Netflix Archives - Page 6 of 7 - Y.M.Cinema Magazine

Canon C300 Mark III is now Netflix approved

Canon EOS C300 Mark III is now Netflix Approved

by

2020-07-02

News

2 mins read

As expected, the newest EOS cinema camera, Canon C300 Mark III, has just been approved by Netflix. The approved recording formats are Cinema RAW Light and XF-AVC(4K). The C300 Mark3 is the…

DP Steven Holleran with the Canon C300 Mark III. Picture: Canon

Canon Cinema EOS: Camera Comparison Chart

by

Yossy Mendelovich

2020-06-11

Compare

4 mins read

After digging a bit at Canon’s website, we’ve found a very informative and educational comparison chart of the entire Cinema EOS family. This piece of information helps to shed more light on…

District 9 Hits Netflix: A Sci-fi Gem Shot on RED One

by

Yossy Mendelovich

2020-05-28

Educate

3 mins read

Two weeks ago, the sci-fi (science fiction) gem, District 9, was added by Netflix. District 9 is one of the first films to be shot on the RED One and was nominated…

Panasonic S1H Firmware 2.0 Released but Without the ProRes RAW Feature

by

Yossy Mendelovich

2020-05-27

News

4 mins read

Panasonic has released the firmware update 2.0 to its S1H mirrorless camera. Although this version includes some enhanced video functions, it lacks the major feature which is ProRes RAW recording via the…

The new update for the URSA Mini Pro 4.6K

Blackmagic Design Announces Camera 6.9.3 Update for the URSA Mini Pro 4.6K

by

Yossy Mendelovich

2020-05-26

News

3 mins read

Great news! Blackmagic Design today announced a major new software update for the original Blackmagic URSA Mini Pro 4.6K camera. New features include localization, 3D LUTs options, customizable frame guides, and more…

The Cooke S7i 32mm attached to the Sony Venice Rialto sensor block extension module for a low angle shot inside a freezer

Netflix’s “Dead to Me”: Large Format Creation Made on Sony Venice and Cooke S7/i

by

Yossy Mendelovich

2020-05-18

Discuss

5 mins read

The Netflix original series Dead to Me can be used as a filmmaking reference for how to utilize the Sony Venice and Cooke S7/i lenses to get the full-frame look with all…

Director Sam Hargrave on the set of Extraction. Operating the RED Monstro. Picture: Ars Video

“Extraction” Cinematography: 11:29 Minutes of High-Octane Perfectly Stitched Long-Take

by

Yossy Mendelovich

2020-05-06

Discuss

4 mins read

The single-take action sequence (chase scene) in Netflix’s Extraction, lasts exactly 11 minutes and 29 seconds that are built from 36 different stitches (segments). The film director, Sam Hargrave explains how they…

Michael Bay with RED Helium 8K Bayhem on 6 Underground set

6 Underground Cinematography: An Orchestra of Cameras Conducted by Michael Bay

by

Yossy Mendelovich

2020-03-25

Discuss

2 mins read

Netflix’s 6 Underground action sequences were composed of an orchestra of 10 cameras rolling at once. All of that goodness was directed by Michael Bay. You’ll be surprised about the diversity of…

Cannes Film Festival 2020 Postponed Due to Coronavirus Pandemic

by

Yossy Mendelovich

2020-03-21

News

4 mins read

Cannes International Film Festival management team announced that the event would be postponed due to the coronavirus pandemic. The optional new dates are around the end of June-beginning of July 2020. Cannes…

Shooting The Dark Crystal. Cinematographer Erik Wilson. Picture credit: Kevin Baker, Netflix

Netflix’s The Dark Crystal was Shot on Specially Modified RED Cameras With Cooke Anamorphic/i Lenses

by

Yossy Mendelovich

2020-03-12

Educate

4 mins read

In order to get the majestic imagery of Netflix’s Dark Crystal, a unique combination of the Cooke Anamorphic glass with specially made RED Dragon was used. Cinematographer Erik Wilson explains the creation…

Netflix - Page 6

Canon EOS C300 Mark III is now Netflix Approved

Canon Cinema EOS: Camera Comparison Chart

District 9 Hits Netflix: A Sci-fi Gem Shot on RED One

Panasonic S1H Firmware 2.0 Released but Without the ProRes RAW Feature

Blackmagic Design Announces Camera 6.9.3 Update for the URSA Mini Pro 4.6K

Netflix’s “Dead to Me”: Large Format Creation Made on Sony Venice and Cooke S7/i

“Extraction” Cinematography: 11:29 Minutes of High-Octane Perfectly Stitched Long-Take

6 Underground Cinematography: An Orchestra of Cameras Conducted by Michael Bay

Cannes Film Festival 2020 Postponed Due to Coronavirus Pandemic

Netflix’s The Dark Crystal was Shot on Specially Modified RED Cameras With Cooke Anamorphic/i Lenses

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