Netflix approved camera, codecs and specs

Netflix Camera Requirements

alexa lf.jpg

4K UHD Resolution:

  • Camera must have a true 4K UHD sensor (equal to or greater than 3840 photosites wide).

Recording Format:

  • Minimum of 16-bit Linear or 10-bit Log processing
  • Bitrate of at least 240 Mbps (at 23.98/24 fps) recording
  • Recording format must be set to either:
    • RAW (uncompressed or lightly compressed sensor data)
    • COMPRESSED (Log Gamma - i.e. S-Log3, V-Log, CanonLog3, REDLogFilm, BMDLog, LogC, 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.)

Black Balancing:

  • 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.

Secondary Cameras:

  • Any cameras other than the primary camera (crash, POV, drone, underwater, etc.) must be approved by Netflix.
  • Test footage should be shot and provided to dailies and post-production to ensure compatibility with primary camera.

NETFLIX 4K Approved Camera List – April 2018

  • Canon:
  • Panasonic
    • VariCam 35
    • VariCam LT
    • AU-EVA1
    • Varicam PURE
  • RED:
    • Weapon (Dragon) 6K
    • Weapon 8K
    • Weapon 8K S35 (Helium)
    • 8K Monstro
  • Panavision DXL
  • Sony
    • VENICE
    • F65
    • PMW-F55
    • Sony FS7
    • Sony F5
    • HDC-4300
    • PXW-Z450
  • ARRI Alexa 65
  • Blackmagic Design
    • URSA Mini 4.6K
    • URSA Mini Pro 4.6K

Best lut for vlogs - DSLR

Click on image to download the luts.

Click on image to download the luts.

These luts for vlogger are perfect to make your footage more cinematic.

This LUT pack will be some base luts to get you a finished look or to a good starting point. It works with  Adobe Premiere Pro CC, Final Cut XDavinci Resolve and Assimilate Scratch.


  • We have designed a creative lut.
  • It is calibrated for properly exposed and white balanced image in standard camera settings.
  • You will have to manually adjust temperature, tint and exposure if encountered unexpected results.
  • For any DSLR clips shot in Neutral picture settings.
  • Developed using 3dlutcreator.


The moment is the first of its kind on the Arabic screen in terms of content and image.

About Moment TV Show - Season 2

The 15 minute tv show aims to address the ignorance of knowledge, by informing viewers about the latest scientific and technological advancements, simplifying them and explaining complex concepts in an entertaining and creative way. 

The program targets all age groups and seeks to explore the future through the huge practical discoveries made by scientists and inventors in different countries of the world.

Program presented by Yasser Hareb

Program presented by Yasser Hareb

Watch Moment Season 1 if you have missed


Color Grading in Davinci Resolve 12.5 - Dubai

Hollywood's most powerful color corrector!

DaVinci Resolve 12.5 combines professional non-linear video editing with the world’s most advanced color corrector so now you can edit, color correct, finish and deliver all from one system! DaVinci Resolve is completely scalable and resolution independent so it can be used on set, in a small studio or integrated into the largest Hollywood production pipeline! From creative editing and multi camera television production to high end finishing and color correction, only DaVinci Resolve features the creative tools, compatibility, speed and legendary image quality you need to manage your entire workflow, which is why it is the number one solution used on Hollywood feature films.

What’s New in DaVinci Resolve 12.5

DaVinci Resolve 12.5 is a massive update with over 1,000 enhancements and 250 new features that give editors and colorists dozens of new editing and trimming tools, incredible new media management and organization functions, new retiming effects, enhanced keyframe controls, on-screen text editing, new ResolveFX plug-ins and much more! The re-designed node editor is easier and more intuitive to use, there are new HDR grading tools, vastly improved noise reduction, lens distortion correction, a completely redesigned Deliver page for outputting projects and a new Fusion Connect command for round tripping visual effects shots between DaVinci Resolve and Fusion!

The world’s most advanced color grading tools.

DaVinci color correctors have been the standard in post production since 1984. There are thousands of colorists worldwide who understand the performance, quality and workflow of DaVinci. DaVinci Resolve features unlimited grading with the creative tools colorists need and incredible multi GPU real time performance. That’s why DaVinci is the name behind more feature films, commercials, television productions, documentaries and music videos than any other grading system!

Contact Us to visit our Color Grading Suite in Dubai, UAE.


PRELIGHT - Free on set color grading tool from Filmlight

FilmLight introduces Prelight, a freely licensed Mac OS X application designed to help DoPs and other professional creatives to author and review looks in pre-production and on-set.

Prelight’s simple-to-operate interface makes it a breeze to check how shots appear with looks or LUTs applied, and to import or add grading decisions that can be passed downstream. Images can be imported from almost any camera, and graded references exported in almost any format.

“What makes Prelight special is that it incorporates the full Truelight Colour Space technology you find in other FilmLight products,” said Peter Postma, Managing Director, FilmLight Americas. “So regardless of the camera, whether RAW or monitoring output, whether HDR or laptop screen, looks are applied consistently and grading decisions remain relevant even for final delivery.”

Prelight complements the FilmLight products FLIP and Daylight, which already provide full on-set and near-set grading capabilities. Many directors, working with a colourist early on or not, would just like more control over how the shot is going to look, and to be able to communicate that easily and visually to post-production.

The creative team can enhance the grade with simple but familiar tools, to create new reference stills as well as 3D LUTs or BLG (Baselight Linked Grade) files. With the render-free BLG workflow, the grades are non-destructive too: additional BLG metadata is created and attached to the stills. And the free licence for Baselight for Avid or NUKE, which makes it free to read and render BLG files, makes this workflow available to productions on any budget.

An extended licence can be purchased so that when these files arrive in the Baselight post house, or on a Daylight system for near-set dailies, the metadata is attached automatically and the BLG file becomes the basis of the grade, which can then be refined right up to the moment the deliverables are created. The additional licence also includes enhanced logging and monitoring capabilities.

As well as fitting in naturally with the BLG workflow, Prelight can fit into any post-production workflow because of the ability to export standard ASC CDL lists and third-party formatted 3D LUTs.

Integration with cameras, such as the ARRI Alexa SXT, means that Prelight can simplify the colour workflow dramatically by enabling fully automated metadata support all the way from the start of the production chain. Prelight can also interface to the majority of professional LUT boxes or monitors for real-time viewing.

“The production and post-production community is looking for ways to customise their workflows to guarantee the best scope for creativity,” Postma added. “Prelight is another exciting option to give simple but direct and reliable control. We are happy to offer the core features of Prelight, including the full grading and LUT toolkit, free, with very low cost options for connectivity and advanced metadata export.”

High Frame Rate - HFR in Cinema

In the past few years we’ve been pushing the technology envelope pretty hard – trying to get higher frame rates, greater resolution, more dynamic range,  more bit depth, more throughput/bit rates and RAW.   


High frame rates - delivering a higher standard

High frame rate movies are the way of the future. This new standard for movie production creates extraordinary crisp, lifelike images that transport audiences into the action.

What is HFR?

Frame rates are the number of images displayed by a projector in one second. 24 frames per second (FPS) is the standard in cinema. High frame rate productions of 48 or 60 FPS will set the bar higher - and set a new standard for moviegoers.

High Frame Rate (HFR) movies record and play visuals at twice the rate or more of what's shown in today’s cinemas. Increasing the frame rate stops the blurring, flickering and stuttering visuals that are common with 24 FPS movies.

In 24 frame-per-second 3D action sequences, the fast-moving 3D images will appear to break apart, and most audience members will struggle to focus on the images. It’s this “image break up” that causes some audience members to feel ill or uncomfortable watching 3D movies.

The problem is solved with HFR 3D movies.


Higher frame rates will soon be the norm

Higher frame rates will improve 3D movies dramatically - creating ultrarealistic and more comfortable moviegoing experiences – and set a new industry standard.  – Recent releases of The Hobit (An Unexpected Journey, The Desolation of Smaug and The Battle of the Five Armies) as well as upcoming “Avatar’s” sequels – will use 3D HFR. Peter Jackson and James Cameron are betting on the fact that audiences will love the more immersive and detailed 3D HFR productions.

Learn to use Canon C300 Mark 2

The Canon EOS C300 Mark II is a true professional camera, and with 4K capability, the camera joins the ranks of high-end camera systems like the new ARRI Alexa SXT, the Red Epic Dragon, and the Sony F55. -

  • Super 35mm CMOS Sensor
  • 4K/24p and 30p
  • 2K RGB 444 12bit and 10bit options
  • Canon XF AVC H.264 Codec at 400+ MB/s
  • 4K RAW output
  • EF Lens Mount
  • Dual Pixel CMOS AF Technology
  • Rotating 4″ LCD Monitor
  • 2x 3G-SDI Output, 2x XLR Inputs
  • 2x CFast Card Slots
  • Timecode I/O, Genlock In & Sync OutCanon Log 2 Gamma

How to use Canon C300?


Scratch VR - with Scratch pad

Gesture-based grading panel of Assimilate

In addition to the already known support for all relevant panels Assimiliate is now bringing out a separate panel. Instead only illuminated buttons, the first version of the scratchpad (tentative name) will be provided with holographic buttons that könnnen show a continuation of the LED button 3D graphics. So Grading of Stereo3D content is more intuitive.

Encoders are recognized by Mocap-Camera, and so to a not depreciable (no moving parts), on the other hand for hand size, attitude and My personal and cultural preferences individually customized. There is the price any information, a first model will be on display at NAB.

Kinect compositing

The compositing features from scratch now work with the Microsoft Kinect together - so can be placed in the room via gesture control each element, and my posture arerelighting and DOF adjusted. S. Urkel, Head of Development, continued: "One problem with the Colorists is that the attitude of the panel can be harmful in the long term - that's why we are of assimilates with the new Kinect interface the only software provider for fit, movable Grader!"


Since many Grader anyway only use three different looks, features Assimilate now From web photo sharing app known "Instagram filter" to which the kit allows in cooperation with the LUTs a potty Grading - and so also error by the appointed makes interns impossible.

Support for LDR

Unique in Coloristenwelt is the support for LDR grading which, in view of current developments in the broadcasting sector "practically transmission standard was" so Urkle.The saving useless dynamic stages saves link bandwidth and prevents compression artifacts, particularly in H264 and WebM videos. A low-dynamic-range Legalizer, automated LUTs and practical converter nodes are available in the screen that appears to NAB version each user.

2-bit Mode

In order to leverage particular the contrast range of the monitors in the grading suite, Scratch is also an alternative interface with a matching codec available - in the 2: 0: 0 color space can be reduced all the videos on the essentials.

Chrome & consorts

"With the election of ChromeOS we ensure that the users of tomorrow can take full advantage of the power of Scratch. By connecting to mobile operating systems we open the door to new forms of creative work! "Says Product Manager S. Urkel. Furthermore, the new features are adapted to the needs of users - in order to create space for creative ideas in modern pipelines.

At NAB should at Assimilate booth Grading-enabled Chromebooks be seen with Scratch, and demo models further scratch ports. eS, BSD, Be / OS and Plan9 to the users are in the course of the second quarter are available, with the aim to develop the full force even in network environments - the link between the systems provides Scratch Web forth.Assimilate told that this choice of operating system found long-term market research - the systems with the best chance to still be relevant in 15 years.

Scratch VR

There was a whole bunch of new VR headsets to the updated Gear- and Oculus Rift versions to newly published Google Cardboard Plastic , thus already assisted in its development Assimilate was involved early on and the device to release.

Scratch Full - On Mobile

Another supported operating system for the full version of Scratch is Android (from version 6.1). According Assimilate as graders and finishers are on the move have access to all features, so far a hardware calibratable phone (list of available models) possess.

Scratch OS

Birdman - Outstanding color grading feature film 2015 (HPA)

The Hollywood Post Alliance (HPA) has unveiled the winners of the 10th Annual HPA Awards this evening at a gala celebration held at the Skirball Cultural Center in Los Angeles.  The HPA Awards recognize individuals and companies for outstanding contributions made in the creation of feature films, television, commercials, and entertainment content enjoyed around the world.

Honors were bestowed in craft categories honoring behind the scenes artistry, Engineering Excellence, and Creativity and Innovation.  Leon D. Silverman, a founder and current president of the HPA, was the recipient of the prestigious HPA Lifetime Achievement Award.

The winners of the 2015 HPA Awards are:

Outstanding Color Grading – Sponsored by Dolby

Outstanding Color Grading – Feature Film

“Birdman” Steven J. Scott // Technicolor

“Monsoon” Charles Boileau // Post-Moderne

“Lady of Csejte” Keith Roush // Roush Media

“The Boxtrolls” John Daro // FotoKem

“Whiplash” Natasha Leonnet // Modern VideoFilm

Outstanding Color Grading – Television

“Boardwalk Empire – Golden Days for Boys and Girls” John Crowley // Technicolor PostWorks NY

“Game of Thrones – Hardhome” Joe Finley // Chainsaw, Inc.

“Masters of Sex – A Parliament of Owls” Matt Lear // Sony Pictures Television

“Olive Kitteridge – Incoming Tide” Pankaj Bajpai // Encore

“Sense8 – What’s Going On?” Tony Dustin // Technicolor

Outstanding Color Grading – Commercial

Lincoln – “Intro” Tom Poole // Company 3

Caterpillar – “Lantern Festival” Rob Sciarratta // Company 3

Dodge – “Wisdom” Beau Leon // Company 3

Lexus – “Face Off” Dave Hussey // Company 3

Toyota – “Harrier” Siggy Ferstl // Company 3

Shooting in Dubai Guidelines and Faqs

Shoot Music video, film, corporate video – The Right Way.


If you’re shooting in Dubai, the first thing to consider is filming permission. If you want to film in a public place you must have official permission from the Dubai Film and Television Commission (DFTC).


Only companies registered in Dubai Media City (DMC) or Dubai Studio City DSC) can apply for permission from the DFTC. If yours is not such a company, you have to engage a qualified company to do this. One issue with the permission is cost. If you’re shooting for a corporate video or a television show you are most likely not used to having to pay an application fee of US $220 (800 dirhams) plus an additional US $550 (2,000 dhs) per day of filming in a public place.


Plus whatever administration fee the company applying for the permission on your behalf might charge. A good way to reduce this cost is to do all your public location shooting on particular days so you limit the daily charge. The steps to getting filming permission are:


The steps to getting filming permission are:


 1. Find a company registered in Dubai Media or Studio City that will apply for the permission on your behalf. Most companies will not do this unless they have crew on the job. The reason for this is that if anything happens during the shoot that upsets the authorities, the company that secured the permission could risk having their trade license revoked.
2. The company making the application should send you a list of all information they will need. This includes passport scans for everyone coming to Dubai for the shoot and a no objection letter confirming you are happy for the company to apply for the permission on your behalf.
3. Once the company making the application submits the information and passport scans you provide along with the required application documents you have to wait until the DFTC completes the process. The DFTC will contact other government bodies such as the police and the municipality before granting filming permission. Waiting to hear back from these authorities can sometimes delay things. The company submitting the application should follow up daily after three working days.
4. Once approved, the DFTC will notify the applying company and let them know the permission, an A4 document you must carry with you when filming, is ready for collection. If an application is rejected, it is unlikely you will be told why. Generally applications are approved.


If you want to do a shoot in UAE, plan in advance - and if you want to shoot in public places, allow time to get filming permission - at least five working days. Remember you will need a Dubai Media City or Dubai Studio City company to secure the permission on your behalf and most of these companies will not apply for the permission unless they have someone on location when you shoot.

Shoot permission requirements for UAE?

1.Passport copies of all crew.(Clear color scans.)

2.Letter from you to us and we will add a letter from us to the authorites on letterhead with stamp.Here’s a template of your letter.

To who’m it may concern,…………… are working with film production company ­­­­­­­­­…….............................  with a media licence to film in the UAE on a TV commercial shoot for ……………We will be filming at the following locations in Dubai(or name the emirates) and would like to have permission to shoot from Date………………. to Date………………..

List of all locations  and list of all crew.

The script and storyboard is attached and we naturally promise to abide by the rules regulations and morals of the United Arab Emirates.We appreciate your kind corporation in this matter.

With regards.(Sign and stamp on letterhead).

3.Treatment and simple storyboard.

Scratch 8 - Colour Grading Studio in Dubai

The Suite is equipped with latest Assimilate Scratch 8.4 version of world's best DI software enabling filmmakers to craft the art of color grading beyond imagination.

Pixel house Color Grading suite offers :

  • ACES LOG - Grading option
  • Real time VR post production 
  • Stereo 3D Color Grading Studio
  • Real time 6k Color Grading Workflow
  • Digital Cinema Mastering - DCP
  • Davinci Resolve Grading Suite
Colorist - Sudip Shrestha has joined Pixel House as a senior colorist. He has graded more than 50 feature length movies , 200 tvcs in Assimilate Scratch. 

Please visit

Free eBooks on Color Grading & Color Science

If you’re an apprentice colorist looking to deepen your understanding of the art, craft and science of color grading then these books will provide you with an excellent place to start.

Alexis Van Hurkman – Color Correction Handbook, 2nd Edition

If you’re looking for a one-stop comprehensive education on all things involved in color grading from setting up your suite to understanding your color management workflow as well as the technically creative aspects of bringing a film to life, you really can’t do better than Alexis Van Hurkman’s Color Correction Handbook.

Click on the image to open the book.

Click on the image to open the book.


Alexis Van Hurkman – Look Book Creative Grading Techniques

his brand new book from colorist Alexis Van Hurkman focuses entirely on the creative aspects of color grading by walking through numerous Looks and Creative Grading Techniques such as undertones, bleach by pass, day-for-night, monochrome, duo and tritones and many many more.


Steve Hullfish – The Art & Technique of Digital Color Correction

The only guide to the art and technique of color correction based on the invaluable knowledge of more than a dozen of the top colorists in the world. This book allows you unprecedented access to the way the masters of the craft approach their work.”


Color & Mastering For Digital Cinema

Glenn is currently the CEO of ARRI, having served on many of the industry’s premiere technical boards including the SMPTE, so his technical credits are extensive.

First published in 2006, quite a fair few technical advances have been made in the industry but I include it in this list as it is one of the few books available on colour theory and science as related to digital

Nepal's first Point Of View - Cinematography film "FACEBOOK TODAY"

Nepal's first person point of view - Cinematography Style short film "Facebook Today" is ready for festival release. Film was shot in 2014 in Nepal and based in real incidents happened due to social networking sites.

Film Title : Facebook Today
Length : 7 min 30 sec
Director : Sudip Shrestha
Executive Producer : Hari Bhusal
Editor : Nimesh Shrestha
Audio : Rav Singh
Actors : Sarwapratik Shrestha, Anjala Nakarmi, Rajendra Mokta
Writer : Sarwapratik Shrestha
Production : Anup Shrestha


High Dynamic Range Camera - 17+f stops

High Dynamic Range Camera - 17+f stops

Contrast’s amp®HDR camera system is the most efficient HDR video system in the world. Combine the ampHDR camera with our proprietary (developed in-house), real-time merging and tone-mapping algorithms and an HDR monitor, and the integrated system produces and displays accurate, real-life scenes with displayed luminance ranges that go far beyond what is possible with any other camera.

The HDR system employs Contrast’s patented amp image-splitting and combining technology to compose a single video stream from multiple sensors. The video stream can be recorded raw or tone mapped (to 8 bits per color for standard display, 10 bits for HDMI Deep Color, or 16 bits for HDR display) and output via HDMI, DVI, HD-SDI or other formats. Contrast’s merging algorithm — a proprietary mix of real time merging, blending and horsepower — handles exposure separations of 5 stops or more. 

Contrast’s amp technology provides unsurpassed image quality, especially when lighting is difficult to control:

  • Medical endoscopy
  • Manufacturing inspection, evaluation and quality control
  • Industrial welding, molding and cutting processes
  • Military imaging systems for tracking and recording
  • Security and surveillance
  • Scientific experiments
  • Film and video: sports events, nature documentaries
  • Underwater photography
  • Real estate – portable real time video displays
  • Consumer cell phone cameras and digital cameras

Dolby Vision - HDR & Future

Technology has moved far beyond current TV and movie imaging standards. Dolby Vision takes full advantage of what’s possible. This end-to-end solution delivers a dramatically different visual experience that fully expresses the original creative intent. Dolby Vision enhances today’s viewing experiences and is ready for the next wave of innovation from TV, movies, games, and streaming services.

The Dolby format offers a high dynamic range (HDR), meaning a wider range between the whitest whites and blackest blacks in a picture, along with features including a greater contrast ratio and color gamut. It can be projected in theaters with a Dolby Vision projection system that use Christie laser projectors.

Dolby researched human visual perception of luminance changes, then developed a new quantization curve based on those findings. The goal was to specify brightness levels from 0 to 10,000 cd/m2 using 10-bit or 12-bit encoding. The resulting PQ curve, approved as SMPTE Standard 2084, replaces gamma for Dolby Vision image encoding. In post-production, this means the image must be graded twice—one time for the standard P3 color space that most cinema viewers will see, and then again in the PQ format that specifies characteristics of the HDR version. Read this 2014 SMPTE presentation by Dolby Labs researcher Scott Miller for the nitty-gritty. 

Disney's Tomorrowland   -- the first theatrical release in Dolby VIsion.

Disney's Tomorrowland -- the first theatrical release in Dolby VIsion.

Tomorrowland was graded on DaVinci Resolve already has ablility to grade and master in Dolby Vision Format.

Understanding Color & technology

Color is an extremely important part of modern filmmaking.The way we perceive color is greatly influenced by our cultural understanding. We all grew up learning that Fire is Hot and Ice is Cold. Therefor red and orange are warm colors while blue and cyan are cool colors.This association in our mind is so strong that filmmakers can actually invoke a sense of temperature just by the color palette they use in their films.

Lets understand color technically -

How Digital Camera Capture Color?

How pixel gets its color?


History and science of Color Temperature :

Color in digital filmmaking -

Make a Digital Cinema Package with OpenDCP for free

DCP- Universal format to exhibit your movie worldwide.


What Is DCP?

Digital Cinema Initiatives (most of the major studios) coined the expression when looking at ways of packaging Digital Cinema contents. DCP is a collection of digital files used to store and convey Digital Cinema audio, image, and data streams (Wikipedia).

A DCP is usually made up of large MXF (Material Exchange Format) and XML files.

Making a DCP means -

  • Creating the image sequence, from your digital masters, into TIFF, BMP or DPX will take up a lot of space.
  • Converting the image sequence to JPEG 2000 images will take a lot of processing power.
  • One of the great benefits of image sequences is that if you need to change a portion of your film, a shot or scene needs fixing, you only need to re-render that shot or scene and replace those images in your sequence without having to re-export the whole film.
  • The best format for your delivery drive (or USB stick) is Linux EXT.
  • One of the main benefits of DCP is the XYZ colour space, which has a much greater gamut:

How do I make a DCP?
Watch the video for a more detailed look at the DCP making process. In simple terms, it goes like this:

1. Export your film as a 16-bit TIFF sequence.
2. Use free, open source DCP software to convert the TIFF sequence into JPEG 2000
3. The DCP software then wraps the video (JPEG2000) and audio (WAV) in to MXF files.
4. The final stage is creating the DCP which generates 6 files that will be recognised by a DCP server.