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 Transfer Function
- 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 firstname.lastname@example.org or a relevant Netflix project lead.
Looking towards the total runtime of the final program, no less than 90% should be captured on approved cameras. For nonfiction content, this threshold is flexible to 80%. Any exceptions must be discussed with the relevant Netflix project lead.
The cameras listed below meet the minimum resolution and capture requirements listed above. This list is being continually updated as new camera systems are evaluated. Please note, not all cameras that meet the requirements above will be approved as primary cameras. The above 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.
For productions looking to use “broadcast” cameras, please contact email@example.com 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.
- Approved Cameras: Added wording outlining minimum thresholds for content amount captured on approved cameras.
- Minor editoral changes.
- Panasonic: Panasonic UC4000 added.
- Approved Cameras: Wording added to clarify the distinction between a camera being able to meet the capture requirements vs being an approved primary camera.
- RED: RED Dragon-X and RED Ranger added.
- 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)"