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Netflix Originals: Production and Post-Production Requirements v2.1

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Re: Netflix Originals: Production and Post-Production Requirements v2.1

#51

Post by dawnerd »

mmastrac wrote: post #3

This likely gives them confidence that if they were to remaster for a different color-space or higher resolution, that they could. For a 4K original shot in 8K, Netflix could send it back through the production process for a more reasonable cost and be able to launch the title quickly. I'm surprised they don't ask for VFX sources to be archived though. ST:TNG and Babylon 5 both suffered badly from loss of the origina…

They do say it isn't a full list of requirements to to talk to your content specialist. I imagine they'll want those files too.

Re: Netflix Originals: Production and Post-Production Requirements v2.1

#52

Post by smeyer »

Glyptodon wrote: post #50

I assume this doesn't particularly apply to documentaries and such?

Did you read the change log? The first item there implies the answer is yes:

>Unified Spec: With version 2.1, we made the decision to unify the two previously separate Features/Series and Docs/Coms documents into one overall set of requirements.

Re: Netflix Originals: Production and Post-Production Requirements v2.1

#53

Post by modfodder »

eponeponepon wrote: post #46

That'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…

For a film they green light, probably not. But if the film is already shot and they want it, I don't see that getting in the way.

Re: Netflix Originals: Production and Post-Production Requirements v2.1

#54

Post by matt-attack »

Glyptodon wrote: post #49
matt-attack wrote: post #30

Earlier quoted context omitted.

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.

It's like the old doctor joke, "then don't do that".

Re: Netflix Originals: Production and Post-Production Requirements v2.1

#55

Post by modfodder »

gcb0 wrote: post #38
robodale wrote: post #2

...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…

What cameras would you prefer shooting on that isn't listed? I'm not seeing anything that I'd prefer to shoot on (other than film).

Cameras like the Sony A7s or the Panasonic GH5 are great for the low budget film, but if Netflix green lights your project, you can afford much better cameras. Unless the project calls for really small and unobtrusive cameras, in which case Netflix would most likely approve the use of whatever camera best fits the project.

Re: Netflix Originals: Production and Post-Production Requirements v2.1

#56

Post by objclxt »

gcb0 wrote: post #38
robodale wrote: post #2

...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…

> I guess the company, or a few clever individuals, saw the "consulting" or equipment renting/financing potential

Not really, at that level everyone in Hollywood is renting their cameras anyway. Indeed, one of them cameras on that list (the Panavision DXL) is only available to rent, you can't buy it.

Re: Netflix Originals: Production and Post-Production Requirements v2.1

#57

Post by modfodder »

Glyptodon wrote: post #50

I assume this doesn't particularly apply to documentaries and such?

The Canon C series (100/300/500/700) are popular among documentary filmmakers. And this in mainly for projects produced by Netflix in the pre-production stage. Not for projects that have already been shot (but not yet distributed).

I'm in post on a project shot mainly on the Canon C100 (not on the approved list). We will be talking to Netflix at some point about picking up the project and I have no worries about in not being in 4k or shot by an approved camera. If they like the project and want it, the camera format won't matter.

Re: Netflix Originals: Production and Post-Production Requirements v2.1

#59

Post by modfodder »

fenwick67 wrote: post #8
cbg0 wrote: post #6

Earlier quoted context omitted.

60 FPS is undesirable for most movies/shows, as opposed to 24 FPS which creates a certain feel that most people prefer.

I think that's why he said "in the future", when people might eventually realize that 60FPS is good.

60fps is not yet good. The Hobbit at 48fps did not look as good as 24fps and Billy Lynn's long Halftime Walk at 120fps 3D was one of the worst looking films I've ever seen.

I do believe someone will crack this nut (as Cameron did with 3D). But it's going to take the right project and very creative filmmaking techniques. Personally, I think the first one that works will be a sci-fi in a sterile setting, so the HFR will work with the narrative, not be a distraction.

Re: Netflix Originals: Production and Post-Production Requirements v2.1

#60

Post by dave_sullivan »

happycube wrote: post #28
mmastrac wrote: post #3

This likely gives them confidence that if they were to remaster for a different color-space or higher resolution, that they could. For a 4K original shot in 8K, Netflix could send it back through the production process for a more reasonable cost and be able to launch the title quickly. I'm surprised they don't ask for VFX sources to be archived though. ST:TNG and Babylon 5 both suffered badly from loss of the origina…

The VFX elements for TNG were mostly kept, so it was mostly new post-production - it was DS9 that got bit hard, since there was much more CGI in the later seasons making an HD remaster too expensive.

I'll bet we see neural network-based upsampling (aka super resolution) being used for HD remasters in the near future.
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