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The contagious visual blandness of Netflix

haleynahman.substack.com

131–140 of 479 posts

Re: The contagious visual blandness of Netflix

#131
post #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"?

How about Netflix stops showing me movies I’ve already watched at the screen expense of discovering new content? Just keep all those movies in the “Watch it again” banner and out from everywhere else?

Re: The contagious visual blandness of Netflix

#132

> where the movie was set, and I realized I had no idea I guess she missed the opening shot of Seattle?

I was triggered by the first few paragraphs of this piece. It was obviously and unmistakably Seattle throughout, with a few shots of Portland, OR for the hospital.

I find the rest of the piece as insightful and perceptive as the first paragraph.

The director is the same that made Malignant, which was also set in Seattle.

P.S. the real reason M3gan felt empty is because most of the gory parts were cut to achieve a PG-13 rating.

https://www.polygon.com/23546390/megan-sequel-release-date-u...

Re: The contagious visual blandness of Netflix

#133

Earlier quoted context omitted.

Can you do an 8K remaster of a movie shot in 4K digital? With film you can just rescan the negative with a higher resolution.

Yes? There's a ton of AI upscales coming out and they're becoming really good; plenty examples on youtube including iconic scenes from iconic movies. Perhaps another 12 months max before AI upscales go from enthusiast/amateur remaster community to commercial.

Having an AI generate 75% of the movie pixels that weren’t there in the original work doesn’t really count as a ‘remaster’ imo

Re: The contagious visual blandness of Netflix

#134
The author doesn't address that blockbuster movies have always found a "trendy look" and run with it. Is what she claims Netflix is doing any different than any other popular cycle in filmmaking?

"It's actually, specifically, about how movies these days look. That is, more flat, more fake, over-saturated, or else over-filtered, like an Instagram photo in 2012, but rendered in commercial-like high-def."

The "2012 Instagram filter" was pulled from the same playbook as the popular movies of the 2000-2010 era. However, the author isn't arguing that this trend has been taken too far; just stating that everything looks bland and the same. Of course, it does. Only some movies are original and try something new because audiences like familiar things. Successful visual storytelling methods are recycled just the same as scripts.

When comparing "When Harry Met Sally" and "Moonshot" the author says,

"... The latter is more polished and "perfect," but to what effect? It looks strange, surreal, both dim and bright at the same time. Everything is inexplicably blue or yellow, and glows like it's been FaceTuned. Meg Ryan and Billy Crystal, meanwhile, are sitting in a downtown New York deli that actually exists. The image is a little grainy, the lighting falling somewhere in the normal daytime range, and they look like regular human beings. ..."

One is a science fiction film the other is set in a New York deli. So they both don't want to evoke the same feeling in the setting to the audience.

I had to stop reading when the author said,

"At the risk of using an anonymous Redditor as an expert, lol, I found a comment under a thread called "Why do movies look so weird now?" that captures a lot of these same complaints:"

Then she goes on quote the Reddit comment. LOL right? The Redditor's comment was a single paragraph and summed up the author's entire point of view. She just went on to write a longer post that failed to say anything additional. Read the Reddit comment she quoted and skip the article.

Re: The contagious visual blandness of Netflix

#135
post #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"?

>On a related note, why is Netflix's interface so locked down? Partly this the fault of Apple. They championed the idea that UI is an artistic expression and therefore 'configurability' and 'customizability' is akin to heresy. This view has now infected many existing products. Part of the reason why many companies jumped on this bandwagon is also because 'customizability' is hard(er) to build in, and certainly more e…

Ironically, Apple customization has become really good. Not in terms of tweaking the look, but the functionality tweaks like mentioned above? iPhone is super customizable.

Re: The contagious visual blandness of Netflix

#136

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.

It’s such an odd choice too. HDR shows nicely on HDR displays or when combined with a well-chosen exposure level (such that the relevant parts of the shot are visible) on an SDR display.

Instead, it sometimes seems like the dynamic range is compressed to just fit mostly everything on an SDR display? Do directors not pay attention to dynamic range anymore and then just “fix” it this way in post? Surely the old timers at least would still how know to do it.

Re: The contagious visual blandness of Netflix

#137
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.

I agree that higher is objectively better and more realistic. I think in a few years we will start seeing media catch up with this.

The current trend is higher refresh screens. All new phones support 120Hz, and next generation MicroLED TVs will support at least 240Hz. MicroLED TV and phone screens have practically no refresh rate limit (nanosecond response times[1]), so they can easily be made to update at the limit of human perception (1000Hz or more[2]). The only bottleneck is that we are waiting for better HDMI or DisplayPort bandwidth.

Another trend we are seeing is vastly improving AI upscaling (and interpolation). We are not necessarily far from the point where the filmmaker can no longer make the choice for you, and if you want to watch a Nolan classic at hundreds of FPS, you can simply run an AI frame interpolator to do so with very few visual artifacts. See NVIDIA DLSS for a current real-time example of both AI upscaling and interpolation for video games[3].

Related to the AI improvements are improvements in compression. This is not really something that is seen yet but the level of semantic understanding that AI algorithms have should let them far surpass traditional "dumb" (manually human-programmed) compression algorithms. This will make you realistically able to store many 16k 12-16bit 1000FPS+ HDR films, and can also be used for increased transfer bandwidth efficiency.

Lastly is the impact of VR technology. Immersive viewing experiences, like watching the Avatar movies in 3D with VR goggles, are vastly more immersive at higher frame rates. As VR tech becomes better and more widespread this is another incentive to provide high frame rate media to the public.

[1] https://www.pcgamer.com/samsungs-new-microled-tvs-are-five-m...

[2] https://blurbusters.com/blur-busters-law-amazing-journey-to-...

[3] https://www.nvidia.com/en-us/geforce/news/dlss3-ai-powered-n...

Re: The contagious visual blandness of Netflix

#138

Earlier quoted context omitted.

> Why can't I say "never show me this show again, I'm never going to watch it"? Maybe someone is paying Netflix to suggest this movie (edit:content) to you ?

I've never heard this is the case, and if there was a secret deal that this was the case I think it would have been leaked years ago, but also it would be difficult for this to be the case and not have it be public knowledge because accounting details of large companies are something that is often inspected by news organizations and others on the lookout for something to complain about. But maybe it can be that it is…

> … accounting details of large companies are something that is often inspected by news organizations and others …

Which is why Apple withholds fabulous amounts of detail in their financial disclosures.

Re: The contagious visual blandness of Netflix

#139
post #98
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…

Digital is vastly superior to film for photography. I shoot both, sometimes side by side. What differs is that film is more pleasing to the eye without significant post processing, digital requires it. But in both cases, if you get your photo in the viewfinder before you get in the camera, digital always comes out better in the end. There’s simply so much more information captured, and you can in fact get more stops…

Unless you're illuminating through slide film with a somewhat pure white light source, film also requires significant post-processing.

Re: The contagious visual blandness of Netflix

#140

I've said it and I say it again, most or some of the reasons why it looks weird to us (people who grow up with a TV) come down to camera quality. Most TV camera setups were about lighting and the needed amount. Since a few years cameras are so good, we have almost real blacks and real whites sometimes even in the same frame and its naturally filmed and does not look like total shit. We have crazy aperture sizes and w…

In other words: dynamic range.

That late 80's film is set up at daylight in a brightly lit joint. So that cameras could actually record it. The other scene is in a dimly lit dining room with directly visible light sourcee (that don't saturate). You can bet that 80's film could not have captured this kind of low-light high-contrast scene.

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