I prefer getting 90s TV shows instead of this "original material".
Netflix Originals: Production and Post-Production Requirements v2.1
41–50 of 247 posts
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#42Earlier quoted context omitted.
I don't understand your argument… if the analogy were true, listening to a CD or streaming from the web would make most people think the recording is "fake" or artificial, longing to listen to it on vinyl. Which I guess most people probably haven't had the chance to compare to CD yet.
Well, lots of people do prefer vinyl. One of the things that soured me on the whole "audiophile" thing that I did for a while was the fact that some of my favorite music sounds worse due to the high quality of the playback. Prince's 1999 does not sound good on high quality headphones from a digital source. That and the money and snake-oil. I think some of this will change with time as people get more used to the look…
Thanks for sharing that insight. I guess that in terms of perception and experiencing – at least when it comes to what consumers are used to –, sound is a different beast altogether. And then you have to differentiate music recordings from sound production for cinematic content, where the latter is of course more about recreating real life.
It's funny that 2D stereo still works so well. Perhaps that will also change again, with binaural recordings and object-based audio, but that's something I don't see the music industry using anytime soon.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#43...And that my friends, is how you layout specs. Simple enough for anyone to read and understand, yet concrete enough to minimize interpretation variances. Love that change log.
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…
They did say that additional cameras could be approved on a case-by-case basis. And anyway, professional shoots and productions aren't hobbyists. They don't want "interesting" cameras, they want proven, reliable cameras.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#44Best pricing info I can find quickly: * c300 mk ii 6998 * c500 18995 * c700 28000 * Varicam 35 12949 * caricam lt 16500 * red dragon 32520 * red weapon 49955 * red helium 49500 * panavision dxl cant find * sony f55 28990 * sony f65 cant find * sony fs7 12949 * arri alexa 65 cant find * ursa mini 4.6k 5995 * ursa 4.6k 4995
ARRI Alexa 65 and Panavision DXL cameras are not for sale. They are only available for rental from ARRI Rental and Panavision respectively.
Sony don't manufacture the F65 anymore, so you won't find a current list price. It originally retailed for $65k for the camera body, and $20k for the SR-R4 recorder, so basically $85k. [1]
[1] http://nofilmschool.com/2011/09/sony-officially-prices-f65-t...
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#45I always find the idea of future proofing interesting here. Like the way Seinfeld reruns are in HD even though the technology didn't really exist at the time--because they shot a TV show in actual film and then could re-scan it later to keep up with modern tech. Crazy expensive but obviously given the value of those reruns the cost made sense.
I don't think they shot Seinfeld in 35mm to be future proof. It was the best way to film at the time.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#46That's beautifully clear - I wish I worked with specifications so lucid. I've got almost no real knowledge of the field it's governing, but I believe I would know how to successfully shoot some footage that Netflix would accept off the back of reading it.
One thing intrigues me though - albeit likely a function of my lack of knowledge on the matter - do these requirements implicitly rule out shooting on film for Netflix?
(I mean, I'm sure that ${hollywood-bigshot} could negotiate, but for Joe Public..?)
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#47I always find the idea of future proofing interesting here. Like the way Seinfeld reruns are in HD even though the technology didn't really exist at the time--because they shot a TV show in actual film and then could re-scan it later to keep up with modern tech. Crazy expensive but obviously given the value of those reruns the cost made sense.
Nitpick: HDTV tech came about, depending how you count, in ~1980. There were lobbying efforts to bring it to the US in 1987. Seinfeld came out 1989.
References: http://ecee.colorado.edu/~ecen4242/marko/TV_History/related%... http://electronics.howstuffworks.com/first-hdtv.htm
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#48That's beautifully clear - I wish I worked with specifications so lucid. I've got almost no real knowledge of the field it's governing, but I believe I would know how to successfully shoot some footage that Netflix would accept off the back of reading it. One thing intrigues me though - albeit likely a function of my lack of knowledge on the matter - do these requirements implicitly rule out shooting on film for Netf…
Even ${hollywood-bigshot} = Bong Joon-Ho who made a movie for Netflix that premiered at Cannes film festival wasn't allowed shoot on film:
http://variety.com/2017/film/news/bong-joon-ho-working-with-...
At first, Darius Khondji, my cinematographer, and I wanted to shoot ‘Okja’ on 35mm, but Netflix insisted that all Netflix originals be shot and archived in 4K,” Bong said in an interview with Variety
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#49Earlier quoted context omitted.
I think that's why he said "in the future", when people might eventually realize that 60FPS is good.
24fps is a form of impressionism, plain and simple. An engineer claiming that 60fps is better simply because it offers realism, is as naive as claiming that a hi-res photo is obviously better than a Van Gogh because it "has more detail". Can you imagine commenting on an impressionistic painting and remarking, "well it's nice, but if the painter has used finer brush strokes we'd see more detail and it'd be more life-l…
It's also a way making me feel like I'm going to have a seizure every time they do a horizontal pan.
Re: Netflix Originals: Production and Post-Production Requirements v2.1
#50I assume this doesn't particularly apply to documentaries and such?