Want to know about the cameras behind Netflix Originals? Here are the cameras Netflix has officially approved — and the films and series using them.
It’s been a while since we’ve talked about the Netflix camera standards and the shows using them. Let’s take a look at the updated requirements, as well as what the latest Netflix shows are using.
Netflix Camera Requirements
Cameras must have a true 4K UHD sensor (equal to or greater than 3840 photosites wide). The capture requirements allow for RAW (REDCODE, ARRIRAW, etc) as well as COMPRESSED (XAVC, ProRes, or other I-Frame capable formats). Netflix also requires a minimum of 16-bit Linear or 10-bit Log processing, and minimum data-rate of Bitrate of 240 Mbps at 23.98 fps.
Cameras that don’t meet these standards must be approved by Netflix, and are allowed in certain use cases like crash cams, POV, drones, and underwater.
Approved Netflix Cameras
Since our last report, Netflix added a few new cameras to its approved list, including the Panasonic AU-EVA1, Canon C700 FF, Sony broadcast cameras, and additional RED cameras. Netflix also maintained the traditional (and confusing) RED camera names that have since changed to the DSMC2 BRAIN with select sensors.
Note that this isn’t a comprehensive list, and other cameras are allowed by require approval. (Kodachrome was captured on Super 35.)
Here is the list of approved cameras.
- ARRI Alexa 65
- 6K — 6560 x 3100
- ARRIRAW
- ARRI Alexa LF
- 4.5K — 4448 x 3096
- ARRIRAW
- ProRes 422 HQ (or higher)
- Blackmagic URSA Mini 4.6K
- 4.6K — 4608 x 2592
- CinemaDNG RAW
- Blackmagic URSA Mini Pro 4.6K
- 4.6K — 4608 x 2592
- CinemaDNG RAW
- Canon C300 MK II
- 4K — 4096 x 2160
- Canon RAW
- XF-AVC (4K)
- Canon C500
- 4K — 4096 x 2160
- Canon RAW
- Canon C700
- 4.5 K — 4512 x 2376
- 4K — 4096 x 2160
- Canon RAW
- XF-AVC (4K)
- ProRes HQ (4K)
- Canon C700 FF
- RAW FF — 5952 x 3140
- RAW 2.35 — 5952 x 2532
- 4K — 4096 x 2160
- UHD — 3840 x 2160
- Canon RAW
- XF-AVC (4K)
- ProRes HQ (4K)
- Panasonic VariCam 35
- 4K — 4096 x 2160
- V-RAW
- AVC-Intra4K
- Panasonic VariCam LT
- 4K — 4096 x 2160
- V-RAW
- AVC-Intra4K
- Panasonic VariCam Pure
- 4K — 4096 x 2160
- V-RAW
- Panasonic AU-EVA1
- 4K — 4096 x 2160
- All-Intra 400
- Firmware 2.02 or higher required
- Panavision DXL2
- 8K — 8192 x 4320
- REDCODE RAW
- RED WEAPON VV 8K (Monstro, Dragon)
- 8K — 8192 x 4320
- REDCODE RAW
- RED WEAPON 8K S35 (Helium)
- 8K — 8192 x 4320
- REDCODE RAW
- RED EPIC-W 8K S35 (Helium)
- 8K — 8192 x 4320
- REDCODE RAW
- RED WEAPON 6K (Dragon)
- 6K — 6144 x 3160
- REDCODE RAW
- RED EPIC 6K (Dragon)
- 6K — 6144 x 3160
- REDCODE RAW
- RED EPIC-W 5K S35 (Gemini)
- 5K — 5120 x 2700
- REDCODE RAW
- RED SCARLET-W 5K (Dragon)
- 5K — 5120 x 2700
- REDCODE RAW
- RED RAVEN 4.5K (Dragon)
- 4.5K — 4608 x 2160
- REDCODE RAW
- Sony Venice
- 6K — 6048 x 4032
- RAW
- X-OCN
- XAVC-I
- Sony F55
- 4K — 4096 x 2160
- F55RAW
- X-OCN
- XAVC-I (4K)
- Sony F65
- 4K — 4096 x 2160
- F65RAW
- F65RAW-LITE
- XAVC (4K)
- Sony FS7 / FS7 II
- 4K — 4096 x 2160
- XAVC (4K)
- Sony HDC-4300
- 4K 4096 X 2160
- 4K Baseband Video
- Sony PXW-Z450
- UHD 3840 x 2160
- XAVC-I QFHD 300 mode
Cameras Behind the Scenes of Popular Netflix Originals
Roma
The 2019 Oscar winner of Best Director, Best Cinematography, and Best Foreign Language Film was captured digitally on the Alexa.
Roma Camera Package:
- ARRI Alexa 65
- Prime 65
- ARRIRAW
Stranger Things
Stranger Things 3 Camera Package:
- RED DSMC2 Monstro 8K
- Leica Summilux-C Lenses
- REDCODE RAW
Check out this great behind-the-scenes of season two’s cinematography.
The Ballad of Buster Scruggs
Buster Scruggs Camera Package:
- Arri Alexa Mini
- Arri Alexa XT Studio
- Zeiss Master Prime
- Fujinon Alura Lenses 15.5-45 and 30-80
- ARRIRAW 3.4K Open Gate
In an interview with IndieWire, cinematographer Bruno Delbonnel said:
Ozark
Ozark Camera Package:
- Panasonic VariCam 35
- Cooke S4
- Zeiss Super Speed
- Hawk V-Lite and V-Lite Vintage ’74 Lenses
While talking to Awards Daily, DP Ben Kutchins said:
In another interview with Deadline, Kutchines went on to say:
Tidying Up with Marie Kondo
Tidying Up with Marie Kondo Camera Package:
- Canon C300
- Fujinon Cabrio Cine Zooms (six 19-90mm, three 85-300mm, one 14-35mm)
In an interview with Post Perspective, DP Tom Curran shared:
As for getting enough light to shoot in small houses:
The Haunting of Hill House
The Haunting of Hill House Camera Package:
- ARRI ALEXA 65
- Prime 65 and Prime 65 S Lenses
Arrested Development
Arrested Development Camera Package:
- Panasonic VariCam LT (Season 5)
- Fujinon Cabrio zooms (15-35mm, 19-90mm, and 85-300mm)
- 10-bit 422 UHD (3840×2160) AVC Intra files at 23.98-fps.
- V-Log (with V-709 LUT on set)
- RED Epic (Season 4)
- Angenieux Optimo Lenses
- Panasonic AJ-HDC27 Varicam (Previous Seasons)
Cinematographer Patrick Stewart gave insight to the production.
You can read this great in-depth piece over on Indie Shooter.
Black Mirror
Black Mirror Camera Packages:
- ARRI ALEXA (Season 1)
- RED Epic (Seasons 2-3)
- ARRI ALEXA 65 (Season 4 + Bandersnatch)
- RED Dragon (USS Callister, additional episodes)
- Sony F55 (used as second/third camera)
13 Reasons Why
13 Reasons Why Camera Package:
- Panasonic VariCam 35 (Season one)
- Hawk V-Lite
- Leica Summilux-C Lenses
- Panavision Millennium DXL (Season two)
- Red Helium 8K (Season two)
In an interview with Pro Video Coalition, cinematographer Andrij Parekh said:
The Crown
The Crown Camera Package:
- Sony F55
- Vintage Cooke Speed Panchros
- Tiffen Glimmer Glass
While sharing behind-the-scenes information with the ASC Magazine, Adriano Goldman said:
Lost in Space
Lost in Space Camera Package:
- RED Weapon 8K
- Leica Summilux-C Primes
In an interview with British Cinematographer, DP Sam McCurdy shares:
He went on to say:
Narcos: Mexico
Narcos: Mexico Camera Package:
- Red DSMC2 Dragon
- Hawk V‑Lites (28, 35, 45, 55, 65, 80, 110, and 140mm lenses)
- Hawk Vintage ’74 anamorphic lenses
- DJI Inspire 1 (drone shots)
While talking with Vantage Film, cinematographer Luis Sansans shared:
Chilling Adventures of Sabrina
Chilling Adventures of Sabrina Camera Package:
- RED Helium 8K
- Panavision G Series – Ultragold Series Anamorphic
GLOW
GLOW Camera Package:
- RED Dragon (Season 1)
- RED Weapon 8K S35 (Season 2)
- Cooke Anamorphic /i Prime Lenses
In a conversation with Indie Wire, cinematographer Christian Sprenger shares:
“The look of GLOW is meant to transport the audience to a grounded realistic setting of 1980s Los Angeles and then at specific times, to the elevated fantasy world of professional wrestling. Along with a custom film LUT from LightIron LA, the slightly imprecise quality of Cooke anamorphic lenses paired with the resolution of the Red felt like the perfect way to reference the audience’s nostalgia for ’80s cinema. Because we’re using modern technology, shooting at a t2.3 on the lenses and very higher ISOs on the camera, I was able to light very naturally and atmospherically instead of traditional ‘TV lighting.’ My goal was for the base of the show to feel very understated and mature so that when we did chose to heighten the aesthetic, there would be strong a stylistic contrast. That became a very powerful storytelling device throughout the season while still grounding the overall narrative and performances.”
All images via Netflix.