Professional filmmaker and animator here. I’m willing to donate some of my time (~10-20h) to help create visuals for this project (Should you be in need of that). Happy to send through examples of work if DMed.
Also, what did you shoot on? Netflix used to have a list of camera requirements. I’m not sure if they still hold to them.
Thanks for the offer! DMed you. We shot with: - Camera A (wide shot): FX3 - Camera B, C: FX30
From what I have read online, the FX30 is not “Netflix-approved” but it won’t matter (for distribution) because “it only applies to Netflix produced productions and was really just based on some tech specs to they could market their 4k original content.” (link). Basically, if the film has not been commissioned by Netflix, you do not have to satisfy these requirements. (link)
And even for Netflix originals (which won’t be the case here), they’re actually more flexible on their camera requirements for nonfiction work such as documentaries (they used to have a 80% on camera-approved threshold which they removed).
For our particular documentary, which is primarily interview-based in controlled lighting conditions, the FX30 and FX3 produce virtually identical image quality.
Professional filmmaker and animator here. I’m willing to donate some of my time (~10-20h) to help create visuals for this project (Should you be in need of that). Happy to send through examples of work if DMed.
Also, what did you shoot on? Netflix used to have a list of camera requirements. I’m not sure if they still hold to them.
Thanks for the offer! DMed you. We shot with:
- Camera A (wide shot): FX3
- Camera B, C: FX30
From what I have read online, the FX30 is not “Netflix-approved” but it won’t matter (for distribution) because “it only applies to Netflix produced productions and was really just based on some tech specs to they could market their 4k original content.” (link). Basically, if the film has not been commissioned by Netflix, you do not have to satisfy these requirements. (link)
And even for Netflix originals (which won’t be the case here), they’re actually more flexible on their camera requirements for nonfiction work such as documentaries (they used to have a 80% on camera-approved threshold which they removed).
For our particular documentary, which is primarily interview-based in controlled lighting conditions, the FX30 and FX3 produce virtually identical image quality.