I guess this is old news, but apparently if you get hired by Netflix to shoot anything and you want to use an Alexa.. good luck. You should get in line and wait for an Alexa65 when it's available.
Netflix Originals: Production and Post-Production Requirements v2.1
221–230 of 247 posts
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#222Can anyone break this down a bit for the lamen. What's the ACEs pipeline? Frame chart, power windows... And more?
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#223Earlier quoted context omitted.
At which point it will look like a youtube video to many, not like a movie in the cinema. High frame rates haven't been successful for several years, I don't see why this should change. Same for 3D. Maybe there will be another trend that enables it, but as of now 3D wasn't a great success.
> but as of now 3D wasn't a great success I too find 3D gimmicky often, but probably because the technology varies grandly between production, cameras and theater displays. On the other hand, there are 3D movies every day in every big cinemas and 3D TVs as well. So I'm not sure we can say that it wasn't a great success. > High frame rates haven't been successful for several years The number of cinemas that can displa…
> The number of cinemas that can display 48fps is not great, the number of cinemas that can display 60fps is zero?
any cinema that can do 3D can do 48FPS, at least.
RealD uses a single projector, with an electrically controlled circular polarising filter on the front.
This is why 3D in cinema for any kind of action is terrible, because you get juddering nastyness.
To get round this, some places project at 96 FPS(well I thought it was 144, but that might be the limit of the projector where I worke)
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#224Earlier quoted context omitted.
we've had >24fps for a number of years. It just doesn't look film-y. I suspect it won't be until VR that we'll see proper high framerate. Its just such an oddity that I don't think people will take the risk, given the expense in retrofitting cinemas. (plus virtually no TV is actually capable of properly doing 60fps) just one point: >Adding grain in post-processing is on the way out. thats with us to stay. most film g…
It doesn't look film-y is exactly the kind of excuses we used to hear in the past. The reality is that once you've watched movies in 48/60fps you can't really go back to slow framerate movies as you see them blurry and stuttering. I personally can't wait for 24fps to be a thing of the past. Especially for action movies.
Having worked in the industry, I've seen UltraHD with a proper setup. (with the 192 channel sound)
for documentaries and sports, yeah, its brilliant.
But for "film"? it sucks.
why?
Because it looks like a play, but with bad acting. Everything that we have learnt, subconsciously, about film, is based on 24 FPS. Any action of any narrative substance in a modern film is linked to a slowmo. This relies on 24FPS. Because things are smooth, we register it as different.
Now, I suspect where High framerate will be a thing is in VR. But thats a new medium, in the same way the talkies were.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#225Earlier 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…
The projects i am involved are only being paid $1mi by Netflix for long feature. It is hardly money that takes you out of low budget line. Granted, it is "free" 1mi since they still keep box office and rights....
If you are not filming in a place where equipment rental is free like the US, GH5's become very inviting as your second (and third) camera.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#226Earlier quoted context omitted.
Viewers will get over it. There were industry people opposed to sound, to color, to wide-screen movies, and to digital cameras. They're mostly over that. Adding grain in post-processing is on the way out. (Film is really dead. There are some directors still making noise about shooting on film, but it's digitized for editing.)
In the 2D animation industry it's mostly irrelevant since we are animating on ones, twos, and fours (every single, second, or fourth frame at 24fps) depending on what is happening in the shot. There is also not nearly as much tweening as you might expect. Sometimes animating on ones just cannot accurately give you the same effect as letting a persons brain fill in the missing info. Which is why watching The Hobbit in…
> there were details that would have otherwise just been a blur that became distracting
That's a good explanation which fits with my experience. I wonder, could that aspect of 48fps be mitigated by bumping up motion blur (i.e. lowering shutter speed) during such moments.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#227Earlier quoted context omitted.
Actually 24fps was chosen as a balance between audio fidelity and trying to save on film cost. I never said it was designed from conception to create that look. It's a great example of a happy accident, or serendipity.
Cool :) can we have 60fps movies now that the technology is here?
Yes! The Digital Cinema standards support: 24, 25, 30, 48, 50, 60, and 120fps. The distribution channels exist for these frame rates, the challenge is finding a way to use them in a way that doesn't look displeasing.
Ang Lee shot Billy Lynn at 120fps and Sony Pictures had every intention to distribute it in 120fps. In fact they created a version at 24fps for legacy sites, 60fps as well as a 120fps version. At the last minute the studio pulled the 2 HFR versions and released only the 24fps version (note: not pulled for technical reasons) I've seen 20 minutes of the 120fps version and personally did not like the look.
It remains to be seen if James Cameron can utilize HFR in a manner that the general public finds appealing. He has stated that the Avatar features will utilize high framerates in some way.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#228James Cameron ("Avatar", "Titanic", etc.) used to argue that high frame rate was more important than higher resolution. If you're not in the first few rows of the theater, he once pointed out, you can't tell if it's 4K anyway. Everyone in the theater benefits from high frame rate. This may be less of an issue now that more people are watching on high-resolution screens at short range. Cameron likes long pans over bea…
24 frames/second is a minimum. Their FAQ says you can shoot at a high framerate.
Therefore, the best way to interpret "Bitrate of at least 240 Mbps (at 23.98/24 fps) recording" is probably that if you shoot at 24 frames per second, then you must have a bitrate of 240 Mbps. Not that 24 frames/second is the only framerate allowed.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#229Earlier quoted context omitted.
It's amazing that a show that'll be watched by millions can be produced on a few thousand dollars worth of equipment. It brings the barrier to entry way down. It's still gonna cost upwards of $100,000 per episode, even for a very low budget small-scale thing, due to crew, locations, sets, insurance, etc. But, it's a really interesting time for television and film production. It's also interesting how in charge of thi…
My impression is that people generally don't even buy these cameras - they make a shooting schedule and then rent a camera (and associated lenses, mounts, dollies, etc)
Yeah, that's usually true. But, initial purchase price dictates rental price in a competitive market, which most of the hubs for filmmaking and TV production are. So, a $10k camera rental will cost an order of magnitude less than a $100k camera rental, all other things being equal (all other things aren't exactly equal, but still, it'll cost a lot less).
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#230Earlier quoted context omitted.
It doesn't look film-y is exactly the kind of excuses we used to hear in the past. The reality is that once you've watched movies in 48/60fps you can't really go back to slow framerate movies as you see them blurry and stuttering. I personally can't wait for 24fps to be a thing of the past. Especially for action movies.
Having worked in the industry, I've seen UltraHD with a proper setup. (with the 192 channel sound) for documentaries and sports, yeah, its brilliant. But for "film"? it sucks. why? Because it looks like a play, but with bad acting. Everything that we have learnt, subconsciously, about film, is based on 24 FPS. Any action of any narrative substance in a modern film is linked to a slowmo. This relies on 24FPS. Because…
Watch a bunch of 60fps movies and I assure you that you will look back at 24fps movies and think those look weird.