I'm so, so glad I don't have to care about deliverables requirements anymore. Every studio has totally different set of requirements that are as complex as this and it's a real bear to make sure you're fully in compliance with them.
Netflix Originals: Production and Post-Production Requirements v2.1
61–70 of 247 posts
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#62That's beautifully clear - I wish I worked with specifications so lucid. I've got almost no real knowledge of the field it's governing, but I believe I would know how to successfully shoot some footage that Netflix would accept off the back of reading it. One thing intrigues me though - albeit likely a function of my lack of knowledge on the matter - do these requirements implicitly rule out shooting on film for Netf…
> One thing intrigues me though - albeit likely a function of my lack of knowledge on the matter - do these requirements implicitly rule out shooting on film for Netflix?
In terms of resolution, no. Standard 35mm can produce a good quality 4K transfer (depending on the speed of the film you're using), and if you shoot on VistaVision (which is where you use 35mm film but rotate it 90 degrees) can go even higher.
Of course, the cost to do so is massive, and it's getting larger ever year. The only TV show I know this year that was shot on 35mm was Westworld.
Joe Public can't afford to shoot on 35mm for his/her Netflix original series even if they wanted to. Netflix would almost certainly only let an extremely experienced A-list director shoot on film, both because they'd be able to negotiate it but also because on film you can only usually afford a 3x overage (that is, you shoot three times what you end up using), whereas with digital that can go as high as 10x. It takes a really disciplined director and DP to manage that.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#63Best pricing info I can find quickly: * c300 mk ii 6998 * c500 18995 * c700 28000 * Varicam 35 12949 * caricam lt 16500 * red dragon 32520 * red weapon 49955 * red helium 49500 * panavision dxl cant find * sony f55 28990 * sony f65 cant find * sony fs7 12949 * arri alexa 65 cant find * ursa mini 4.6k 5995 * ursa 4.6k 4995
ARRI Alexa 65 and Panavision DXL cameras are not for sale. They are only available for rental from ARRI Rental and Panavision respectively. Sony don't manufacture the F65 anymore, so you won't find a current list price. It originally retailed for $65k for the camera body, and $20k for the SR-R4 recorder, so basically $85k. [1] [1] http://nofilmschool.com/2011/09/sony-officially-prices-f65-t...
I'm curious why they didn't qualify the FS700 (considering they include the FS7) or any external recorders. Being able to record straight to a pair of SSD's in an Odyssey would seem preferable to dealing with Sony's bolt-on recorder + proprietary cards.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#64Earlier quoted context omitted.
All 3 hobbit movies where released in the high frame rate format (albeit 48 frames not 60) and the general complaint was that they felt "soap opera"ry due to the way people felt about them. https://www.forbes.com/sites/johnarcher/2014/12/16/hate-the-... Is a decent commentary on the issue
One of the reasons for higher FPS is that it gives artistic freedom to make panning shots etc. High speed panning in 24fps is horrible. Maybe it would be possible to shoot at 60fps or even higher and then dynamically adjust the frame rate to keep the 24fps but smooth some scenes as required?
The issue is simply motion blur. You can just shoot in 60fps with a shutter as you’d use for 24fps, you get all the feeling, all the motion blur, and none of the chopiness.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#65Earlier quoted context omitted.
not really. this how you do not do it. I'm particularly bugged by their list of approved cameras. it's silly. exclude most of the interesting cameras in the market for 4k now. my bet is that they are receiving so much submissions, and actually buying all of them, that I guess the company, or a few clever individuals, saw the "consulting" or equipment renting/financing potential and will try to monetize on selling coo…
What cameras would you prefer shooting on that isn't listed? I'm not seeing anything that I'd prefer to shoot on (other than film). Cameras like the Sony A7s or the Panasonic GH5 are great for the low budget film, but if Netflix green lights your project, you can afford much better cameras. Unless the project calls for really small and unobtrusive cameras, in which case Netflix would most likely approve the use of wh…
I would say that the Arri Alexa SXT is a better camera than most of the cameras listed there.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#66This likely gives them confidence that if they were to remaster for a different color-space or higher resolution, that they could. For a 4K original shot in 8K, Netflix could send it back through the production process for a more reasonable cost and be able to launch the title quickly. I'm surprised they don't ask for VFX sources to be archived though. ST:TNG and Babylon 5 both suffered badly from loss of the origina…
Most VFX shots loop through not one but several software packages. Sometimes even through multiple VFX vendors. Project files are proprietary and become inaccessible over time. And different VFX houses write their own add-ons that are not shared with a vendor like Netflix.
So collecting VFX shots in a pre-rendered state is notoriously difficult. Doesn't mean it's not worth trying. But you'll probably end up with various decomposed elements (models, rigs) and not something you can easily and quickly re-output in 4k, HDR, etc.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#67I always find the idea of future proofing interesting here. Like the way Seinfeld reruns are in HD even though the technology didn't really exist at the time--because they shot a TV show in actual film and then could re-scan it later to keep up with modern tech. Crazy expensive but obviously given the value of those reruns the cost made sense.
I don't think they shot Seinfeld in 35mm to be future proof. It was the best way to film at the time.
Friends reruns also got the HDTV rescans. In some shows you can see things that weren't supposed to be on-camera in the 4:3 format.
It's just a matter of which shows are worth the cost and time to do it.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#68Earlier quoted context omitted.
What cameras would you prefer shooting on that isn't listed? I'm not seeing anything that I'd prefer to shoot on (other than film). Cameras like the Sony A7s or the Panasonic GH5 are great for the low budget film, but if Netflix green lights your project, you can afford much better cameras. Unless the project calls for really small and unobtrusive cameras, in which case Netflix would most likely approve the use of wh…
I would say that the Arri Alexa SXT is a better camera than most of the cameras listed there.
That's valid. And kinda surprised it's not listed. Any other cameras that would make sense to be on the list?
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#69Earlier quoted context omitted.
Increases costs dramatically. 2.5x the data.
Not necessarily 2.5x. Video compression is a thing.
presumably they're storing the raw, uncompressed video? at the same time, I would imagine storing a couple extra terabytes of data isn't a significant cost in the scheme of a production.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#70I'm surprised they don't allow UHD resolution (3840×2160). There are probably a few people in the world who can reliably tell the difference with true 4K.
An average person can't even tell the difference between 720p and 1080p.