These are the kinds of high-quality production standards that all companies should employ. Technical excellence above all else
Netflix Originals: Production and Post-Production Requirements v2.1
101–110 of 247 posts
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#102I 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.
Agree with this statement. Future-proofing was, however, a happy side-effect.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#103Earlier 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
My complaint about the 48fps (after going in hyped to see this Spiffy New Format) was that everyone looked like they were speed-walking all the time, which was really distracting. It was like a sped-up silent film. Nothing else I've seen in higher framerates has had that problem, though—just The Hobbit.
> My complaint about the 48fps (after going in hyped to see this Spiffy New Format) was that everyone looked like they were speed-walking all the time,
I saw all the Hobbit movies in 24fps, and—especially (at least, this is where it first really stuck firmly I in my mind as wrong) in the underground scenes in the first, but also in parts of the other two—had a similar impression.
I think it had to do with some other element of cinematography particular to that film series, though it's quite plausible that 48fps exacerbated it.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#104Best 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
The RED cameras are pretty much unusable without a lot of very expensive add-ons. The real cost comes out to 100K+. Source: https://www.youtube.com/watch?v=3t1PQJmM8P4
Yeah -- pretty much all of them are like that
I was putting some quick foundational numbers in there... I would expect all of those prices to be 5X or more than what you see after all the extra stuff that one would need to have a complete setup might be...
let alone time, training, education, talent, etc etc etc...
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#105...And that my friends, is how you layout specs. Simple enough for anyone to read and understand, yet concrete enough to minimize interpretation variances. Love that change log.
No. This is exactly not how to layout specs. Specs should limit themselves in scope to the deliverables not the mechanisms that produced those deliverables.
It is reasonable to say you want a painting that is 4 x 8 and fits on your wall. But dictating that all paintings must be painted with Kolinsky Sable brushes is unreasonable.
4k 10-bit log EXR ACES deliverables, sure thing.
But please don't tell Roger Deakins he can't use that camera[1].
http://nofilmschool.com/2012/09/roger-deakins-talking-about-...
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#106That'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…
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Re: Netflix Originals: Production and Post-Production Requirements v2.1
#107Earlier quoted context omitted.
Camera Requirements 4K Resolution: • Camera must have a true 4K sensor (equal to or greater than 4096 photosites wide). Also notice that not a single UHD camera is on the approved list.
The cameras have to be 4K+; the final product can be UHD. See the "IMF Master" section.
I was talking about the source material from the beginning.
The fact that they allow UHD in the IMF master makes it even less reasonable, because downscaled 4K-> UHD footage will have lower resolution than the native UHD footage.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#108I 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.
For movies yes, but for TV at that time a lot was with video cameras.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#109...And that my friends, is how you layout specs. Simple enough for anyone to read and understand, yet concrete enough to minimize interpretation variances. Love that change log.
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…
They said this how you lay out specs, not this is which cameras you use
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#110To paraphrase Bill Gates (who never actually said the original, but anyway) 4K should be enough for everybody.
Having seen 1080p stretch and play nicely on a 30 feet cinema screen, and not being much worse looking from regular Hollywood titles even for front seat viewing, I don't see the allure of 8K even for "future-proofing".
Sure, monitors and tvs might improve their resolution in the future. But I don't se human eyes improving much (regarding angular resolution vs distance) or houses getting any bigger to fit a 30ft tv.
4K is good for reframing (cropping) and higher detail, but after some point enough is enough.