C300: Netflix and C300 mkII

If they commission you to shoot anything they’ll let you know which cameras are acceptable for programs they produce.
 
If they pay for it. Then you have to use one of the cameras on their list. If you want them to release. If its marketable. Then they buy so on and so on...
 
The list is kind of flexible. The camera and the codec may be approved but one also has to follow the other requirements listed.
 
Yes, though they do spell all that stuff out pretty well and it seems less wiggy than Disco and PBS a few years ago...

Also, recall that after Icarus won a prize at Sundance, it was acquired by Netflix and became an Original (rather than an acquisition). IIRC, Netflix spent money improving the grade, the graphics, and the mix... But I also recall that it was mostly shot on a Canon C300mkI (ie- a non-approved camera). And then the doc won an Oscar. So the lesson is: Use whatever camera you want and then win prizes at Sundance... Or follow what Netflix says.

A couple friends who've had relationships with Netflix found the process and people to be pretty reasonable. Though those were both on the doc side of things...
 
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I'm curious if ANY DVXer has ever been commissioned for a series or feature by Netflix?
A lot of discussion about their camera specs but I've never seen a post from someone here it applied to.
If you aren't commissioned for programming by them, shoot on anything you want. I've worked with several
who have shot projects that were bought by Netflix and none of them were burdened with Netflix camera specs.
Delivery master formatting, yes, but not camera requirements.
 
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puredrifting said:
I'm curious if ANY DVXer has ever been commissioned for a series or feature by Netflix?
A lot of discussion about their camera specs but I've never seen a post from someone here it applied to.
If you aren't commissioned for programming by them, shoot on anything you want. I've worked with several
who have shot projects that were bought by Netflix and none of them were burdened with Netflix camera specs.
Delivery master formatting, yes, but not camera requirements.
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Unfortunately people will continue to misconceive the idea that the Netflix camera list is only with regards to Netflix originals and not indepenent shows which are later pitched to Netflix.

Perhaps I should look at the bright side of this, though, as those uninformed clients who contact me requesting 4K spec with approved cameras (which I have) for their show they're planning to pitch to Netflix, perhaps they wouldn't have hired me if they didn't misunderstand that approved cameras only applies to originals and not independent shows that are planning to pitch to Netflix.
 
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Eric Coughlin said:
Unfortunately people will continue to misconceive the idea that the Netflix camera list is only with regards to Netflix originals and not indepenent shows which are later pitched to Netflix.

Perhaps I should look at the bright side of this, though, as those uninformed clients who contact me requesting 4K spec with approved cameras (which I have) for their show they're planning to pitch to Netflix, perhaps they wouldn't have hired me if they didn't misunderstand that approved cameras only applies to originals and not independent shows that are planning to pitch to Netflix.
Click to expand...

Ha, ha. so true. I've never seen any directive in our industry be so misconstrued, so many people who have expended so much energy, worry and stress over something that doesn't affect them.
Back before Netflix, if you were shooting something with the idea of pitching PBS, you had to shoot with PBS Red Book technical specs in mind, period, because it was the exact opposite, everything ever ran on PBS had to hew to their pretty exacting tech specs, whether
it was commissioned or licensed.

We're lucky with Netflix and the other OTTs, they'll buy whatever they want, shot on whatever it was shot on. The number of Netflix commissions is exceedingly low, it's really just a few dozen, connected production companies and producers that these specs actually affect.
If you research, it's just like Discovery, a lot of these producers generate multiple projects for Netflix too. If you have an in with them, you have an in. Even though their specs are a bit too specific, I don't blame Netflix, for them it's a business imperative as far as their original programming.
 
Netflix approved list extends down to very affordable cameras, so one has to have a serious reason for not using any of them.
 
I am not familiar with your talking head YouTube rants, but if I were a guessing man, which I am a guessing man, then I would guess that they weren't commissioned by Netflix and would not need to meet Netflix's guidelines for cameras to be used on Netflix commissioned projects.

I just watched The Ballad of Buster Scruggs by the Coen Brothers. Shot on the Arri Alexa Mini and XT in 2.8K ArriRAW and funded and distributed by Netflix. I suppose like Netflix's The Irishman by Martin Scorcesse, also shot on the Arri Alexa Mini at 3.4K RAW and Arri Arricam LT, if you're a big enough director you can ignore their camera specifications. Both movies were mastered in 4K, which really just means upscaled in post.
 
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Scorcese and the Coen Brothers can use Petzval glass on a Panavision 70MM film camera and Netflix will acquiesce and then try to figure out how to get any of the shots in focus.
 
DLD said:
Scorcese and the Coen Brothers can use Petzval glass on a Panavision 70MM film camera and Netflix will acquiesce and then try to figure out how to get any of the shots in focus.
Click to expand...

Always remember, Hollywood is just high school for older people. The captain of the football team can do whatever they want.
 
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