Table of Contents<\/h2>\n\n\n\n\n\n- Capture Requirements <\/a><\/strong><\/li>\n\n\n\n
- Netflix-Approved Cameras<\/a><\/strong><\/li>\n\n\n\n
- Using Non-Approved Cameras<\/a><\/strong><\/li>\n\n\n\n
- Best Practices for Netflix Content<\/a><\/strong><\/li>\n<\/ul>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n
Capture Requirements<\/h2>\n\n\n\nImage Resolution<\/strong><\/h3>\n\n\n\nFirst things first, your camera must shoot a minimum of 4K UHD<\/strong>. This means the sensor has to capture a resolution of at least 3840 pixels wide<\/strong>. And if you’re shooting anamorphic, buckle up\u2014your camera might need an even higher resolution sensor to stay Netflix-approved.<\/p>\n\n\n\nFor 2024, the list of Netflix approved cameras by price includes options for every budget, but remember, 4K resolution is non-negotiable. Got your eyes on a particular camera? Check below to see if it fits the bill.<\/p>\n\n\n\n
Format<\/strong><\/h3>\n\n\n\nFor Netflix, it’s not just about resolution \u2014 it\u2019s about how your camera handles data. Your camera should record in a RAW format like ARRIRAW, REDCODE, or X-OCN. If you\u2019re using a compressed format, it must support all-intra recording with a high bit rate, like XAVC or ProRes HQ.<\/p>\n\n\n\n
Oh, and a heads-up: You\u2019ll need a data rate of at least 240 Mbps at 10-bit UHD 23.98fps<\/strong>. Netflix wants the cleanest and sharpest footage possible.<\/p>\n\n\n\nBit Rate<\/strong><\/h3>\n\n\n\nSpeaking of quality, you\u2019ll also need to meet specific bit rate standards. Netflix-approved cameras require 16-bit linear recording or at the very least 10-bit log processing<\/strong>. Basically, the higher the bit rate, the more detail and dynamic range you can squeeze into your shots. More bits, more cinematic goodness<\/em>.<\/p>\n\n\n\nColor Space<\/strong><\/h3>\n\n\n\nTo achieve Netflix’s signature look, your camera must shoot in a wide color space. Examples include S-Gamut3.cine<\/strong>, RED Wide Gamut RGB<\/strong>, or Alexa Wide Gamut<\/strong>.<\/p>\n\n\n\nThe goal here is to capture the most vibrant and true-to-life colors without “baking in” any looks to the original footage. The wider the color space, the more flexibility you\u2019ll have in post-production to work your magic.<\/p>\n\n\n\n
Picture Profile<\/strong><\/h3>\n\n\n\nYou should use a log profile to capture as much highlight and shadow information as possible. S-Log3<\/strong>, Log-C<\/strong>, V-Log<\/strong> are some recommended ones for cameras. <\/p>\n\n\n\nNetflix-Approved Cameras<\/strong><\/h2>\n\n\n\nThe list of cameras below have been approved for Netflix productions, as of July 2022. You’ll see some of these cameras are currently available for purchase at Adorama<\/a>, or available to rent through Adorama Rental Company<\/a>.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/07\/hunter-moranville-QeeR7egmJ0w-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nNetflix Approved ARRI<\/a> Cameras<\/strong><\/h2>\n\n\n\nARRI Alexa Mini LF<\/a><\/strong><\/h3>\n\n\n\nThis is the smaller version of the ARRI Alexa LF. It took on the form factor and most of the features of the Alexa Mini while still being able to squeeze in a large format sensor. Netflix prefers that you use the following settings when using this camera: 4.5K (4448×3096) in ARRIRAW or ProRes 4444. This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/07\/sharegrid-pWAYSuvN48I-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nNetflix Approved Canon<\/a> Cameras<\/strong><\/h2>\n\n\n\nCanon C300 Mk III<\/a><\/strong><\/h3>\n\n\n\nThe most recent update of the C300 line, the Mk III added the ability to shoot 120 frames per second at 4K in RAW or XF-AVC. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in Cinema RAW Light or XF-AVC (4K).<\/p>\n\n\n\n
Canon C500 Mk II<\/a><\/strong><\/h3>\n\n\n\nThe C500 Mk II is a high-level production camera that has a stabilized full-frame sensor which can record to RAW light. It has a modular design that allows you to strip it down for minimalistic use or build it up for full production work. Netflix prefers that you use the following settings when using this camera: 5.9K (5952×3140) in Cinema RAW Light or XF-AVC (4K). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
Canon C500<\/a><\/strong><\/h3>\n\n\n\nCanon released the C500 back in 2012 and this camera is still a workhorse in the industry. When it was released, it had industry leading specs, shooting up to 120 frames per second at 4K, and outputting Cinema RAW. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in Canon RAW.<\/p>\n\n\n\n
Canon EOS C70<\/a><\/strong><\/h3>\n\n\n\nNewly release in 2020, the C70 is a cross between Canon\u2019s mirrorless line of camera and the upper level cinema line. It has the RF mount, which is the new Canon mount with many lens options. This is a purely video capturing device and there is no photographic features. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in XF-AVC (4K).<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/07\/sharegrid-cLGoReQXYN0-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nNetflix Approved Panasonic<\/a> Cameras<\/strong><\/h2>\n\n\n\nPanasonic AU-EVA1<\/a><\/strong><\/h3>\n\n\n\nThe Panasonic EVA1 has a dual native ISO of 800 and 2500, an ALL-INTRA, 4K, 4:2:2, and a 10-bit sensor that can record up to 400 mbs. It also does all this in a body that weighs only 2.6 lb (1.2kg). Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in 4:2:2 All-I and 400mbs which means you have to make sure you are on at least firmware 2.02.<\/p>\n\n\n\n
Panasonic LUMIX BGH1<\/a><\/strong><\/h3>\n\n\n\nThis is basically a GH5S in a smaller, more modular cube format. This style of body is ideal for people who need maximum flexibility. You can keep this body small and fly it on a gimbal<\/a> or you can build it up and use it in a standard production. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in 422 All-I 400Mb\/s.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/07\/jakob-owens-KfMj3fi4R4s-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nNetflix Approved RED<\/a> Cameras<\/strong><\/h2>\n\n\n\nRED DSMC2 \/ WEAPON MONSTRO 8K VV<\/a><\/strong><\/h3>\n\n\n\nWith both the Monstro 8K VV and the monochrome version of this camera, you get interchangeable OLPF\u2019s and lens mounts. You also get an extremely high resolution 8K Vista Vision sensor, which is 40.96\u00d721.60mm. Netflix prefers that you use the following settings when using this camera: 8K (8192×4320) in REDCODE RAW (up to 8:1). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
RED DSMC2 \/ EPIC-W GEMINI 5K S35<\/a><\/strong><\/h3>\n\n\n\nThe Gemini 5K S35 sensor has two shooting modes, one is standard mode with a native ISO of 800, and the other is low-light mode with a native ISO of 3200. Netflix prefers that you use the following settings when using this camera: 5K (5120×3000) in REDCODE RAW (up to 8:1). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
RED RANGER GEMINI 5K S35<\/a><\/strong><\/h3>\n\n\n\nIf you want to have the most impressive body yet, save some money for all the very expensive accessories you will need when getting a RED camera. This Gemini sensor is the way to go. You are also getting their best low-light sensor. Netflix prefers that you use the following settings when using this camera: 5K (5120×3000) in REDCODE RAW (up to 8:1). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
RED KOMODO 6K<\/a><\/strong><\/h3>\n\n\n\nThe RED Komodo is one of the newest offerings from RED. It shrinks both the body and the price to where it can be flown on smaller gimbals and be affordable like other mid-level cinema cameras. Netflix prefers that you use the following settings when using this camera: 6K (6144×3240) in REDCODE RAW (HQ or MQ). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
Netflix Approved Sony<\/a> Cameras<\/strong><\/h2>\n\n\n\n![\"Picture](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2023\/09\/BURANO_SEL50F12GM_CompactDesign-1024x576.jpg\")
Photo from Sony<\/figcaption><\/figure>\n\n\n\nSony BURANO<\/a><\/strong><\/h3>\n\n\n\nThe new Sony BURANO has a full-frame 8.6K sensor and a great rendition with wide latitude and a rich color gamut. A little more about it: its 8K image quality has a max resolution of 8632 x 4856. Plus, through oversampling, it can create phenomenal-looking 4K content. Enjoy the internal recording of X-OCN LT* as well as the new XAVC H and proven industry standard XAVC-I format.<\/p>\n\n\n\n
Sony Venice<\/a><\/strong><\/h3>\n\n\n\nThe original Sony Venice uses a full-frame sensor with dual native ISO of 500 and 2500 for great low-light performance. The body is made for professional cinema work with all the necessary ports. Netflix prefers that you use the following settings when using this camera: 6K (6048×4032) in either RAW (up to 4096×2160), X-OCN, or XAVC-I ( 4K). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
Sony Venice 2 8K<\/a><\/strong><\/h3>\n\n\n\nThere’s an excellent dynamic range of 16 stops, 8.6K of resolution, and the ability to change out sensors and an improved dual ISO of 800 and 3200 on this newer sensor. Netflix prefers that you use the following settings when using this camera: 8K (8640×5760) in either X-OCN RAW or ProRes 422HQ (4K). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
Sony FX9<\/a><\/strong><\/h3>\n\n\n\n![\"Sony](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2020\/11\/sony-fx9-cooper-naitove-review-6-1024x576.jpg\")
Photo via AdoramaTV<\/figcaption><\/figure>\n\n\n\nThe successor to the FS7II, this is a full-frame workhorse of a camera. With its new oversampled 6k Exmor R CMOS, dual native ISO of 800 and 4000, and amazing 16-bit RAW via the optional External XDCA, you can get incredible detail with excellent colors. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in XAVC-I (4K).<\/p>\n\n\n\n
Sony FS7 \/ FS7 II<\/a><\/strong><\/h3>\n\n\n\nThis camera remains a popular choice for ENG shooting as well as for cinema shooting. Likely one of the most popular offerings from Sony in recent memory, this camera has a lot going for it. With 4K 12bit RAW, 60 frames per second and 180 frames per second at HD it is still a force to be reckoned with. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in XAVC-I (4K).<\/p>\n\n\n\n
This is one of the cheapest Netflix-approved cameras to rent!<\/p>\n\n\n\n
Sony FX6<\/a><\/strong><\/h3>\n\n\n\nThis is the third camera from Sony on the FX cinema line. The FX6 hit the sweet spot at its release and was widely adopted. It is a very compact production camera with a ton of great features that make it hard to find a clear winner in the ever-growing mid-priced cinema camera segment. 4K UHD up to 120 frames per second, 15 stops of dynamic range, excellent auto-focus, and an electronic variable ND are just a few of the benefits of this camera. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in XAVC-I (4K). This camera is not approved for anamorphic capture.<\/p>\n\n\n\n
Sony PXW-Z450<\/a><\/strong><\/h3>\n\n\n\nThis was the world\u2019s first 4K shoulder-mounted camera. It is a full ENG style camera made for capturing the news or live events. It has a B4 mount allowing for the standard B4 ENG style lenses to be used. Netflix prefers that you use the following settings when using this camera: UHD (3840×2160) in XAVC-I QFHD 300 mode.<\/p>\n\n\n\n
Sony PXW-Z750<\/a><\/strong><\/h3>\n\n\n\nThis camera completely innovated the ENG market by being the first shoulder mounted CMOS camera with a global shutter. Also using the B4 mount and a 3-chip 2\/3-inch 4K CMOS image array. Netflix prefers that you use the following settings when using this camera: UHD (3840×2160) in XAVC-I QFHD 300 mode.<\/p>\n\n\n\n
Netflix Approved Blackmagic<\/a> Cameras<\/strong><\/h2>\n\n\n\n![\"Blackmagic](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2020\/07\/blackmagic-ursa-mini-pro-12k-2.jpg\")
Photo from Blackmagic Design<\/figcaption><\/figure>\n\n\n\nBlackmagic URSA Cine 12K LF Body<\/a><\/strong><\/h3>\n\n\n\nThe Blackmagic URSA Cine 12K LF changes how people know cinematic excellence. In fact, it comes with a 12K full-frame sensor. That translates to incredible color and contrast. And that’s with 16 stops of dynamic range! Adding to its capabilities, it can shoot at frame rates like 12K at 80 fps, 8K at 144 fps, and 4K at 240 fps (Gosh!). All with crystal-clear slow motion. Built for speed, durability, and versatility, it boasts dual CFexpress media, high-end connectors, live streaming capabilities, and seamless integration with DaVinci Resolve for ultimate creative flexibility.<\/p>\n\n\n\n
Blackmagic Design URSA Mini 4.6K<\/a><\/strong><\/h3>\n\n\n\nThis now 6-year-old camera shows how Blackmagic has had an influence on the cinema camera market. At the time, they were offering a 4.6K RAW 16bit at around $5,000.00 \u2014 which is still a good price for those features. Netflix prefers that you use the following settings when using this camera: 4.6K (4608×2592) in Cinema DNG RAW (up to 4:1)<\/p>\n\n\n\n
Blackmagic Design URSA Mini Pro 4.6K<\/strong><\/a><\/h3>\n\n\n\nThe next evolution in the URSA lineup, the URSA Mini Pro, uses the same great sensor and adds more ENG style switches, a new switchable lens mount, and internal ND. Netflix prefers that you use the following settings when using this camera: 4.6K (4608×2592) in Blackmagic RAW (up to 5:1)<\/p>\n\n\n\n
Blackmagic Design URSA Mini PRO 4.6K G2<\/a><\/strong><\/h3>\n\n\n\nAt a price point that was about half of the competition, Blackmagic disrupted the market with the URSA Mini Pro 4.6 G2. With a new Super 35mm 4.6K sensor and the ability to capture up to 120 frames per second in 4.6K, 150fps in 4K DCI, and a whopping 300 fps when filming in a cropped HD this camera is a beast. Netflix prefers that you use the following settings when using this camera: 4.6K (4608×2592) in Blackmagic RAW (up to 5:1)<\/p>\n\n\n\n
Using Non-Approved Cameras<\/strong><\/h2>\n\n\n\nWhen working on a Netflix show or movie, there are certain exceptions for non-approved cameras.<\/p>\n\n\n\n
In the event that you need to use a camera as a crash camera \u2014 which means putting the camera in a dangerous situation such as attaching it to the outside of a fast-moving car \u2014 you may use a camera that is not on the approved list, but only for limited use. There is a certain amount of time that is allowed to be used by non-authorized cameras. This is no more than 10 percent of the runtime.<\/p>\n\n\n\n
Other exceptions are for POV cams which, by necessity, have to be very small. This includes drone shots, underwater work, or robot cams that move the camera in a very specific way.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/07\/venti-views-lI7dlA5VBp8-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nBest Practices for Netflix Content<\/strong><\/h2>\n\n\n\nWhile using a camera from the approved list and following the preferred capture method is a good beginning, there are other steps you should take to ensure you are staying within the good graces of Netflix.<\/p>\n\n\n\n
For example, black balancing should be performed regularly. Black balancing is when you set the cameras black point. This can shift when the camera undergoes changes in temperature. This can happen simply from the camera running intensely for a significant time, or moving from one location to another. Many high-end cinema cameras have this feature, but it is not universally present. <\/p>\n\n\n\n
You should also do some testing before shooting. This should include testing the color space transformation of each camera format into the working color space in order to ensure compatibility with the project\u2019s color pipeline. This Netflix’s website to find more information about the color pipeline<\/a>.<\/p>\n\n\n\nIf you plan on shooting on film, it’s asked that you talk to a Netflix project representative to make sure that everything is handled correctly.<\/p>\n\n\n\n
You should also shoot a framing chart. This is a very specific and technical chart that communicates which area of the captured image is meant to end up on screen in the final product. This shows the exact captured resolution, aspect ratio, as well as a focus chart, and the maximum allowable crop that will still be considered for 4K\/UHD. For full information about framing chart guidelines \u2014 as well as for information about anamorphic framing charts \u2014 check the full info here<\/a>.<\/p>\n\n\n\nNetflix is also asking that cameras not use spanned clips. This is where one continuous take is broken up over several different files or camera cards.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/07\/kal-visuals-DqmXihYx5UE-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nConclusion<\/h2>\n\n\n\n
While there are many steps to getting your content on Netflix, it’s good to start with the technical knowledge needed to ensure your footage is right for the platform. The information in this guide has given you the information needed to choose the correct camera for your needs.<\/p>\n\n\n\n
You can find more filmmaking products available for purchase at Adorama<\/a>, or available to rent through Adorama Rental Company<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"Are you looking to rent or purchase a camera for film? This article includes all the Netflix approved cameras, the best for film. Pick one!<\/p>\n","protected":false},"author":11111166,"featured_media":86112,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5,17821,17823],"tags":[1082,11094,18116],"class_list":["post-86072","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-video","category-video-cameras","category-videography","tag-cameras-1082","tag-filmmaking","tag-netlfix"],"acf":[],"yoast_head":"\n
A Complete Guide to Netflix Approved Cameras 2024 - 42West<\/title>\n<meta name=\"description\" content=\"Are you looking to rent or purchase a camera for film? This article includes all the Netflix approved cameras, the best for film. Pick one!\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.adorama.com\/alc\/netflix-approved-cameras\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Complete Guide to Netflix Approved Cameras 2024 - 42West\" \/>\n<meta property=\"og:description\" content=\"Are you looking to rent or purchase a camera for film? This article includes all the Netflix approved cameras, the best for film. 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- \n
- Capture Requirements <\/a><\/strong><\/li>\n\n\n\n
- Netflix-Approved Cameras<\/a><\/strong><\/li>\n\n\n\n
- Using Non-Approved Cameras<\/a><\/strong><\/li>\n\n\n\n
- Best Practices for Netflix Content<\/a><\/strong><\/li>\n<\/ul>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n
Capture Requirements<\/h2>\n\n\n\n
Image Resolution<\/strong><\/h3>\n\n\n\n
First things first, your camera must shoot a minimum of 4K UHD<\/strong>. This means the sensor has to capture a resolution of at least 3840 pixels wide<\/strong>. And if you’re shooting anamorphic, buckle up\u2014your camera might need an even higher resolution sensor to stay Netflix-approved.<\/p>\n\n\n\n
For 2024, the list of Netflix approved cameras by price includes options for every budget, but remember, 4K resolution is non-negotiable. Got your eyes on a particular camera? Check below to see if it fits the bill.<\/p>\n\n\n\n
Format<\/strong><\/h3>\n\n\n\n
For Netflix, it’s not just about resolution \u2014 it\u2019s about how your camera handles data. Your camera should record in a RAW format like ARRIRAW, REDCODE, or X-OCN. If you\u2019re using a compressed format, it must support all-intra recording with a high bit rate, like XAVC or ProRes HQ.<\/p>\n\n\n\n
Oh, and a heads-up: You\u2019ll need a data rate of at least 240 Mbps at 10-bit UHD 23.98fps<\/strong>. Netflix wants the cleanest and sharpest footage possible.<\/p>\n\n\n\n
Bit Rate<\/strong><\/h3>\n\n\n\n
Speaking of quality, you\u2019ll also need to meet specific bit rate standards. Netflix-approved cameras require 16-bit linear recording or at the very least 10-bit log processing<\/strong>. Basically, the higher the bit rate, the more detail and dynamic range you can squeeze into your shots. More bits, more cinematic goodness<\/em>.<\/p>\n\n\n\n
Color Space<\/strong><\/h3>\n\n\n\n
To achieve Netflix’s signature look, your camera must shoot in a wide color space. Examples include S-Gamut3.cine<\/strong>, RED Wide Gamut RGB<\/strong>, or Alexa Wide Gamut<\/strong>.<\/p>\n\n\n\n
The goal here is to capture the most vibrant and true-to-life colors without “baking in” any looks to the original footage. The wider the color space, the more flexibility you\u2019ll have in post-production to work your magic.<\/p>\n\n\n\n
Picture Profile<\/strong><\/h3>\n\n\n\n
You should use a log profile to capture as much highlight and shadow information as possible. S-Log3<\/strong>, Log-C<\/strong>, V-Log<\/strong> are some recommended ones for cameras. <\/p>\n\n\n\n
Netflix-Approved Cameras<\/strong><\/h2>\n\n\n\n
The list of cameras below have been approved for Netflix productions, as of July 2022. You’ll see some of these cameras are currently available for purchase at Adorama<\/a>, or available to rent through Adorama Rental Company<\/a>.<\/p>\n\n\n\n
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\n Netflix Approved ARRI<\/a> Cameras<\/strong><\/h2>\n\n\n\n
ARRI Alexa Mini LF<\/a><\/strong><\/h3>\n\n\n\n
This is the smaller version of the ARRI Alexa LF. It took on the form factor and most of the features of the Alexa Mini while still being able to squeeze in a large format sensor. Netflix prefers that you use the following settings when using this camera: 4.5K (4448×3096) in ARRIRAW or ProRes 4444. This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\n Netflix Approved Canon<\/a> Cameras<\/strong><\/h2>\n\n\n\n
Canon C300 Mk III<\/a><\/strong><\/h3>\n\n\n\n
The most recent update of the C300 line, the Mk III added the ability to shoot 120 frames per second at 4K in RAW or XF-AVC. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in Cinema RAW Light or XF-AVC (4K).<\/p>\n\n\n\n
Canon C500 Mk II<\/a><\/strong><\/h3>\n\n\n\n
The C500 Mk II is a high-level production camera that has a stabilized full-frame sensor which can record to RAW light. It has a modular design that allows you to strip it down for minimalistic use or build it up for full production work. Netflix prefers that you use the following settings when using this camera: 5.9K (5952×3140) in Cinema RAW Light or XF-AVC (4K). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
Canon C500<\/a><\/strong><\/h3>\n\n\n\n
Canon released the C500 back in 2012 and this camera is still a workhorse in the industry. When it was released, it had industry leading specs, shooting up to 120 frames per second at 4K, and outputting Cinema RAW. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in Canon RAW.<\/p>\n\n\n\n
Canon EOS C70<\/a><\/strong><\/h3>\n\n\n\n
Newly release in 2020, the C70 is a cross between Canon\u2019s mirrorless line of camera and the upper level cinema line. It has the RF mount, which is the new Canon mount with many lens options. This is a purely video capturing device and there is no photographic features. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in XF-AVC (4K).<\/p>\n\n\n\n
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\n Netflix Approved Panasonic<\/a> Cameras<\/strong><\/h2>\n\n\n\n
Panasonic AU-EVA1<\/a><\/strong><\/h3>\n\n\n\n
The Panasonic EVA1 has a dual native ISO of 800 and 2500, an ALL-INTRA, 4K, 4:2:2, and a 10-bit sensor that can record up to 400 mbs. It also does all this in a body that weighs only 2.6 lb (1.2kg). Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in 4:2:2 All-I and 400mbs which means you have to make sure you are on at least firmware 2.02.<\/p>\n\n\n\n
Panasonic LUMIX BGH1<\/a><\/strong><\/h3>\n\n\n\n
This is basically a GH5S in a smaller, more modular cube format. This style of body is ideal for people who need maximum flexibility. You can keep this body small and fly it on a gimbal<\/a> or you can build it up and use it in a standard production. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in 422 All-I 400Mb\/s.<\/p>\n\n\n\n
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\n Netflix Approved RED<\/a> Cameras<\/strong><\/h2>\n\n\n\n
RED DSMC2 \/ WEAPON MONSTRO 8K VV<\/a><\/strong><\/h3>\n\n\n\n
With both the Monstro 8K VV and the monochrome version of this camera, you get interchangeable OLPF\u2019s and lens mounts. You also get an extremely high resolution 8K Vista Vision sensor, which is 40.96\u00d721.60mm. Netflix prefers that you use the following settings when using this camera: 8K (8192×4320) in REDCODE RAW (up to 8:1). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
RED DSMC2 \/ EPIC-W GEMINI 5K S35<\/a><\/strong><\/h3>\n\n\n\n
The Gemini 5K S35 sensor has two shooting modes, one is standard mode with a native ISO of 800, and the other is low-light mode with a native ISO of 3200. Netflix prefers that you use the following settings when using this camera: 5K (5120×3000) in REDCODE RAW (up to 8:1). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
RED RANGER GEMINI 5K S35<\/a><\/strong><\/h3>\n\n\n\n
If you want to have the most impressive body yet, save some money for all the very expensive accessories you will need when getting a RED camera. This Gemini sensor is the way to go. You are also getting their best low-light sensor. Netflix prefers that you use the following settings when using this camera: 5K (5120×3000) in REDCODE RAW (up to 8:1). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
RED KOMODO 6K<\/a><\/strong><\/h3>\n\n\n\n
The RED Komodo is one of the newest offerings from RED. It shrinks both the body and the price to where it can be flown on smaller gimbals and be affordable like other mid-level cinema cameras. Netflix prefers that you use the following settings when using this camera: 6K (6144×3240) in REDCODE RAW (HQ or MQ). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
Netflix Approved Sony<\/a> Cameras<\/strong><\/h2>\n\n\n\n
Photo from Sony<\/figcaption><\/figure>\n\n\n\n Sony BURANO<\/a><\/strong><\/h3>\n\n\n\n
The new Sony BURANO has a full-frame 8.6K sensor and a great rendition with wide latitude and a rich color gamut. A little more about it: its 8K image quality has a max resolution of 8632 x 4856. Plus, through oversampling, it can create phenomenal-looking 4K content. Enjoy the internal recording of X-OCN LT* as well as the new XAVC H and proven industry standard XAVC-I format.<\/p>\n\n\n\n
Sony Venice<\/a><\/strong><\/h3>\n\n\n\n
The original Sony Venice uses a full-frame sensor with dual native ISO of 500 and 2500 for great low-light performance. The body is made for professional cinema work with all the necessary ports. Netflix prefers that you use the following settings when using this camera: 6K (6048×4032) in either RAW (up to 4096×2160), X-OCN, or XAVC-I ( 4K). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
Sony Venice 2 8K<\/a><\/strong><\/h3>\n\n\n\n
There’s an excellent dynamic range of 16 stops, 8.6K of resolution, and the ability to change out sensors and an improved dual ISO of 800 and 3200 on this newer sensor. Netflix prefers that you use the following settings when using this camera: 8K (8640×5760) in either X-OCN RAW or ProRes 422HQ (4K). This camera has also been approved for anamorphic capture.<\/p>\n\n\n\n
Sony FX9<\/a><\/strong><\/h3>\n\n\n\n
Photo via AdoramaTV<\/figcaption><\/figure>\n\n\n\n The successor to the FS7II, this is a full-frame workhorse of a camera. With its new oversampled 6k Exmor R CMOS, dual native ISO of 800 and 4000, and amazing 16-bit RAW via the optional External XDCA, you can get incredible detail with excellent colors. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in XAVC-I (4K).<\/p>\n\n\n\n
Sony FS7 \/ FS7 II<\/a><\/strong><\/h3>\n\n\n\n
This camera remains a popular choice for ENG shooting as well as for cinema shooting. Likely one of the most popular offerings from Sony in recent memory, this camera has a lot going for it. With 4K 12bit RAW, 60 frames per second and 180 frames per second at HD it is still a force to be reckoned with. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in XAVC-I (4K).<\/p>\n\n\n\n
This is one of the cheapest Netflix-approved cameras to rent!<\/p>\n\n\n\n
Sony FX6<\/a><\/strong><\/h3>\n\n\n\n
This is the third camera from Sony on the FX cinema line. The FX6 hit the sweet spot at its release and was widely adopted. It is a very compact production camera with a ton of great features that make it hard to find a clear winner in the ever-growing mid-priced cinema camera segment. 4K UHD up to 120 frames per second, 15 stops of dynamic range, excellent auto-focus, and an electronic variable ND are just a few of the benefits of this camera. Netflix prefers that you use the following settings when using this camera: 4K (4096×2160) in XAVC-I (4K). This camera is not approved for anamorphic capture.<\/p>\n\n\n\n
Sony PXW-Z450<\/a><\/strong><\/h3>\n\n\n\n
This was the world\u2019s first 4K shoulder-mounted camera. It is a full ENG style camera made for capturing the news or live events. It has a B4 mount allowing for the standard B4 ENG style lenses to be used. Netflix prefers that you use the following settings when using this camera: UHD (3840×2160) in XAVC-I QFHD 300 mode.<\/p>\n\n\n\n
Sony PXW-Z750<\/a><\/strong><\/h3>\n\n\n\n
This camera completely innovated the ENG market by being the first shoulder mounted CMOS camera with a global shutter. Also using the B4 mount and a 3-chip 2\/3-inch 4K CMOS image array. Netflix prefers that you use the following settings when using this camera: UHD (3840×2160) in XAVC-I QFHD 300 mode.<\/p>\n\n\n\n
Netflix Approved Blackmagic<\/a> Cameras<\/strong><\/h2>\n\n\n\n
Photo from Blackmagic Design<\/figcaption><\/figure>\n\n\n\n Blackmagic URSA Cine 12K LF Body<\/a><\/strong><\/h3>\n\n\n\n
The Blackmagic URSA Cine 12K LF changes how people know cinematic excellence. In fact, it comes with a 12K full-frame sensor. That translates to incredible color and contrast. And that’s with 16 stops of dynamic range! Adding to its capabilities, it can shoot at frame rates like 12K at 80 fps, 8K at 144 fps, and 4K at 240 fps (Gosh!). All with crystal-clear slow motion. Built for speed, durability, and versatility, it boasts dual CFexpress media, high-end connectors, live streaming capabilities, and seamless integration with DaVinci Resolve for ultimate creative flexibility.<\/p>\n\n\n\n
Blackmagic Design URSA Mini 4.6K<\/a><\/strong><\/h3>\n\n\n\n
This now 6-year-old camera shows how Blackmagic has had an influence on the cinema camera market. At the time, they were offering a 4.6K RAW 16bit at around $5,000.00 \u2014 which is still a good price for those features. Netflix prefers that you use the following settings when using this camera: 4.6K (4608×2592) in Cinema DNG RAW (up to 4:1)<\/p>\n\n\n\n
Blackmagic Design URSA Mini Pro 4.6K<\/strong><\/a><\/h3>\n\n\n\n
The next evolution in the URSA lineup, the URSA Mini Pro, uses the same great sensor and adds more ENG style switches, a new switchable lens mount, and internal ND. Netflix prefers that you use the following settings when using this camera: 4.6K (4608×2592) in Blackmagic RAW (up to 5:1)<\/p>\n\n\n\n
Blackmagic Design URSA Mini PRO 4.6K G2<\/a><\/strong><\/h3>\n\n\n\n
At a price point that was about half of the competition, Blackmagic disrupted the market with the URSA Mini Pro 4.6 G2. With a new Super 35mm 4.6K sensor and the ability to capture up to 120 frames per second in 4.6K, 150fps in 4K DCI, and a whopping 300 fps when filming in a cropped HD this camera is a beast. Netflix prefers that you use the following settings when using this camera: 4.6K (4608×2592) in Blackmagic RAW (up to 5:1)<\/p>\n\n\n\n
Using Non-Approved Cameras<\/strong><\/h2>\n\n\n\n
When working on a Netflix show or movie, there are certain exceptions for non-approved cameras.<\/p>\n\n\n\n
In the event that you need to use a camera as a crash camera \u2014 which means putting the camera in a dangerous situation such as attaching it to the outside of a fast-moving car \u2014 you may use a camera that is not on the approved list, but only for limited use. There is a certain amount of time that is allowed to be used by non-authorized cameras. This is no more than 10 percent of the runtime.<\/p>\n\n\n\n
Other exceptions are for POV cams which, by necessity, have to be very small. This includes drone shots, underwater work, or robot cams that move the camera in a very specific way.<\/p>\n\n\n\n
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\n Best Practices for Netflix Content<\/strong><\/h2>\n\n\n\n
While using a camera from the approved list and following the preferred capture method is a good beginning, there are other steps you should take to ensure you are staying within the good graces of Netflix.<\/p>\n\n\n\n
For example, black balancing should be performed regularly. Black balancing is when you set the cameras black point. This can shift when the camera undergoes changes in temperature. This can happen simply from the camera running intensely for a significant time, or moving from one location to another. Many high-end cinema cameras have this feature, but it is not universally present. <\/p>\n\n\n\n
You should also do some testing before shooting. This should include testing the color space transformation of each camera format into the working color space in order to ensure compatibility with the project\u2019s color pipeline. This Netflix’s website to find more information about the color pipeline<\/a>.<\/p>\n\n\n\n
If you plan on shooting on film, it’s asked that you talk to a Netflix project representative to make sure that everything is handled correctly.<\/p>\n\n\n\n
You should also shoot a framing chart. This is a very specific and technical chart that communicates which area of the captured image is meant to end up on screen in the final product. This shows the exact captured resolution, aspect ratio, as well as a focus chart, and the maximum allowable crop that will still be considered for 4K\/UHD. For full information about framing chart guidelines \u2014 as well as for information about anamorphic framing charts \u2014 check the full info here<\/a>.<\/p>\n\n\n\n
Netflix is also asking that cameras not use spanned clips. This is where one continuous take is broken up over several different files or camera cards.<\/p>\n\n\n\n
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\n Conclusion<\/h2>\n\n\n\n
While there are many steps to getting your content on Netflix, it’s good to start with the technical knowledge needed to ensure your footage is right for the platform. The information in this guide has given you the information needed to choose the correct camera for your needs.<\/p>\n\n\n\n
You can find more filmmaking products available for purchase at Adorama<\/a>, or available to rent through Adorama Rental Company<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"
Are you looking to rent or purchase a camera for film? This article includes all the Netflix approved cameras, the best for film. Pick one!<\/p>\n","protected":false},"author":11111166,"featured_media":86112,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5,17821,17823],"tags":[1082,11094,18116],"class_list":["post-86072","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-video","category-video-cameras","category-videography","tag-cameras-1082","tag-filmmaking","tag-netlfix"],"acf":[],"yoast_head":"\n
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