Cameras & Image Capture: Requirements and Best Practices

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WHY NETFLIX HAS AN APPROVED CAMERA LIST

To help creatives produce their best work and create compelling visual experiences for our audience, Netflix requires 90% of a program’s final total runtime to be captured on approved cameras using the following  capture requirements.  We collaborate extensively with the creative community, camera manufacturers, and globally recognized experts to approve cameras that support reliable and flexible production workflows. Approved cameras have been evaluated by Netflix technologists to ensure they meet image capture benchmarks for dynamic range, color accuracy, detail rendition, signal to noise ratio, resolution, and key workflow requirements. These evaluations help our partners know they’re using the best and most appropriate capture technology when telling their stories.

For more on why Netflix has an approved camera list see "Approved Cameras - Behind the Scenes."

This article also provides best practices in an effort to help productions avoid common image capture pitfalls or errors.

We understand that limited use of non-approved cameras may be necessary in certain situations. Netflix is available to navigate those specific image capture decisions. Please reach out to your Netflix point of contact with any questions or concerns specific to your production. For information on using Non-Approved Cameras see: Non-Approved Cameras: Recommended Settings & Best Practices.

 

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TABLE OF CONTENTS

• CAPTURE REQUIREMENTS
• APPROVED CAMERAS
• IMAGE CAPTURE BEST PRACTICES

 

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CAPTURE REQUIREMENTS

In order to meet image capture standards required by Netflix, the following capture attributes must be adhered to.  

Resolution	Minimum of 3840 photosite capture width (Spherical)
Codec	Lightly Compressed or Uncompressed RAW or Intraframe Based Codec with 4:2:2 Chroma-subsampling or Greater
Bit Depth	10-Bit or Greater
Data Rate	Minimum 240Mbps at 24FPS
Color Space	Scene-referred Color Space  (S.Gamut3, ALEXA Wide Gamut, REDWideGamut etc.)
Transfer Function	Scene-referred Transfer Function  (Slog3, Log C, Log3G10, VLog etc.)
Timecode	System is capable of jamming to an external source. Timecode should be written as metadata.

 

Note: Not all cameras that meet these capture requirements are approved. These requirements are the minimum specifications necessary for a camera system to be considered for approval. Other attributes must be taken into account such as dynamic range, form factor, stability, workflow compatibility, and more.

 

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APPROVED CAMERAS

Cameras that have been approved for Netflix productions are listed below. We will continue to maintain and update this list as new camera systems become available and are evaluated by our technologists.

 

ARRI

Canon

Panasonic

RED

Panavision

Sony

Blackmagic

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IMAGE CAPTURE BEST PRACTICES

While not required for Netflix productions, the following best practices will help productions avoid common pitfalls and workflow errors that can lead to added costs, lost time, or creative compromises. 

Black Balancing / Black Shading

Black balancing, sometimes referred to as black shading, of a camera’s sensor should be performed regularly in accordance with manufacturer provided guidance. For optimal results, please allow the camera to reach its normal operating temperature prior to performing the sensor calibration. The black balancing/shading procedure defines an imaging system’s proper black level given its current operating state and may reduce the visibility of misbehaving pixels while operating under fluctuating temperature ranges. To ensure this process is performed correctly, please refer to the instructions in your camera’s operating manual.

Framing Charts

To ensure on-set framing meets the creative and technical needs of your production, a framing chart should be shot before principal photography begins and processed through the dailies, editorial, and VFX pipelines.

For Best Practices involving Framing Charts and Dailies Workflows see:

• Framing Charts Best Practices
• Dailies: Best Practices

Choosing an Aspect Ratio

Choosing an aspect ratio for the active image area of your production is a creative decision; however, aspect ratio can affect your workflow. “Aspect Ratio - An Overview” from our foundational video series demonstrates how aspect ratios may be used for story purposes and outlines technical considerations. 

We’ve also designed a Framing & Working Resolution Calculator which can determine if your capture and framing method is Netflix approved.

Aspect ratio choices should be discussed with Netflix for approval.

Anamorphic Lenses

When using anamorphic lenses, extra resolution may be required for capture. Camera selection should take this additional need into account. If you are unsure if your desired camera system has the necessary resolution or have questions about anamorphic capture, Netflix is here to help. Please contact your Netflix project lead to discuss implications or concerns.

Color Management

In order to ensure compatibility with your project’s color pipeline, productions should test each camera format’s color space transformation into the working color space. “The Benefits of Color Management” from our foundational video series explains why color management is important to Netflix and provides an introduction to the Academy Color Encoding System (ACES).

To explore color management further see: "What is Color Management?"

Spanned Clips

Recording single takes across multiple camera cards, also known as “spanning clips,” should be avoided unless absolutely necessary. Spanning clips across camera cards increases the likelihood of downstream workflow issues. 

Film Capture

For productions seeking to shoot any photochemical film, please contact your relevant Netflix project lead.

 

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Change Log:

 

2022-06-27

• Updated introduction & best practices content.

2022-04-19

• Red V-Raptor 8K VV added.

2022-04-17

• Sony Venice 2 6K added.

2022-03-21

• Sony Venice 2 8k added.

 

2022-01-04

• Panasonic BS1H added.

2022-01-04

• Aspect Ratio foundational video added.

2021-04-23

• Sony HDC-4300 removed 

2021-01-29

• Language changed around aspect ratios to clarify that choice of aspect ratio is not a technical decision but a creative one. Removed words "primary" and "secondary" when used to describe approved and non-approved cameras. Clarified that allowed use of non-approved cameras on one title does not constitute blanket approval of that camera for other projects.

2020-06-29

• Approved Cameras: Canon C300 MKIII has been added.

2020-01-21

• Approved Cameras: The following cameras were added to the "Approved Cameras" list.
  • Canon C500 MKII
  • Sony FX9

2019-11-08

• Approved Cameras: Updated the acceptable "Recording Formats" for both the Blackmagic Design URSA Mini Pro 4.6K and Blackmagic Design URSA Mini Pro 4.6K G2 to "Blackmagic RAW (up to 5:1)".

2019-10-23

• Approved Cameras: Added Panasonic S1H.

2019-10-15

• Approved Cameras: The Blackmagic Design URSA Mini Pro 4.6K G2 had previously been added to the list September 4th 2019, however table image was not updated correctly. This issue has been addressed and the table updated.

2019-10-14

• Approved Cameras: Added the RED RANGER GEMINI and RED RANGER HELIUM.

2019-10-10

• Approved Cameras: Added the ARRI Alexa Mini LF.

2019-09-30

• Explicitly listed "AVC-Intra" as an option within the "Capture Requirements" section in order to provide additional clarity.
• Removed the 80% hard limit for nonfiction content on unapproved cameras however any exceptions must be discussed with the relevant Netflix project lead.

2019-04-24

• Rearranged article so that "Approved Cameras" are listed first.
• Updated guidance listed under "Film Cameras".

2019-04-02

• Approved Cameras: Added wording outlining minimum thresholds for content amount captured on approved cameras.
• Minor editoral changes.

2019-04-01

• Panasonic: Panasonic UC4000 added.

2019-03-05

• Approved Cameras: Wording added to clarify the distinction between a camera being able to meet the capture requirements vs being an approved primary camera.

2019-02-25

• RED: RED Dragon-X and RED Ranger added.

2019-02-15

• Sony Venice Firmware Advisory has been removed.

2018-12-18

• Recording Format: Renamed to Capture Requirements and reformatted for clarity.
• Anamorphic Lenses: Added section covering use of anamorphic lenses.
• Secondary Cameras: Added additional information relating to their use.
• Spanned Clips: Section moved, no change in information.
• Approved Cameras: Added new language around use of broadcast cameras.

2018-11-29

• Film Cameras: Added new language around use of photochemical film.

2018-10-15

• Camera Requirements: Added information regarding "Spanned Clips" and how this recording method should be avoided.

2018-08-30

• Canon: Canon C700 FF has been added.

2018-08-17

• Sony: Production Technology Advisory has been issued for the Sony Venice.
• Panavision: Added link to detailed camera production guide for the DXL2.

2018-07-30

• Canon: C500 - XF-AVC has been removed as a "Recording Format".

2018-07-03

• Camera Requirements: Instances of "4K" updated to "4K UHD"
• Sony: With the release of v2.0 firmware for Sony Venice the previously referenced PDF listing v1.0 limitations has been deprecated and removed from this article.

2018-06-06

• Panavision: Updated camera name from Panavision DXL to Panavision DXL2. Recording Format changed from REDCODE RAW (up to 6:1) to - REDCODE RAW (up to 8:1)
• Sony: Updated camera name from FS7 to FS7 / FS7 II
• Added links to detailed camera production guides under each table.

2018-05-24

• RED: All approved RED cameras are now on the list.
• Sony: PDF has been made available relating to firmware limitations (which are significant) on the Sony Venice.

2018-04-06

• Panasonic AU-EVA1 added to list.

2018-04-02

• Recording Format: Updated "Log color space (i.e. S-Log3..." to "COMPRESSED (Log Gamma - i.e. S-Log3..." for clarity.

2018-03-26

• Black Balancing: Changed "Black balancing of camera sensors..." to "If applicable, black balancing of camera sensors..."
• ARRI Alexa LF: Updated Recording Format from "ProRes 4444 XQ" to "ProRes 422 HQ (or higher)"

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