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The contagious visual blandness of Netflix

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Re: The contagious visual blandness of Netflix

#71
post #20

The number one thing that bothers me the most in the "netflix aesthetic" is the weird looking background bokeh that every scene seems to have. It looks like a cheap gaussian blur filter applied in post production and adds to the fakeness. This is probably due to the optics in some of the latest Red digital cameras, but it's still not convincing. Kinda like 48 vs 24 FPS.

I will never accept the hate for 48 FPS. 24 FPS looks like garbage. Panning shots are a stuttery mess. 24 FPS looks somewhat okay when the camera is still and only the people in it are moving, but the ridiculous choppiness ruins any moment with camera movement. A higher refresh rate is simply an objective improvement. I don't care that you associate it with bad soap operas.

What you're saying is equivalent to:

"Impressionism is objectively worse than realism. Look at a Van Gogh painting, there's hardly any detail. It looks coarse, and grainy and the brush strokes are so wide I can hard tell what's what. Starry Starry Night would be objectively such a better painting if he had just reach for a finer brush and included more detail. Adding more detail would have made it far more realistic, and thus objectively better"

You see your premised is founded on the false pretense that realism is the goal. The Cinema frame rate of 24fps (while not chosen to achieve this, but by a happy accident) happens to be at that perfect balance between too choppy and realism. It's just off from reality enough to trigger that "impressionistic response" in our brain. The same thing that happens when we look at a Monet painting. Out brains find impressionism appealing because it's specifically not what our eyes see in the real world. It's an interpretation. It's someone else's view of the world. More detail is simply not the goal.

24fps Cinema is impressionism.

Re: The contagious visual blandness of Netflix

#73
post #4

It's hinted at here, but film produces a much better overall look than digital. It is just that digital is way cheaper and easier to work with. There is certainly more versatility in what you can create in post production with digital but the base look of what is captured is more beautiful on film, and this is the same with photographs. Look at high quality old images captured on film, they blow most digital images o…

Film has become vastly inferior to digital both in stills and cinema if we're talking about technical aspects like dynamic range and colour accuracy.

The problem is, just like with CGI which has gotten pretty good at modelling light transport, it feels off because it's too clean and clear. Digital it's too good at capturing reality. Film introduces a bunch of artefacts and limitations that 'look' nicer than accurately captured reality. In part this might be because most of us grew up watching cinema styled that way, in part because it leaves more room for the brain to compensate for those limitations with imagination.

With the advent of easily available stylisation AI trained on film, we should see digital close that gap any time now.

Re: The contagious visual blandness of Netflix

#75

One aspect of this I’ve talked about before is the phenomenon of the “permanent golden hour”: what used to be a narrow sliver of time when you could get the most dramatic lighting is now easily replicated in post. So as a result tons of movies have all their outdoor shots set in this incredibly unnatural-looking light that really pulls me out of the movie. Like I remember the banker in Switzerland scenes in The Wolf…

This is also proliferated by the new HDR formats (HDR/HDR+/Dolby Vision etc). Having everything perfectly exposed in a frame looks totally unnatural, real scenes don't look like that.

Re: The contagious visual blandness of Netflix

#77
post #56

Earlier quoted context omitted.

Netflix added more than 7 million new subscribers in the last 3 months, bringing the number of households to over 230 million worldwide. And that's just people who are paying . Many people share their accounts so we can assume another few million people who regularly watch but don't pay. https://variety.com/2023/tv/news/netflix-subscribers-earning...

But if you look at the chart two years, you'll see how even if it's building up, it's still a steep drop compared to their high point circa in 2021.

That's because of the change in interest rates and the dollar, economy-wide. If you think a stock is doing poorly, you have to show its alpha vs the market.

Also, Disney is more than a TV channel.

Re: The contagious visual blandness of Netflix

#78
On a related note, why is Netflix's interface so locked down? Why would it be bad for me to turn off autoplay for trailers? Why can't I say "never show me this show again, I'm never going to watch it"? And why, in this age of AI, and they still putting white text over a white background? That last one, especially, made me say "do people at Netflix eat their own dogfood"?

Re: The contagious visual blandness of Netflix

#79
post #20

The number one thing that bothers me the most in the "netflix aesthetic" is the weird looking background bokeh that every scene seems to have. It looks like a cheap gaussian blur filter applied in post production and adds to the fakeness. This is probably due to the optics in some of the latest Red digital cameras, but it's still not convincing. Kinda like 48 vs 24 FPS.

I will never accept the hate for 48 FPS. 24 FPS looks like garbage. Panning shots are a stuttery mess. 24 FPS looks somewhat okay when the camera is still and only the people in it are moving, but the ridiculous choppiness ruins any moment with camera movement. A higher refresh rate is simply an objective improvement. I don't care that you associate it with bad soap operas.

The benefit for 48fps is mainly for smoother special effects. People are so used to 24fps now that the stuttering you're talking about is part of the collection of characteristics that people call "cinematic".

It's not a video game, you're not in control, so the standards are different.

In a high CGI film, like Avatar 2 for instance, where the entire film is mainly CGI, then shooting in 48fps has an advantage and looks much better. You simply have more clear information on the screen per second that way, which helps for 3D and for CGI detail.

The only issue really is that camera movement needs some experimentation to get right. Some movements in 48fps are too quick or too smooth and this makes them jarring to general audiences who are used to 24fps. Actors also move a certain way for 24fps (they slow down certain motions for instance), so they'll need to fiddle with that as well in 48fps.

Re: The contagious visual blandness of Netflix

#80
post #20

Earlier quoted context omitted.

I will never accept the hate for 48 FPS. 24 FPS looks like garbage. Panning shots are a stuttery mess. 24 FPS looks somewhat okay when the camera is still and only the people in it are moving, but the ridiculous choppiness ruins any moment with camera movement. A higher refresh rate is simply an objective improvement. I don't care that you associate it with bad soap operas.

I'm not sure what you think "objective" means, but typically it means independent of experience. When you say "objective improvement," in what sense, independent of experience, is higher frame rate better? Obviously there are 2x the visual data because there are 2x the frames, but that's borderline tautological.

I'm confused.

You don't think having 2x the visual data is better independent of experience?

> Obviously there are 2x the visual data because there are 2x the frames, but that's borderline tautological.

Isn't any straight forward application of a dictionary definition borderline tautological?

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