The Cameras Behind Best Netflix Original Movies of 2020

[rand thompson]

The Cameras Behind Best Netflix Original Movies of 2020



By REDUSER MEMBER YOSSY MENDELOVICH


Article
https://ymcinema.com/2021/01/20/the-...ovies-of-2020/


The reference for the list of the best Netflix Originals is the Thrillist Entertainment website. Check it out below with their title, DP (Director of Photography), and cameras:

[Phil Holland]

Eric shot nearly all of 40-Year-Old-Version on Kodak Double-X.

[Nick Morrison]

I thought Mank was Monstro Monochrome?

[rand thompson]

Phil and Nick,


You are both correct. I personally started the Mank thread and I know for a fact that it was shot with the Monstro Monochrome. I apologize for not recognizing this earlier. Now I question what else on this list is incorrect.


Phil,

It might be best to delete this thread.

[Phil Holland]

No need to delete really. It's still fun information when it's all correct. I know a few of those films used other cameras here and there too for reasons.

[rand thompson]

Alright then Phil! I didn't want to spread any false info with this thread.

[M Harvey]

Thanks for posting, Rand!

Weirdly, YM Cinema's list is in reverse order of Thrillist's list-- "Hubie Halloween" was not their #1 pick, but their #20 pick!

To Phil's point, it would be interesting to know what film stock these cinematographers chose. It's not incorrect to cite Arricam LT as the camera, it's just potentially a little less meaningful that with the digital cameras. That said, with the quality of the high end digital cameras, and the fact that we've moved the execution of so many aspects of the look of a film to post (for film as well), maybe digital camera choice IS less meaningful than it used to be...

[Phil Holland]

maybe digital camera choice IS less meaningful than it used to be...

One of the more interesting conversations I have on my own shoots and occasionally others I work on in different ways is the post workflow and look aesthetic everybody is aiming for. Some stuff is lens related. Some stuff is color related. Sometimes it's a somewhat tuned film emulation, though most of the time a more modern take on what that might be.

On very stylized things where that conversation becomes meaningful again is how far an image can be stressed in the post workflow. Then it's test, test, test.

Don't know a lot of productions that totally go to 11 on that front, but I tend to work on a few during a year that do.

[rand thompson]

Thanks for posting, Rand!

Weirdly, YM Cinema's list is in reverse order of Thrillist's list-- "Hubie Halloween" was not their #1 pick, but their #20 pick!

To Phil's point, it would be interesting to know what film stock these cinematographers chose. It's not incorrect to cite Arricam LT as the camera, it's just potentially a little less meaningful that with the digital cameras. That said, with the quality of the high end digital cameras, and the fact that we've moved the execution of so many aspects of the look of a film to post (for film as well), maybe digital camera choice IS less meaningful than it used to be...

You're welcome Matt! Sorry it seems this list isn't entirely accurate however.

[rand thompson]

Phil,


What workflow/s are you using these days. I'm using IPP2 for better Gamut Mapping than Davinci Wide Gamut for all Red Footage Projects. I'm using Davinci Wide Gamut for better Tone Mapping than IPP2 and for multi-camera projects. And ACEScct for regular projects with mixed camera footage and If I would ever need to Archive a project for redistribution in a possible different or future format later.


I'm Also "by-passing" Color Management in Davinci Wide Gamut Projects for IPP2 red processing. And "by-passing" Color Management in IPP2 projects for Davinci Wide Gamut processing.