Netflix Originals camera requirements

What cameras do you think will be added to the list?
The C200 and the EVA1?

I would think the FS5 with an external recorder recording in 4K RAW would also be acceptable.
 
Every time I see this kind of thing, it just gets me scratching my head. Netflix was born a technology company...they see everything in terms of specs. If Picasso were alive today, would Netflix tell him to create art on the 12.9" iPad because their crowd views it online?

I know...losing battle. Just ranting.
 
4K streaming is a big selling point for Netflix visavis the OTA networks and it will be even bigger in the future. That's why Alexa isn't on it while Alexa65 is.

I am sure that if a big time director/star wanted Alexa specifically and insisted on Alexa specifically that the allowable camera list would be expandable. On the other hand, Netflix is powerful enough to get him the 65 version too.
 
Netflix has a technology team that evaluates the different gear to be used in production & post on their projects. They have certain minimum standards, many based upon the idea of future needs and continuing return on their library. Netflix does not simply go by specs, but actually tests the products for evaluation in deliverables. VariCam cameras deliver beyond the minimum specs required, and have been very popular for Netflix original production. Some other cameras not so much. Netflix will allow other cameras on a case-by-case basis.
 
Like I said on another thread. They'll take something if they think it'll make them money.

I'll use a different example here. When Blair Witch was picked up. Other buyers laughed at the guys who bought it. But they knew they could market it and make money.

I just don't think at the time they knew they where going to make that much. :)
 
When you are a production company putting up 20 to 60 million for a feature you are producing and your business is streaming content, you are going to future proof your investment...as Netflix has demonstrated repeatedly, they are not a naive company...I would say it's actually the studios that are becoming caught up in producing sequels of superhero movies for 13 year old boys, and fairly little else that's relevant, that will be left behind. For streaming already produced content, their criteria is of course completely different...anyway, if one pitches them, and they decide to produce a project, $40,000 worth of camera package is hardly going to stand in the way of getting one's project done...their money equals their rules!
 
Netflix has stringent standards because they are both a producer of content as well as a distributor. As such they have to look at the long term. In general they want 4K in either RAW or 444 Log, and usually at least 12-bit. There's a lot of leeway in this and as I said they evaluate cameras as well as individual production needs, but in general you should expect to use something from their approved list if you want to make product for them. Frankly, unlike other outfits, I find Netflix to be quite level headed and well considered in this regard. There are some places that use old deliverable standards culled from various sources that are actually at odds with one another and don't make much sense.
 
Mitch Gross said:
Netflix has a technology team that evaluates the different gear to be used in production & post on their projects. They have certain minimum standards, many based upon the idea of future needs and continuing return on their library. Netflix does not simply go by specs, but actually tests the products for evaluation in deliverables. VariCam cameras deliver beyond the minimum specs required, and have been very popular for Netflix original production. Some other cameras not so much. Netflix will allow other cameras on a case-by-case basis.
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Agree completely with you here...IMO Netflix will continue to put the Varicam on the map, as they up the percentage of their own produced content...and that will in turn translate into more theatrical releases. As more DP's use the Varicam, word gets around.
 
David_Manning said:
they see everything in terms of specs. If Picasso were alive today, would Netflix tell him to create art on the 12.9" iPad
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I get what you're saying, but it's nothing new. The Hollywood studios of yore also usually required that you to shoot on 35mm.

I bet even Picasso preferred name-brand paints and brushes. Technical excellence and artistic vision go hand in hand, and every artist would prefer also to be technically excellent. But like you said, Parkinson's Law of Triviality tempts every artist to overfocus on the technical and not enough on the vision.
 
Honestly, Netflix requiring cameras that deliver the highest quality output should be something y'all are thrilled about, not complaining on! It's the opposite of the dumbing down, "good enough" attitude of so many production entities. The only reasons I see is if you wish to use a specialty camera (and they can be quite accommodating in such situations) or if you are being cheap and just want to use the camera you already own. And if that's the case then sorry, I have no sympathy.

Back in the day I owned a Super-16 Aaton camera kit that probably set me back a good $60-$70K when I include all the glass and accessories. Sure there was always the desire to get it on every job so that I could charge the gear rental, but then clients would only think of me as "that S-16 guy" and I wouldn't get called for 35 or video jobs. So I offered it up when it made sense but if I had a job that made more sense if it was on a different camera I would absolutely not try to push my gear.

If you love Alexa and are upset you can't use it for a Netflix job, test out a VariCam and you might be pleased. If the budget is low then there are other choices on the list.
 
lol... yes if I had a sit down meeting with the head of development to pitch a series or a movie. Sure I'm going to shoot it on what they want.

Again, my humble opinion having our last 5 films shown on Netflix if you make something they know they'll make money off of of they'll bend the rules and they're purchase it to air.
 
Mitch Gross said:
Honestly, Netflix requiring cameras that deliver the highest quality output should be something y'all are thrilled about, not complaining on! It's the opposite of the dumbing down, "good enough" attitude of so many production entities. The only reasons I see is if you wish to use a specialty camera (and they can be quite accommodating in such situations) or if you are being cheap and just want to use the camera you already own. And if that's the case then sorry, I have no sympathy.

...
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To quote a popular pop song, "Applause, applause, applause".
 
GaryinCalifornia said:
lol... yes if I had a sit down meeting with the head of development to pitch a series or a movie. Sure I'm going to shoot it on what they want.

Again, my humble opinion having our last 5 films shown on Netflix if you make something they know they'll make money off of of they'll bend the rules and they're purchase it to air.
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Isn't the 4K and camera requirements only for their branded original content(their "TV show series" and movies)?
 
That's what I'm hearing.

I wonder what would happen for example if you have Jennifer Aniston signed to do a series. I heard once she only likes to shoot film.

It hides her flaws.
 
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This spec list is for Netflix Originals, which means commissioned, not acquired projects. I am shooting part of project right now on a 1080 only camera that will be pitched to Netflix simply because I have immediate access to some important players and SMEs and do not have the budget to rent a 4K camera right now. I am going to continue to do so until our C200 and EVA 1 are in hand, then we will switch to shooting the remainder of the project on 4K Cinema RAW Light or whatever RAW the EVA 1 will let us record. Our project is not a Netflix Original work so in a way, this list, for us, for this project, doesn't matter. But we have another project that we will shoot a sizzle and pitch package for to pitch to Netflix in the hopes of being commissioned and you can bet that for that project, should Netflix commission us, we will use a camera on this list or the C200 or EVA 1 if and when they add either camera to the list.

The other caveat is with these lists is everything is negotiable. These are spec requirements that any development or purchasing buyer could override, if they liked your project enough.
 
Sorta what I'm doing. Having to take care of a mother who no longer can walk. So working around that.

Woking on my writing/directing debate. Writing not sure since I've sold a script which never got made and I've option two this year. I'm still looking at the Fs5, thought a friends Atoms (4k raw) was the right one, but sadly its an older model. A friend is basically giving me a set of Rokinon (sadly Nikon mount) or I might be interested in the c200.

lol I joked with a sale rep earlier in the week. Every time I think about buying a camera. Something comes up. Like a 5k eye surgery that has to be done. Redo the roof on the farm house.

But self funding something to shop it around.

One of my talent is in an upcoming major studio film. Then working with a few other cameos and the rest good unknown but talented actors.

Making a spec proof concept trailer or a bit more.
 
On the other side, as a customer of Netflix with a LG 4K Dolby Vision OLED monster and purchasing the higher bandwidth from Netflix, I am glad they specify and push for the higher end cameras.
 
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Bummed as I am that I wouldn't be able to shoot a Netflix Original with my RX100 IV, I do like the list, and, apart from allowing the Alexa, I'm not sure I would change anything there. It seems to be well thought out and recently updated. It wasn't that long ago taht some TV channels were requiring tapes, right?

Also: with the FS7 and the BM4.6K there, there's really not that much to argue about in terms of price; the EVA-01 and C200 shoudl join them soon. And am I reading this right that the BM 4.6k is only allowed if shooting RAW, not ProRes?
 
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