{"id":294601,"date":"2021-07-08T17:10:01","date_gmt":"2021-07-08T14:10:01","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/films-made-for-netflix-look-more-like-tv-shows-heres-the-technical-reason-why\/"},"modified":"2021-07-08T17:10:01","modified_gmt":"2021-07-08T14:10:01","slug":"films-made-for-netflix-look-more-like-tv-shows-heres-the-technical-reason-why","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/films-made-for-netflix-look-more-like-tv-shows-heres-the-technical-reason-why\/","title":{"rendered":"#Films made for Netflix look more like TV shows\u2014here’s the technical reason why"},"content":{"rendered":"

“#Films made for Netflix look more like TV shows\u2014here’s the technical reason why<\/strong>”<\/p>\n

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\n Gary Oldman and Amanda Seyfried in the Netflix film Mank. Credit: Netflix
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The history of cinema as an art parallels its history as a technology<\/a>. Ever wondered why the colour in The Wizard of Oz is so saturated? Well, it wasn’t the first technicolor film, but it was the first to effectively advertise MGM’s new three-strip<\/a> colour process to a global audience. Why advertise something at half mast?<\/p>\n

This kind of technological innovation in cinema is, of course, spurred by economic motives. For instance, 3D thrived in three waves in direct response to the economic threats posed by new technologies: in the 1950s, in response to television, in the 1980s, responding to VHS, and in the 21st century in the face of increased online streaming. (Now we have 4DX<\/a>, a gimmick one suspects won’t take off.) <\/p>\n

In this era of digital cinema, with celluloid virtually replaced by video technology, the latest technological battle concerns image resolution.<\/p>\n

A digital image is made up of pixels\u2014little shapes (usually boxes) that are the smallest controllable element of the image. Resolution refers to the number of pixels app<\/a>earing in an image, and is usually measured in pixels per inch. As a rule, the more pixels, the crisper the image\u2014that is, the sharper the edges of the subject appear. <\/p>\n

In digital cinema’s resolution wars, you will often hear people speak about 4K\u2014as in, 4000\u2014or 8K, or now even 12K resolution. This number refers to the number of horizontal pixels. A typical 4K digital cinema image for instance, has a resolution of 4,096 (horizontal) x 2,160 (vertical) pixels. <\/p>\n


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Image capture resolution is only one factor in how an image looks\u2014dynamic range, that is, difference between the darkest and lightest parts of the image, is another. But most cinematographers and techies agree the camera’s resolution is crucial to the crispness of the image. <\/p>\n

In 2018, Netflix were snubbed by the Cannes Film Festival on the basis Netflix-produced films are not true cinema. This year again, there are no Netflix-produced films in the festival competition<\/a> due to a rule all films selected to compete must have a local theatrical release.
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Cannes is right. Most made-for-Netflix productions don’t look like the cinema we’re used to. Why? There’s a technical answer. Though the company streams some films that are not “Netflix Originals”, it requires<\/a> narrative feature films made for Netflix be shot on cameras with a “true 4K UHD sensor”. <\/p>\n

In other words, the sensor\u2014which detects and conveys the information required to make an image\u2014must be at least 3,840 pixels wide, or “Ultra High Definition”. <\/p>\n


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