Cameras and Image Capture
- Camera must have a true 4K UHD sensor (equal to or greater than 3840 photosites wide).
- Capture Format
- RAW (Sony RAW, REDCODE, Arriraw etc.)
- COMPRESSED (XAVC, ProRes, or other I-Frame capable formats)
- Minimum of 16-bit Linear or 10-bit Log processing
- Minimum data-rate of Bitrate of 240 Mbps at 23.98 fps
- Capture Gamma
- S-Log3, Log-C, V-Log, Log3G10, etc.
- Capture Color Space
- S-Gamut3.cine, RED Wide Gamut RGB, Alexa Wide Gamut, etc.
- No looks or color corrections should be baked into the original camera files.
- Files must maintain all metadata (i.e. Tape Name, Timecode, Frame Rate, ISO, WB, etc.).
- If applicable, black balancing of camera sensors should be done daily, when the camera is at normal operating temperature. See specific black balancing instructions in the camera operating manual.
Aspect Ratio / Framing:
- Aspect ratios greater than 2.00:1 must be evaluated and discussed with Netflix for approval.
- Framing chart must be shot before principal photography begins, and processed through the dailies pipeline which will be shared with editorial, post-production, and VFX.
- If anamorphic lenses are being considered, camera selection must take into account the extra resolution required for capture. Contact your Netflix project lead to discuss implications or concerns.
- Any cameras other than the primary camera (crash, POV, drone, underwater, etc.) must be approved by Netflix.
- Footage from non-approved cameras will count towards the total allotment of non-approved capture. The allotment is based on content used in the final edit (per episode if applicable) and not on the total captured content.
- Test footage should be shot and provided to dailies and post-production to ensure compatibility with primary camera.
- Allowing a camera to record spanned clips (single takes spread out on multiple camera cards) is inadvisable. Please avoid this recording method if it is not absolutely necessary.
- For productions seeking to shoot any photochemical film, please contact email@example.com or a relevant Netflix project lead.
The cameras listed below meet the minimum resolution and recording requirements listed above. This list is not exhaustive; additional approved cameras may be available.
For productions looking to use “broadcast” cameras, please contact firstname.lastname@example.org for specs and workflow guidance.
Note: Detailed production guides for ARRI cameras can be found here.
Note: Detailed production guides for Canon cameras can be found here.
Note: Detailed production guides for Panasonic cameras can be found here.
Note: Detailed production guides for RED cameras can be found here.
Note: Detailed production guides for Panavision cameras can be found here.
Note: Detailed production guides for Sony cameras can be found here.
Note: Detailed production guides for Blackmagic cameras can be found here.
- Sony Venice Firmware Advisory has been removed.
- 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.
- Film Cameras: Added new language around use of photochemical film.
- Camera Requirements: Added information regarding "Spanned Clips" and how this recording method should be avoided.
- Canon: Canon C700 FF has been added.
- Sony: Production Technology Advisory has been issued for the Sony Venice.
- Panavision: Added link to detailed camera production guide for the DXL2.
- Canon: C500 - XF-AVC has been removed as a "Recording Format".
- 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.
- 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.
- 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.
- Panasonic AU-EVA1 added to list.
- Recording Format: Updated "Log color space (i.e. S-Log3..." to "COMPRESSED (Log Gamma - i.e. S-Log3..." for clarity.
- 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)"