also at 50 or 59.94 Hz interlaced scan.


The HDWF900R also provides a comprehensive range of features for creative shooting such as enhanced gamma features and colorimetry controls. Plus, the design of the HDW-F900R is highly compact and lightweight, giving users higher levels of mobility and comfort when shooting.


To further enhance the creative and operational versatility of the camcorder, a wide range of optional accessories are available. These include a picture cache board, a 2-3 Pull-down and down converter board, and a slow-shutter board. In combination with its renowned 24P capability and attractive cost efficiency, all of these great functionalities make the HDW-F900R the perfect solution for shooting television series , documentaries, commercials, as well as motion pictures.

$80,740.00 U.S. List Price

Highlights:

• Camera image capture complies with the ITU-R, BT 709-3 Recommendation for High Definition Production and International Programe Exchange
• Equipped with 2/3" type 2,200,00 sensor FIT imager, providing high resolution 16:9 images
• Compact, lightweight and robust body design with cinematography accessories attached

• Continuous recording time of up to 50 minutes (24P mode)
• Newly developed LSI for ADSP (advanced digital signal processor) improves picture quality, ensuring picture stability and operational reliability while reducing total power consumption

These are few comedy movies you must seen.

The Hangover (2009) Borat (2006) Beverly Hills Cop (1984) Monty Python's Life of Brian (1979) National Lampoon's Animal House (1978)  Annie Hall (1977)  The Graduate (1967)  Dr. Strangelove Or: (1964)  Some Like It Hot (1959)   It Happened One Night (1934)

The Hangover (2009) - the highest-grossing R-rated comedy ever in the US (unadjusted for inflation) at $277 million (# 3), surpassing the record held for 25 years by another R-rated comedy Beverly Hills Cop (1984) at $234 million (domestic) (# 4) Borat (2006) - the # 1 mockumentary at the box-office Airplane! (1980) - the # 1 comedy in ABC-TV's "The Best in Film: The Greatest Movies of Our Time" in 2011 Monty Python's Life of Brian (1979) - voted # 1 comedy in 2005 in Channel 4's "50 Greatest Comedy Films" Monty Python and the Holy Grail (1975) - the # 2 comedy in ABC-TV's  "The Best in Film: The Greatest Movies of Our Time" in 2011 Annie Hall (1977) - ranked # 4 in AFI's 100 Years...100 Laughs ranking in 2000; the # 22 ranked comedy film in IMDb's top rankings of comedy genre films, voted upon by site visitors in 2010 National Lampoon's Animal House (1978) - voted # 1 comedy by Bravo's "100 Funniest Movies"; ranked # 36 in AFI's 100 Years...100 Laughsranking in 2000; voted # 47 comedy in 2005 in Channel 4's "50 Greatest Comedy Films" The Graduate (1967) - ranked # 17 in AFI's 100 Years...100 Movies (10th Anniversary edition) polling in 2007, a list of the 100 greatest English-language movies; ranked # 7 in AFI's 100 Years...100 Movies polling in 1998, a list of the 100 greatest English-language movies; ranked # 9 in AFI's 100 Years...100 Laughs ranking in 2000; ranked # 52 in AFI's 100 Years...100 Passions ranking in 2002; the # 25 ranked comedy film in IMDb's top rankings of comedy genre films, voted upon by site visitors in 2010 Dr. Strangelove Or:... (1964) - ranked # 39 in AFI's 100 Years...100 Movies (10th Anniversary edition) polling in 2007, a list of the 100 greatest English-language movies; ranked # 3 in AFI's 100 Years...100 Laughs ranking in 2000; ranked # 14 in Entertainment Weekly's "100 Greatest Movies of All Time" book published in 1999; ranked # 26 in AFI's 100 Years...100 Movies polling in 1998, a list of the 100 greatest English-language movies; voted # 29 comedy in 2005 in Channel 4's "50 Greatest Comedy Films"; voted # 53 comedy by Bravo's "100 Funniest Movies" Some Like It Hot (1959) - the # 3 comedy in ABC-TV's "The Best in Film: The Greatest Movies of Our Time" in 2011; ranked # 22 in AFI's 100 Years...100 Movies (10th Anniversary edition) polling in 2007, a list of the 100 greatest English-language movies; ranked as the # 1 "Greatest American Comedy " in AFI's 100 Years...100 Laughs ranking in 2000; ranked # 5 in Film Four's compilation of the "100 Greatest Films of All Time"; ranked # 9 in Entertainment Weekly's "100 Greatest Movies of All Time" book published in 1999; ranked # 14 in AFI's 100 Years...100 Movies polling in 1998, a list of the 100 greatest English-language movies; voted # 16 comedy in 2005 in Channel 4's "50 Greatest Comedy Films"; the # 9 ranked comedy film in IMDb's top rankings of comedy genre films, voted upon by site visitors in 2010 It Happened One Night (1934) - ranked # 46 in AFI's 100 Years...100 Movies (10th Anniversary edition) polling in 2007, a list of the 100 greatest English-language movies; ranked # 35 in AFI's 100 Years...100 Movies polling in 1998, a list of the 100 greatest English-language movies; ranked the # 3 romantic comedy film in AFI's 10 Top 10 polling in 2008; the only comedy (and one of only three films) to win the top five Academy Awards: Best Actor, Best Actress, Best Original Screenplay, Best Picture and Best Director; ranked # 8 in AFI's 100 Years...100 Laughs ranking in 2000; the # 17 ranked comedy film in IMDb's top rankings of comedy genre films, voted upon by site visitors in 2010