4:3 is not necessarily a smaller frame though - theoretically speaking, you're actually getting a higher vertical resolution while horizontal stays the same. the only reason it seems "smaller" is because most modern theatres are designed for widescreen, which is actually a vertical crop on 4:3. because of this, it has to be projected smaller (in some cases) but a good cameraperson knows that 4:3 is actually giving them a hell of a lot more space to make a composition. just look at the old silent films, for instance... most widescreen films are usually just empty space to the left and the right of the subject, but with 4:3 you really get the opportunity to orient your subjects in space itself.

filmmakers getting into film only because they love film, rather than telling human stories, has produced an enormous creative vacuum in the last decade - primarily stuffed with nostalgia. it can only entertain us for so long, before those filmmakers self-referential works become void of meaning, and cinema becomes an antique medium. already we see younger people flocking to other mediums for their "authentic", authored experiences.

aerial cinematography is inherently inhuman. just keep that in mind when you're trying to craft the tone of your sequence. do you need it to look like a soulless product or not?

the films listed are all relatively easy to find - as long as you have the mind to look for them. concerning pacing... this is really a matter of training your brain to watch them, and shaking yourself loose from the fast-cut style that you've conditioned yourself to. once you do, you'll be able to watch anything...

i prefer 300:1. hahaha

the important thing is that you shoot 2:35 in the camera using markers, so that your compositions are already made with that aspect ratio in mind - otherwise it will look forced. properly masking your camera-monitor for 2:35 or even wilder aspect ratios challenges the DP to think in new and weird ways, as well.