Jamie LeJeune wrote:Yes, Netflix has stringent requirements for post workflow, but that also has more to do with efficiently managing master files for streaming and dealing with color management for a huge range of screens, than it does with quality per se.
It does, actually.
Dolby Vision adds cost to production because Netflix is requiring the facility to be Dolby Vision certified. But those are Dolby created and maintained standards, not Netflix standards.
Required by Netflix, so they're also Netflix standards.
If you look at the source camera requirements, there is nothing about dynamic range, color bit depth, color subsampling, noise character, etc. It's just 4K sensor count.
That's actually a myth. I met some cinematographers and colorists who were involved in some of the Netflix tests. They are (or at least, were -- it was well over a year ago) pretty stringent, and based on image quality throughout the pipeline. That's where the Dolby Vision requirement comes from; it's to ensure image quality.
That the list doesn't include the specs of the cameras other than resolution doesn't mean that Netflix hasn't considered them; those are characteristics of the camera, so adding them to the list would be superfluous. It does however specify things like the maximum compression ratio it will allow for Red 6K and 8K cameras, for example... which contradicts your post. Most cameras don't have such an option.
It does work; nearly every Netflix production LOOKS excellent.
Now if only Netflix would apply the same sort of standards to the screenplays that it greenlights...
Those are just the facts. In my opinion, the requirements are overkill, but since they're only relevant if Netflix is funding the production, I don't think that anyone minds, since Netflix pays for them.
That said, there have been some cinematographers who have expressed... let's just say exasperation that Netflix at least in some cases thinks that it knows better than the DP, but I think think part of the problem is that Netflix is too focused on the technical side of filmmaking and is largely ignoring the artistic. Another Life looked very nice for the most part, but that didn't come anywhere close to making up for the rather hackneyed and cliche-ridden storytelling -- which has lead to less than flattering reviews...