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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

#71

Post by frankchn »

martinbalsam wrote: post #65
modfodder wrote: post #55

Earlier quoted context omitted.

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 wh…

I would say that the Arri Alexa SXT is a better camera than most of the cameras listed there.

I suspect the Arri Alexas are not on the list because they do not have "a true 4K sensor (equal to or greater than 4096 photosites wide)." The SXT has a 3404 x 2202 resolution when used in open-gate format.

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

#72

Post by pflats »

olegkikin wrote: post #70

I'm surprised they don't allow UHD resolution (3840×2160). There are probably a few people in the world who can reliably tell the difference with true 4K. An average person can't even tell the difference between 720p and 1080p.

They do allow it.

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

#73

Post by nbm »

martinbalsam wrote: post #65
modfodder wrote: post #55

Earlier quoted context omitted.

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 wh…

I would say that the Arri Alexa SXT is a better camera than most of the cameras listed there.

The Alexa SXT doesn't match the first requirement - a true 4K sensor. It has a 3424x2202 sensor.

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

#74

Post by olegkikin »

pflats wrote: post #72
olegkikin wrote: post #70

I'm surprised they don't allow UHD resolution (3840×2160). There are probably a few people in the world who can reliably tell the difference with true 4K. An average person can't even tell the difference between 720p and 1080p.

They do allow it.

    Camera Requirements

    4K Resolution:
    • Camera must have a true 4K sensor 
      (equal to or greater than 4096 photosites wide).

Also notice that not a single UHD camera is on the approved list.

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

#75

Post by stinkytaco »

slhck wrote: post #42
stinkytaco wrote: post #33

Earlier quoted context omitted.

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…

2D stereo is all about the equipment. We have two ears, headphones have two speakers and cars have two sides (I realize there are often 4 speakers in a car, but the layout impedes the sounds). Considering so few people consume music at home in a high quality setup, but rather on the go with low quality equipment, I don't see that changing. Interesting that the long running debate about Beatles in stereo vs. mono is centered largely around the fact that the music was mixed to be listened to on a mono phonograph speaker that most people had. As far as we've come, low quality is still how music is delivered.

There are some good DVD-A or SACD's with 5.1 audio, but they are niche and expensive.

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

#76

Post by dhartsfield »

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.

Maybe they could find the guy that put this together:

https://www.youtube.com/watch?v=Lymh5p6UbbU

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

#77

Post by ahakki »

kuschku wrote: post #64
alkonaut wrote: post #34

Earlier quoted context omitted.

One of the reasons for higher FPS is that it gives artistic freedom to make panning shots etc. High speed panning in 24fps is horrible. Maybe it would be possible to shoot at 60fps or even higher and then dynamically adjust the frame rate to keep the 24fps but smooth some scenes as required?

The issue is simply motion blur. You can just shoot in 60fps with a shutter as you’d use for 24fps, you get all the feeling, all the motion blur, and none of the chopiness.

That is simply not possible. While it is possible to render a digital scene at 60fps with any arbitrary shutter speed (e.g. 1/48s the default 180° shutter used in 24fps film productions), it is not possible in real life with a real camera. There are only 48 48ths in each second and you will not be able to start a new frame while you are still capturing the one before it. 60fps limits your availible shutterspeeds to a theoretical maximum of 1/60s or faster. At 24fps you are theoretically limited to 1/24s. In practice there will be a delay between frames so oth numbers will be slightly smaller.

Film or video shot at high framerates will necessarily have to be shot at higher shutter speeds than films shot at a lower fps. This has an obvious visual impact on the image.

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

#78

Post by pflats »

olegkikin wrote: post #74
pflats wrote: post #72

Earlier quoted context omitted.

They do allow it.

Camera Requirements 4K Resolution: • Camera must have a true 4K sensor (equal to or greater than 4096 photosites wide). Also notice that not a single UHD camera is on the approved list.

The cameras have to be 4K+; the final product can be UHD. See the "IMF Master" section.
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