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Netflix’s Media Production Suite

netflixtechblog.com

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Re: Netflix’s Media Production Suite

#111

Post by okdood64 »

BhavdeepSethi wrote: post #53

15 years ago, the first start up I worked for provided APIs for music streaming in India. One of the founders who managed all infra was in US, and so the servers (bare metal) were in LA. I still find it amusing, that it was cheaper (and faster) just to fly to India, buy bunch of portable hard drives, upload the media, fly back to US and upload the data to the file server, than uploading the media directly from India…

Mailing hard drives of LARGE amounts of data was relatively common as recently as the mid 2010s.

Re: Netflix’s Media Production Suite

#112

Post by tuna74 »

dkh wrote: post #77
_m_p wrote: post #29

I was reading about the cinematography of _Collateral_, possibly the first large budget feature film to be shot digitally, and one of the issues back in 2004 when it was made was the amount of storage required for digital video and the risk of not being able to retrieve the images from the data stores: > “We did massive testing with the hard drives, and everything was great, and then we had an experience where we sho…

Collateral was not the first fully digitally shot feature film. In fact, Collateral was not even fully digital. (The first major , all-digital, HD feature film was Attack of the Clones , but there were other fully-digital feature films before that, just not as major, and/or not always HD. Robert Rodriguez' Once Upon a Time in Mexico (2001) was fully digital.) But you are right that Collateral did do something very ne…

"But you are right that Collateral did do something very new/unusual at the time, and that was shooting scenes in higher frame-rates than 24, and mixing multiple frame rates in a film. (This might not sound like much, but until this time, pretty much every film was 24fps for the previous eighty years and it had a very specific look that everyone's eyes/brains were conditioned for, unbeknownst to them.)"

Why was certain scenes in Collateral filmed in other frame rates than 24 fps (unless you are doing slow motion of course)? AFAIK it was never projected/shown in anything else than 24 fps.

Re: Netflix’s Media Production Suite

#113

Post by pbalau »

okdood64 wrote: post #110
_m_p wrote: post #29

I was reading about the cinematography of _Collateral_, possibly the first large budget feature film to be shot digitally, and one of the issues back in 2004 when it was made was the amount of storage required for digital video and the risk of not being able to retrieve the images from the data stores: > “We did massive testing with the hard drives, and everything was great, and then we had an experience where we sho…

> large budget feature What does this mean?

A film that requires lots of resources in order to be made?

Re: Netflix’s Media Production Suite

#114

Post by herculity275 »

okdood64 wrote: post #110
_m_p wrote: post #29

I was reading about the cinematography of _Collateral_, possibly the first large budget feature film to be shot digitally, and one of the issues back in 2004 when it was made was the amount of storage required for digital video and the risk of not being able to retrieve the images from the data stores: > “We did massive testing with the hard drives, and everything was great, and then we had an experience where we sho…

> large budget feature What does this mean?

You parsed it wrong - it's a large budget feature film. A feature film is a theatrical movie too long to be called a short film: https://en.wikipedia.org/wiki/Feature_film

Re: Netflix’s Media Production Suite

#115

Post by cush »

dkh wrote: post #73
gcanyon wrote: post #33

I read through that whole article thinking, - I wonder what the UI looks like compared to tools I use now - I wonder if there will be a free tier, since my video needs are modest It never occurred to me until I reached the end that this wasn't a "enjoy this tool we made" post, but instead a "look how awesome we are" post. :-/

For people in within the industry or the tech side of it, Netflix’s engineering blog has always been fascinating and extremely useful because of the insane amount of stuff in this space they have solved or reworked. They have put more into tech side of modern-day TV/film than anybody else, and it's not even close. In a technical/workflow sense, working on a Netflix show is unlike working on any other. I have my issue…

> They have put more into tech side of modern-day TV/film than anybody else, and it's not even close

I feel Disney is up there too they just don't blog about it

Re: Netflix’s Media Production Suite

#116

Post by dagmx »

red-iron-pine wrote: post #108
dagmx wrote: post #52

Earlier quoted context omitted.

I know quite a few people who worked on this and unfortunately this is effectively the product. It’s a company that prioritizes micro services and enterprise style crud apps internally. I’ve seen so many of their presentations and it’s like an IBM demo. It’s data , data, data. That’s their approach to everything.

they're streaming fantastic quantities of movies in HD, constantly. why wouldn't data data data be their approach? that and churning out design-by-keyword visual media

It’s fine, but it doesn’t make for nice to use tools or even interesting tools, which is what the person I responded to was talking about.

CRUD apps are great for what they are. Exciting they are not.

Re: Netflix’s Media Production Suite

#117

Post by pests »

gcanyon wrote: post #33

I read through that whole article thinking, - I wonder what the UI looks like compared to tools I use now - I wonder if there will be a free tier, since my video needs are modest It never occurred to me until I reached the end that this wasn't a "enjoy this tool we made" post, but instead a "look how awesome we are" post. :-/

For your first point, you can see it in the videos they have embedded.

Re: Netflix’s Media Production Suite

#118

Post by youngNed »

cush wrote: post #115
dkh wrote: post #73

Earlier quoted context omitted.

For people in within the industry or the tech side of it, Netflix’s engineering blog has always been fascinating and extremely useful because of the insane amount of stuff in this space they have solved or reworked. They have put more into tech side of modern-day TV/film than anybody else, and it's not even close. In a technical/workflow sense, working on a Netflix show is unlike working on any other. I have my issue…

> They have put more into tech side of modern-day TV/film than anybody else, and it's not even close I feel Disney is up there too they just don't blog about it

I find it weird that people don't think of the BBC as a tech company, from their work on microphones way back in the day, to launching iPlayer (before youtube, and launching on christmas day iirc) to regular live streaming of huge events in 4k (something netflix has struggled with). But yet they are never recognised for their engineering.

Re: Netflix’s Media Production Suite

#119

Post by pier25 »

dmbche wrote: post #56
pier25 wrote: post #51

Earlier quoted context omitted.

Weren't the Star Wars prequels the first big digital productions?

Phantom menace used some (pioneering) digital shots but Collateral is fully shot on digital from my understanding

Attack of the Clones (2002) was shot fully digital with an early Cine Alta camera.

https://en.wikipedia.org/wiki/CineAlta

Re: Netflix’s Media Production Suite

#120

Post by finnthehuman »

youngNed wrote: post #118
cush wrote: post #115

Earlier quoted context omitted.

> They have put more into tech side of modern-day TV/film than anybody else, and it's not even close I feel Disney is up there too they just don't blog about it

I find it weird that people don't think of the BBC as a tech company, from their work on microphones way back in the day, to launching iPlayer (before youtube, and launching on christmas day iirc) to regular live streaming of huge events in 4k (something netflix has struggled with). But yet they are never recognised for their engineering.

I don't think they're not recognized for it, they just don't brand themselves as it.

For as long as broadcasting has been a thing, major broadcasters were involved in pushing the technology forward. For most of it's history the American network NBC was a subsidiary of the Radio Corporation of America. But NBC's brand is not tech, they want to consumer to associate the gliz of the picture.

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