Netflix’s Media Production Suite • Hacker News Board

Re: Netflix’s Media Production Suite

#151

Post by fastball » Wed, Apr 02, 2025, 3:13 PM UTC

crazygringo wrote: post #148

fastball wrote: post #145

Earlier quoted context omitted.

Two problems with this argument / framing: 1. Consumers frequently don't know what they want, and will consume whatever is placed in front of them. Implying the consumption of Netflix shows (or other media) is a conscious choice they are making seems disingenuous to me. You see the same with doom-scrolling TikTok or Twitter (or even HN). Frequently it is less of a choice and more of a compulsion. 2. Even when they ar…

No, because people usually do know what they want in terms of TV and movies. They've been watching their whole life and know exactly what they like generally and what they don't and what they're in the mood for tonight. This is precisely why Netflix's personalization is so key, because people won't consume whatever is in front of them. People even rotate between streamers precisely to watch the specific shows they lo…

So on the one hand you admit that IG or TikTok are things where people literally consume whatever is in front of them, but when it's Netflix this no longer applies? Why?

And I never suggested preventing people from watching what they want to watch.

Re: Netflix’s Media Production Suite

#152

Post by pier25 » Wed, Apr 02, 2025, 4:37 PM UTC

mavhc wrote: post #150

pier25 wrote: post #119

Earlier quoted context omitted.

Attack of the Clones (2002) was shot fully digital with an early Cine Alta camera. https://en.wikipedia.org/wiki/CineAlta

So early the film isn't even in 1080p

it's not?

Re: Netflix’s Media Production Suite

#153

Post by dmbche » Wed, Apr 02, 2025, 6:35 PM UTC

pier25 wrote: post #152

mavhc wrote: post #150

Earlier quoted context omitted.

So early the film isn't even in 1080p

it's not?

From a cursory search it was recorded at 1080p but the aspext ratio was 16:9, and the final.movie was to be 2.41:1, which means they had to crop the image, meaning less than 1080p.

Re: Netflix’s Media Production Suite

#154

Post by trunnell » Thu, Apr 03, 2025, 5:38 AM UTC

gamblor956 wrote: post #122

fidotron wrote: post #98

Earlier quoted context omitted.

Netflix get away with it because they own the result at the end of the process. If you were to suggest these workflows to other studios they'd balk at the idea of having the raw stuff being uploaded to the cloud etc. If they tried selling this as a solution do we think people outside Netflix would buy and use it? One of the people I worked with that is now at Netflix on this stuff was so violently opposed to not owni…

The major studios use cloud services all the time. For example, Paramount uses AWS. Disney has its own internal cloud system but also uses a combination of external clouds like AWS. The resistance to cloud services is based on preventing leaks, not opposition to technology. And in specific response to your comment: Netflix's "technology" is just a content management system. They're just reinventing a wheel that many…

“major studios do use some cloud services” is not the issue. The problem being addressed is that the “script to screen” process is typically an antiquated mishmash of offline-first vendors. Netflix reinvented that with a cloud-first process.

“Digital-first production” can mean lots of things, so when you say Disney, Paramount, etc did this a decade ago, you’ll have to be more specific. Do you mean an end to end digital process? That’s not what this is about. Have you worked on a Netflix production? It’s night and day different from the studios you mentioned.