BMPCC6K still not in Netflix list. But why?

The new list of Netflix approved cameras is out.
While more recent cameras like Red Komodo and Canon C70 have been approved, BMPCC6K is still not there in the approved list. Interestingly, Ursa Mini Pro 12K has also made it so far.

I know, the Netflix list is only for Netflix approved originals and I can shoot plenty of creative content with BMPCC6K blah blah blah, but it's true that Netflix approved list and post production workflow are fast emerging as the "Bible" of all digital content. But that is a different issue altogether.

My question, what's not there in BMPCC6K that disqualifies it from Netflix approval? Data rate? Dynamic Range? Any other thing?

I’d have guessed no ProRes 444 option… but if the 12K is on there then I can’t say. My best guess is that it’s a matter of money. RED probably paid for quick approval on the Komodo. Blackmagic probably hasn’t paid any money.


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it's true that Netflix approved list and post production workflow are fast emerging as the "Bible" of all digital content

Any evidence of this such as are your customers asking you for compliance with Netflix standards as a condition of hiring you?

The Pocket cam simply put is still not regarded as a Production cam.

I was under the impression it's not on the list because it doesn't have SDI.

The Pocket cam simply put is still not regarded as a Production cam.

Really? It's been used in Hollywood production sets, far earlier than the Komodo.

Lately, I have heard that Netflix has been making it very difficult to get anything pass a producer even to read a viable pitch. They're more clamoring for studio based projects and less that of Indie. There needs to be another streaming avenue opportunity for the indie filmmaker and a market for it. Netflix shouldn't be the gold standard.

Who is netflix?

Everyone has made a valid point.

Let’s be real for a second... If Netflix ‘Green lights’ your project’, I’d be shocked if you jumped for the P6K (great cam) as your A-Cam. I know you’re not that obsessed about it.

The real world operates by superficial sight and sound.

Money can open doors. Doors like Arri and Panavision.

I own Pocket 6K/4K (just sold G2). They are great to learn and create with for business and personal projects - which you could sell on for theatrical distribution.

Yes, it has its aesthetic, but you know the deal... Like what your man said: it’s not a production cam to people with a big cheque book.

Yes, it has its aesthetic, but you know the deal... Like what your man said: it’s not a production cam to people with a big cheque book.

That is why this kind of mentality needs to change.

The issue with the BMPCC 4k/6K appears to be lack of a dedicated timecode input. According to press coverage, netflix approved the latest Panny m43 camera, which is said to be a GH5 rehoused in a box. Meanwhile, you can't use an Alexa....

Taken as an endorsement, the whole thing is ludicrous -- either the certification reflects capabilities which don't determine image quality and/or the actual standards are so low and arbitrary, who cares what they are?

Unless you are doing a Netflix original, who cares about their requirements. Make your movie with whatever camera you want and distribute your film through another distribution sources who will sell it to Netflix. That way, none of their requirements will apply. And if you are lucky, it will be streamed by Netflix.

Any evidence of this such as are your customers asking you for compliance with Netflix standards as a condition of hiring you?

Amazon Prime India, Zee 5, Hotstar India, Hoichoi and a host of other OTTs in Asia-Pacific, you may not even know their names. But when religion spreads, can "Bible" be far behind or the other way round?

Unless you are doing a Netflix original, who cares about their requirements. Make your movie with whatever camera you want and distribute your film through another distribution sources who will sell it to Netflix. That way, none of their requirements will apply. And if you are lucky, it will be streamed by Netflix.

True that. That was included in the "blah blah blah" of my post. Here is the quote:

"I know, the Netflix list is only for Netflix approved originals and I can shoot plenty of creative content with BMPCC6K blah blah blah, but it's true that Netflix approved list and post production workflow are fast emerging as the "Bible" of all digital content. But that is a different issue altogether."

Would request to read a full post, not only the heading. An ardent request.

Unless you are doing a Netflix original, who cares about their requirements. Make your movie with whatever camera you want and distribute your film through another distribution sources who will sell it to Netflix. That way, none of their requirements will apply. And if you are lucky, it will be streamed by Netflix.

True that. That was included in the "blah blah blah" of my post. Here is the quote:

"I know, the Netflix list is only for Netflix approved originals and I can shoot plenty of creative content with BMPCC6K blah blah blah, but it's true that Netflix approved list and post production workflow are fast emerging as the "Bible" of all digital content. But that is a different issue altogether."

Would request to read a full post, not only the heading. An ardent request.

TLTR.

I don't understand these Netflix threads. If I was a mechanic and I applied for a job at a garage and they said I needed Craftsman Tools, then I'd show up with Craftsman's tools. Though I suppose I could get on the internet and express my outrage that my DeWalt has a superior handgrip and battery life.

Why is Netflix is not allowed to set their own standards?

It's been said on this forum ad nauseam, you can produce your own content with whatever and sell it to Netflix, if they're hiring you to work on one of their shows, use one of the approved cameras.

I was in a cinematography class and some of the people were asking the teacher what camera he owned since he did TV, corporate and other professional jobs. His answer was that he rented according to the client specs because they were the ones that were hiring for the job. Someone started to ask about the "camera du jour" and he waved it off and said that some things he rented because someone wanted a specific camera and other times it was dependent on the file specifications. He did own a camera for smaller jobs but wouldn't tell us what it was because he didn't want us to focus on that. His focus was learn your craft, which is camera independent, and then use the right tool for the job.

I had a different class with him a few months later and asked him about that. He said that at one point he bought a Red when those cameras were hot and got a lot of work just because he owned one. When that tapered off he sold the camera while it was still retaining value. While he appreciated the Red, he bought it to get work, not because of some religious investment in the "look." He told me that he gets too many students that obsess over gear and that skill, networking and making work are what matters.

It’s not about the image quality.

It’s not about the codec.

It’s about having a dedicated timecode input. That’s it. That’s what’s stopping it from being Netflix sanctioned.

Of course that hasn’t stopped filmmakers selling their content shot on many not Netflix approved cameras starting of course with the gold standard Alexa.

I’ve shot for many streamers, and Netflix are strict. The rest not so much. I did The Great for Hulu on Alexa SXT. No problem at all, even though it’s not a 4K camera. Funny.

I also have many shows I’v shot that are ON Netflix, but most assuredly were not shot with any Netflix approved camera.

JB

I just checked the Netflix approved list and UMP 12k is not there
https://partnerhelp.netflixstudios.com/hc/en-us/articles/360000579527-Cameras-and-Image-Capture

Another thread interesting
viewtopic.php?f=2&t=116654

It’s not about the image quality.

It’s not about the codec.

It’s about having a dedicated timecode input. That’s it. That’s what’s stopping it from being Netflix sanctioned.

JB

So this is it! I was under the impression that you can input a dedicated timecode through the headphone jack. Obviously I was wrong!

I hope it has nothing to with DR? I find this written on the Netflix approved camera page, while specifying the technical requirements: "Please note, not all cameras that meet these requirements will be approved as primary cameras. These requirements are the minimum specifications necessary for consideration. Other attributes must be taken into account such as dynamic range, form factor, stability, workflow compatibility etc."

BMPCC6K claims to have "about" 12 stops of DR, while most other cameras claim above 15.

I was under the impression that you can input a dedicated timecode through the headphone jack. Obviously I was wrong!

You aren't wrong. One can indeed use an audio recorder or other device that generates timecode to feed timecode to a Pocket 4K/6K via the headphone jack.

I was under the impression that you can input a dedicated timecode through the headphone jack. Obviously I was wrong!

The timecode input on the BMPCC 4k/6K is shared with audio (via the microphone input). So it's not "dedicated".

Non-Approved Cameras - Recommended Settings & Best Practices

"Many cameras do not have dedicated timecode inputs. This makes it nearly impossible to have matching timecode between the sound department and the cameras, requiring extra work in post. It is recommended to record a timecode feed from the sound department onto one of the audio tracks on the camera if a dedicated timecode input is not present."

https://partnerhelp.netflixstudios.com/ ... -Practices

I was under the impression that you can input a dedicated timecode through the headphone jack. Obviously I was wrong!

You aren't wrong. One can indeed use an audio recorder or other device that generates timecode to feed timecode to a Pocket 4K/6K via the headphone jack.

Hi Krishna,

Please note that the Netflix paragraph quoted in the post just above is not about Blackmagic cameras specifically and does not reflect how the Pocket 4K/6K cameras record timecode. While one uses the 3.5mm port to input timecode on a Pocket K/6K, timecode fed to the camera from an audio recorder or other device that generates timecode is written as metadata to the video file itself. Many cameras designed for both still photos and video record timecode as an audio channel. The second video below shows what audio timecode sounds like.

In the following video, Curtis Judd explains that the Pocket 4K and 6K differ on timecode from many other cameras starting at 01:50. There is also a brief paragraph about this in the Pocket 4K/6K Operation Manual.

Play this video at 05:38 to hear timecode recorded as audio:

Again, the BMPCC 4K/6K does not have a "dedicated" time-code input, which appears to be the decisive factor (or one of them), in disqualifying the cameras.

That the cameras record incoming LTC as timecode metadata would be an apparent advantage over an LTC track but is beside the point and doesn't appear to figure in Netflix rulings. It wasn't enough to save either camera.

Again, the BMPCC 4K/6K does not have a "dedicated" time-code input, which appears to be the decisive factor (or one of them), in disqualifying the cameras.

That the cameras record incoming LTC as timecode metadata would be an apparent advantage over an LTC track but is beside the point and doesn't appear to figure in Netflix rulings.

The page that you quoted is not about Netflix's criteria for approval. While the absence of a dedicated timecode port may have been a factor in its decision, the page does not say that.

More importantly, Krishna's post was not about Netflix criteria, it was about whether he was wrong in believing that one can feed timecode to a Pocket 4K/6K camera. He was in fact right, and that Netflix paragraph can create confusion about how it is done and the implications for post.

More generally, my personal view is that that Netflix paragraph is clear as mud.

The Netflix paragraph quoted points to the apparent "dedicated" timecode input requirement (which "non-approved" cameras lack). Period. That was the only reason it was quoted. That you read it as disquisition on BMD cameras, or how the 4K/6K record timecode input, is neither here nor there.

But I can see where this is going. Have the last word, as usual. Or better still, pass on your advice to Netflix.

The Netflix paragraph quoted points to the apparent "dedicated" timecode input requirement. Period. That was the only reason it was quoted. That you read it as disquisition on BMD cameras, or how the 4K/6K record timecode input, is neither here nor there.

But I can see where this is going. Have the last word, as usual.

Krishna's understanding about the timecode capability of the Pocket 4K/6K and Netflix's requirements are separate issues. In any event, your belief that the page you quoted sets out Netflix requirements is based on a logical error. Indeed, it turns out that a dedicated timecode port is not a requirement for Netflix approval.

The Panasonic S1H, which is Netflix approved, does not have a dedicated timecode port. Both the S1H and the Blackmagic 4K/6K have ports that the user can employ to write timecode metadata or for another function.

No idea what's in that video, but I have seen the S1H manual. The "flash synchro socket" for timecode input on the S1H accepts an industry-standard BNC cable and would likely satisfy technical requirements that the consumer 3.5mm socket on the 4/6K does not. And it doesn't double as an audio input. This may well suffice for Netflix, as "dedicated".

For the rest, ask Mr. Brawley. He would be more familiar with the details.

No idea what's in that video, but I have seen the S1H manual. The "flash synchro socket" for timecode ingest on the S1H accepts a standard BNC cable and may satisfy technical requirements that the consumer 3.5mm socket on the 4/6K does not. And it doesn't double as an audio input. This may well satisfy the "dedicated" requirement.

For the rest, ask Mr. Brawley. He would be more familiar with the details.

Yes, Netflix may have preferred Panasonic's implementation of dual functionality to Blackmagic's, but that is pure speculation on an issue of unclear significance.

The page that you quoted from says quite clearly that it is not part of the statement of requirements:

"Although the primary reason for a camera not being on our approved list in most cases will be that it doesn't adhere to our minimum requirements [highlighted in red in the original], there are other common issues you should keep an eye out for. Below are some of the limitations you may encounter when using a non-approved camera."

That paragraph is the lead-in to the paragraph that you quoted on timecode. The paragraph on timecode, which is not a model of clarity, appears to refer specifically to timecode fed as audio, not as metadata, which apparently rates as a "common issue that you should keep an eye out for".

This is the page on minimum requirements: https://help.prodicle.com/hc/en-us/arti ... ge-Capture

The only reference to timecode on the page on minimum requirements is the following, which the Pocket 4K/6K, unlike the many cameras that record timecode as audio, would appear to comply with: "Original camera files must maintain all metadata (i.e. Tape Name, Timecode, Frame Rate, ISO, WB, etc.)"

Absent input from an insider, I don't see how this can be pursued further without engaging in pure speculation.

Yeah, I get it. Because you can no longer argue that the S1H doesn't have a "dedicated" input, the only thing left is to contest the whole dedicated input claim, notwithstanding Netflix' comments under "non-approved" cameras ("Many cameras do not have dedicated timecode inputs").

You could say that statement in no way implies that approval depends on dedicated inputs, but I wonder how many people would invest in such cameras on the expectation Netflix would approve them.

But never mind. Life is short, and this thread is too long.

You can input timecode into a pocket camera. It actually jams the internal clock and doesn’t simply record LTC as audio even though it’s using the audio input.

You could also just record LTC audio as “sound”. Resolve and Avid can both read this LTC audio later.

What’s relevant as far as Netflix is concerned is that the port is a shared port. It does timecode OR sound.

But can’t be both.

On the S1H it's TC through a flash sync socket which has zero use while in video mode and it still lets you record audio in-board at the same time. Thus it has a discrete TC input that doesn't take out the audio input.

JB

It’s not about the image quality.

It’s not about the codec.

It’s about having a dedicated timecode input. That’s it. That’s what’s stopping it from being Netflix sanctioned.

JB

So this is it! I was under the impression that you can input a dedicated timecode through the headphone jack. Obviously I was wrong!

No that's exactly how it works. When the timecode is connected though the MICROPHONE jack not the headphone jack it works great. It's just that it means you no longer can record audio.

If you're recording Audio, then you can no longer input timecode (though the clock is accurate for a few hours if you jam it then unplug the TC)

Of course, generally speaking you use an external TC clock BECAUSE you're recording seperate audio, but that seems to be the technicality.

JB

On the S1H it's TC through a flash sync socket which has zero use while in video mode and it still lets you record audio in-board at the same time. Thus it has a discrete TC input that doesn't take out the audio input.

Of course, generally speaking you use an external TC clock BECAUSE you're recording seperate audio, but that seems to be the technicality.

John,

Good to get to the substance. Do you know why Netflix cares whether people "take out the audio input"? Its stance suggests that it takes the view that the sound department "owns" ports that can be used for audio, and maybe that it positively wants the sound department to feed audio to camera, presumably as a backup, although that's not the only way to do a backup. It's obviously Netflix's decision, I'm just curious about the thinking behind it. Is Netflix really just being technical, or is there a solid rationale for its position?

Is Netflix really just being technical, or is there a solid rationale for its position?

I don't think it's a rational position for any technical reason. The thinking doesn't really extrapolate to the end result.

But they also think an Alexa isn't technically good enough either. How does anyone think that's a good technical choice? ...And....note it hasn't stopped them AT ALL. I'd say the majority of the content that's on Netflix right now IS NOT shot with a Netflix compliant camera.

Never really understood why a Netflix blessing actually truly matters either.

JB

It’s not about the image quality.

It’s not about the codec.

It’s about having a dedicated timecode input. That’s it. That’s what’s stopping it from being Netflix sanctioned.

JB

So this is it! I was under the impression that you can input a dedicated timecode through the headphone jack. Obviously I was wrong!

No that's exactly how it works. When the timecode is connected though the MICROPHONE jack not the headphone jack it works great. It's just that it means you no longer can record audio.

If you're recording Audio, then you can no longer input timecode (though the clock is accurate for a few hours if you jam it then unplug the TC)

Of course, generally speaking you use an external TC clock BECAUSE you're recording seperate audio, but that seems to be the technicality.

JB

Sorry - I am lost here
You say that Netflix is not approving a specific camera because it does not have an input specifically made for TC input although you can designate the 3.5mm audio input for TC and still have the miniXLR port for audio?

Sorry - I am lost here
You say that Netflix is not approving a specific camera because it does not have an input specifically made for TC input although you can designate the 3.5mm audio input for TC and still have the miniXLR port for audio?

Which camera are we talking about that has both a 3.5mm audio input for TC and a mini XLR?

JB

Err... Like Pocket 4K/6K?

Netflix technical vs aesthetic rules seem arbitrary at best. I remember reading about a series in which the ‘Name’ director was allowed to shoot the first episode in super16, but subsequent episodes by other directors were not, which seems dumb as it isn’t consistent in either technical or aesthetic.

The reality is if you are shooting pockets, either original HD like me or the higher res ones currently available, you probably don’t have much of a budget let alone a Netflix original contract. Your production will be lacking far more than whether or not the camera is Netflix approved. If you are lucky enough to get any kind of distribution, which probably won’t net you any money, the deliverables will be HD and maybe get DVD as physical media, no 4K stream, no blu-ray.

Just concentrate on making the best film you can with the resources you have available. If you beat the odds you might make it on Netflix, there is a French film called Paris Is Us shot on the original pocket and distributed by Netflix as an original. They didn’t have that contract up front, they got lucky, and not being 4K or 6k or whatever was not a factor in the sale.

Err... Like Pocket 4K/6K?

I'm just the messenger.

That's just what I understand of the reason Netflix don't like the camera.

It means you only have a single audio input if you're using the TC input (which would be a stero input otherwise)

Again, I don't know the logic, but you ARE losing an audio channel if you use the TC input.

JB

Just concentrate on making the best film you can with the resources you have available. If you beat the odds you might make it on Netflix, there is a French film called Paris Is Us shot on the original pocket and distributed by Netflix as an original. They didn’t have that contract up front, they got lucky, and not being 4K or 6k or whatever was not a factor in the sale.

They totally ignore their own rules all the time. As do the other streamers. A recent series I shot that "had" to be 4K+ got too expensive in camera hire to do and so guess what....we shot on regular Alexa SXT, not even full gate.

JB

As a UMP G2 owner, it was pretty cool to see the camera on the list. I am more or less a hobbyist with no connections or desire to have my stuff shown on Netflix, but it's nice to see it on the list nonetheless.

'They totally ignore their own rules all the time"

Just thought I'd dig this up cause its interesting as more and more low cost pipeline worthy cameras come out...

I think the list is about guaranteeing a result, and less so about exact technical specs. If I say I'm gonna use an Alexa LF, we know that if there is to be a failure, it won't be due to the camera at any stage in the pipeline from set to post to DI. If I say I'm using an iPhone as my main camera, The producers would understandably worry. That said, there is an iPhone shot in Hannibal season 3 (NBC). These are done on the fly, often as quick fixes, and often to facilitate VFX needs (my job). If they work, great, if they don't, well, we figure out how to do it "properly". For Netflix specifically, Alexa LF (or Mini before 4k times) is 99.99% of all shots I've seen, but Red will get used especially for drones, and there have been DJI shots and even a few GoPro ones thrown in. We did do one show that used a Sony camera (blocked the model from my memory due to trauma) where the footage was so horrifically bad there was a genuine worry it wasn't usable. If that was ever on Netflix's list, it's got a big red X over it now. Whoever did the Degraining/Debanding deserves a medal.

Besides on set technical concerns, universality of workflow seems to be the next thing. All the other cameras are just not streamlined into the pipeline of most studios the way Alexa is. I'm sure timecode factors into that (I don't deal with timecode on my end), but that's just one of man potential hiccups in production.

I have yet to see any Blackmagic footage on any show at any scale for any network or movie (again, we do VFX so were mostly on larger budget productions where saving a few bucks on camera rentals isn't a consideration). We look into them all the time for internal uses but have not pulled the trigger.

The URSA Mini Pro 12K is not on Netflix list for a while now. The URSA Mini Pro 4.6K G2, and even the older UM 4.6K are still very relevant and will be for a long while if you want to shoot using a Blackmagic camera for Netflix Originals. See the updated list from the link below and expand the Blackmagic link.

https://partnerhelp.netflixstudios.com/ ... ge-Capture

At this point, it’s quite myopic on part of Netflix to ignore or be unaware of the fact that solely owing to their outsized influence, the list of approved cameras would be unwittingly used as a reference standard by ill-informed producers and financiers; and in some cases, even content creators.

Although informative, I don’t care much about the list myself. But I can empathize how it’s frustratingly possible to be denied a job or be forced into a corner by oblivious and unreasonable clients because of their insistence on using “Netflix-approved” cameras.

Irrespective of their eligibility criteria for a camera, I’d argue it’d be the ethical choice to include a disclaimer stating that this list is specific to their requirements and is not an exhaustive list of the best cameras out there.

If nothing else, I’d use this disclaimer to try to assuage a potential client that whatever camera I’m using is going to get the job done well.

Can I get a "Netflix Approved" Sticker to put on UMPG2? That way on set people can look at it and go, "Oh, now that's a camera!"

Wait? People already say that when they see the URSA Mini Pro with a good cinema lens, matte box, follow focus system (manual or wireless), wireless video, and all the extras.

Unless you are shooting Netflix Original Content for them then I think we can stop fretting about whether the camera we use is on the list. Just make the content. If it's a show that Netflix acquires then no one will care whether it was shot on a "Netflix Approved Camera" or not.

Years ago during the transition to digital TV broadcast from analog, so pre 2000 the BBC famously “banned” 16mm from being used.

It may not be so now, but in those days the “BEEB” held a similar status to Netflix today and there was much heated discussion about them outright banning 16mm.

Basically the crazy UK DTV broadcast didn’t have a lot of bandwidth and the 16mm film was still too grainy to be compressible enough to be broadcast.

So for a long time there was a stigma that 16mm wasn’t good enough. When really it was that the DTV streaming wasn’t actually good enough.

Luckily enough it didn’t stop Katheryn Bigelow from winning an Oscar for Hurt Locker or a bunch of other great films being shot on 16mm ( Black Swan, The Wrestler )

JB

Years ago during the transition to digital TV broadcast from analog, so pre 2000 the BBC famously “banned” 16mm from being used.

It may not be so now, but in those days the “BEEB” held a similar status to Netflix today and there was much heated discussion about them outright banning 16mm.

Basically the crazy UK DTV broadcast didn’t have a lot of bandwidth and the 16mm film was still too grainy to be compressible enough to be broadcast.

So for a long time there was a stigma that 16mm wasn’t good enough. When really it was that the DTV streaming wasn’t actually good enough.

Luckily enough it didn’t stop Katheryn Bigelow from winning an Oscar for Hurt Locker or a bunch of other great films being shot on 16mm ( Black Swan, The Wrestler )

JB

Standing ovation for this response. 100% yes to this. The Netflix camera list is marketing nonsense, not technical reality.

In the mid-2000s some of my favorite TV Shows were shot on Super 16mm. Scrubs to start, Veronica Mars, Psych, and Chuck. Now, Psych made a transition from 16mm to digital for the later seasons. But, all those shows had a great look.

In college we had two Arri SR2 cameras with 2 different lens choices: Canon 8-64mm T2.4 and Zeiss 12-120 T2.4. Guess what lens was the "Hurt Locker Lens" and is still a fantastic lens to use today? Canon 8-64mm! I chose that lens for a good amount of shooting then because it was a great lens.

That's sad that the BBC made that choice about 16mm. John, it's pretty disappointing to hear.

I think this comes down to another argument: streaming data rates. Currently Disney+ is the best for 4K HDR, and Netflix is second. And, it comes to the data rate they choose. Disney is higher than Netflix, but only by about 10-20 Mb/s. And, this could be solved if we fix internet speeds around the world. Higher internet speeds could lead to a proliferation of streaming. But the internet companies bottle neck us for profits...

So, let's focus on the data rate of 2.8K Alexa for a second. Far exceeds the internet data compression and is good enough for cinema projectors. But not on Netflix Approved List? Why? Because it's not 4K resolution. Again, this is where resolution doesn't truly matter. Better pixels does.

I'm going to pitch a new thought for the URSA VistaVision now... VistaVision 12K. Increase the 12K pixel size up to cover VistaVision but get better dynamic range from a larger photo site. Then increase the bit depth as well to 24-bit linear and 16-bit log. 12K now is sufficient pixels, but you get far better imagery because of the improved dynamic range and color potential. And, the data rate still far exceeds what Netflix needs for a 4K HDR stream.

So, there you have it. Netflix should stop dictating cameras until it raises its data limits. Compress less and then we'll give to higher resolution cameras.

Currently Disney+ is the best for 4K HDR, and Netflix is second.

The HDR from HBO looks better than both by far. The HBO app absolutely sucks, but the image quality when it works is superb.

Standing ovation for this response. 100% yes to this. The Netflix camera list is marketing nonsense, not technical reality.

+1 but from a recent experience, technical reality is just for folks like us. The business reality is that the DP does not make a lot of these decisions, nor the director unless you’re an A Listed director or DP for which, they never film on anything less than an Alexa or Panavision. But the run of the mill pictures made have to pass the approval of the business folks, ergo the financiers and producers. They have used the Netflix list as the “what cameras will make their film valuable because Netflix has vouch for them”. So when I had a meeting with the heads for the project they were investing, they wanted us to only use a camera on the list. They were very pleased when I said that the UMP 4.6K we were going to use was on the list and we got the gig. The movie was not for Netflix and in fact it is now streaming on Amazon Prime.

Expect this to be the case for a while if you project is being financed from a middle size production and distribution company. Otherwise, if you’re not into this line of narrative work, do not fret.

Netflix really don’t care what camera you shoot with.

They only care about if you make a good movie.

Most of their content isn’t shot with Netflix approved cameras.

They buy films all the time that aren’t shot with Netflix approved cameras.

Anyone that thinks Netflix would choose to buy their movie because you shot it with a Netflix approved camera is probably focussed on the wrong detail for what makes a good movie.

JB