Welcome to the Netflix Partner Help Center. Have a question or need help with an issue? Send us a ticket and we'll help you to a resolution.

Menu

This article outlines best practices (not requirements) for multicam workflows leveraged on Netflix titles. Please reach out to your Netflix contacts with any questions or concerns specific to your production. 

CAPTURE

An Overview of the Netflix camera-native capture workflow | Minimum image processing and maximum quality during capture.

At its core, the camera-native workflow encompasses the following principles:

  • Select primary cameras from our approved list.
  • Capture with a Log transfer function, using the camera's native wide gamut colorspace / log encoding.
  • Do not "bake in" any looks.
  • RAW is preferred but not required.

RAW | Record in-camera.

RAW recording formats generally provide the highest level of overall image quality and post production flexibility; however, be mindful of storage needs, especially when dealing with uncompressed RAW formats.  It should also be noted that some cameras require a separate, dockable recording module in order to capture RAW.

 

COMPRESSED BASEBAND-VIDEO | RECORD IN-CAMERA OR WITH AN EXTERNAL RECORDER.

The compressed formats listed below may not be available on some cameras. In these situations, an external recorder will need to be used. 10-Bit or greater capture formats should be used.

 

CAPTURE | BEST PRACTICES 

  • Recording with approved cameras.
  • Recording in the cameras' native wide gamut color-space / log encoding.
    • Ex: Sony S-Log3 / SGamut3.cine, Panasonic V-Log/V-Gamut, etc.
  • If using "broadcast" cameras and recording to an external capture device (versus internal RAW) be mindful of the use of paint functions and their impact on the recorded files.
    • In order to provide more flexibility for the color grade, use camera shading/painting functions to achieve a matching, consistent image across all cameras while being mindful to not apply any specific look that will limit what can be done in the color grading session.
  • Try to select a camera that will perform optimally in your particular shooting scenario.
    • If the set or venue you are working in has dynamic lighting, a “cinema” style camera may perform better and give a cleaner image than a “broadcast” style camera.
    • Watch out for certain types of LED lighting.  Blue LED lighting in particular can create out-of-gamut colors.  Some cameras can deal with this better than others - testing with your Lighting Designer and/or Director of Photography is recommended.
    • Bear in mind that a well lit area may look fine but when the camera swings around to a dimly lit area noise will become more apparent.
    • For shows that are going to finish in Dolby Vision HDR, extra care should be taken to keep noise in the image to a minimum.
    • Black balancing, APR correction - can be used to eliminate dead pixels.

 

 MONITORING

WHEN POSSIBLE, AT LEAST ONE UHD REFERENCE MONITOR ON-SET | IMAGE QC IS CRITICAL.

The use of professional UHD monitors allows for confidence during capture by giving a pixel-to-pixel representation of what is being recorded.

  • Able to identify dead pixels that may not be visible on an HD monitor.
  • Noise due to low light may be  more apparent.
  • Critical Focus can be more accurately judged. 

LUT BOXES FOR APPLYING LOOKS ON-SET | USING CDL'S FOR NON-DESTRUCTIVE LOOK APPLICATION.

The use of LUT boxes and live-grading software can give creative freedom while not compromising the captured image.

  1. A better alternative to using the cameras’ built-in paint functions.
  2. More control without baking-in a particular look.
  3. Using a CDL or ACES workflow unifies the color pipeline from capture to Post.

MONITORING | BEST PRACTICES

  • Proper monitoring should represent what the camera is capturing as well as allow for testing different looks non-destructively
    • Monitoring should be set up with the capture transfer function and colorspace in mind. 
    • All monitors should be calibrated in advance of the shoot.
    • Multiviewers should be used with large, UHD monitors.  Consumer OLED TV's can be used in this instance as well but should not be used for critical viewing.
    • Dead pixels should be identified and corrected prior to capture.
    • Noise in the image should be within acceptable levels.
    • For productions planning to monitor in HDR see HDR On-Set Monitoring: Considerations & Best Practices.

 

DATA MANAGEMENT

A robust data-management process may require extra resources in multicam production compared to typical single-camera shoots.  The number of cameras to be backed up and shorter turnarounds that are common in multicam production can strain available resources, but with a bit of pre-planning it can be a smooth process.  For further reference, see our Production Assets: Data Management article.

 

Capture.png 

 

DATA MANAGEMENT | BEST PRACTICES

A few questions to ask when planning a reliable data management process: 

Q: When will the initial backup happen?

  1. On-set or in the truck.
  2. Camera cards will travel and be backed up offsite.

Q: What type of media will the backups happen on?

  1. RAID 1/5/6/10 drives
  2. LTO tapes
  3. Netflix Content Hub (cloud storage).

Q: Who will be responsible for backups?

  1. A Data Manager or DIT is highly recommended due to the volume of material that typically needs to be backed up.
  2. Personnel at a post facility can be designated if original camera media will be backed-up offsite.

Q: How will backups be generated?

  1. Using a proven, professional software solution for backups is very important.
  2. Checksums should be verified every time a backup is generated.
  3. Checksum manifests should accompany all original camera files: from the initial on-set backups to final OCF delivery. ASC MHL is Netflix’s preferred checksum verification method.
  4. Visual QC of all original camera files should be performed prior to wiping primary camera cards.
  5. For more information on data management best practices, see Production Assets: Data Management. If you have questions about backups please reach out to your Netflix Representative.

POST WORKFLOW

One of the pain-points we hear about on multicam shoots is the short turnaround time for getting footage into the editorial system. Working natively with the source material isn’t always possible and offline editorial proxies are typically created. Whether generating proxies or working from native source it’s important to think about everything downstream of editorial. 

WORKING WITH NATIVE SOURCE OR GENERATING EDITORIAL PROXIES | THINK FORWARD…

  • The Post Production ecosystem often includes interchange between multiple different toolsets and formats. Whether you’re working with source files in your offline edit or generating editorial proxies it’s important that the offline editorial clips going into your timeline have metadata that allows for relinking to the original camera files for finishing and any other required interchange. The method you decide should be compatible with all of the tools involved in the ecosystem of your project.

IN-CAMERA PROXIES | CONCERNS

  • The practice of generating editorial media from a source other than directly from the recorded camera files is a practice that should be avoided. If you have questions about the use of a particular workflow, please reach out to your Netflix point of contact.
  • If working with in-camera proxies can’t be avoided due to time constraints, productions must be mindful of replacing the in-camera proxies with media transcoded directly from the OCF during the conform phase. 
  • In instances where in-camera proxies are required there should be a Visual QC of all OCF and a vetted meaningful relationship between the editorial proxies and the OCF that is compatible with all of the tools involved in the ecosystem of your project.

HDR

All of the cameras on our approved list are capable of capturing an image with enough latitude for a Dolby Vision HDR finish.  

  • Proper exposure is key.
  • Use a Log gamma/transfer function.
  • If there is a lot of contrast in your shooting environment, a digital cinema type camera may perform better than a broadcast camera.
  • HDR finishing may exaggerate the perception of noise in an image.  If shooting in dimly lit environments, a camera with good low-light performance can help.
  • Perform tests prior to the shoot if you plan to use HDR monitors on-set.  Verify monitors are calibrated and setup to properly interpret the SDI signal from the cameras in the correct colorspace. 

A FEW OTHER THINGS...

TIMECODE                                                                                                                                                   

All cameras should receive an identical timecode feed generated by a master clock.

FLOWCHARTS                                                                                                                                 

Workflow drawings should be provided to NETFLIX in advance of the shoot for alignment and support purposes.  Here is a basic template to give you an idea of the info you may provide so we can better support your production.  This template assumes a Dolby Vision HDR finish:


Capture.png

Whenever possible, the following technical personnel should be present at a NETFLIX multicam production in order to minimize the risk of technical issues.  

  • Technical Manager / Technical Producer 
    • Supervises all technical aspects of the shoot.
    • Directs crew (sometimes hires crew).
    • Oversees show setup and strike.
  • EIC - Engineer-in-Charge 
    • Technical support lead.
    • Typically employed by production facility or OB provider.
  • VC - Video Controller 
    • Camera setup, exposure and color.

* For sitcom production and other scripted types of shows, all of the above personnel may not be required.  Please consult with your Netflix Post Manager for context.

 

 

Was this article helpful?
11 out of 11 found this helpful