Netflix has been a pioneer in standardising high-fidelity 4K HDR content for home entertainment, and its strict guidelines for evaluating camera technology and workflow pipelines have ensured that Netflix Original content consistently produces outstanding image and sound quality. Approved cameras must have been used for at least 90% of the final cut's runtime – although there can be more flexibility when it comes to non-fiction.

Netflix has now added the Canon EOS C400 to its list of approved cameras, meaning that filmmakers in any genre, from documentary to drama an reality TV can choose from Canon’s smallest full-frame Cinema EOS body, the 澳门现金网_申博信用网-官网5 C, right up to the Canon EOS C500 Mark II, as their primary camera or B-cam for Netflix Original productions. Also included in the list are the EOS C300 Mark III and EOS C70 – two filmmaking powerhouses which share the same DGO sensor technology.

"Receiving the Netflix stamp of approval for all these Cinema EOS cameras is a result of Canon's continuous pursuit of developing cutting-edge image technology without compromises, regardless of whether it's for entry level or high end," says Canon Europe Product Specialist Aron Randhawa.

"What's really exciting about cameras like the 澳门现金网_申博信用网-官网5 C being added to the Netflix approved camera list is the amount of flexibility that it can provide to the filmmaking industry thanks to its high specification and its incredibly small form factor," adds Aron. "This should really open the doors for filmmakers to explore shooting in much tighter spaces, and moving the camera in ways that they may not have thought about before while still remaining on a reasonable budget."

The EOS C400 joins other high quality Cinema EOS cameras from Canon to satisfy Netflix’s stringent technological requirements, alongside Canon’s first two Cinema cameras to benefit from the RF mount: EOS C70 and 澳门现金网_申博信用网-官网5 C.

“Many of our previous generation cameras were also approved for Netflix Originals, including the Canon EOS C300 Mark II, EOS C700 and EOS C700 FF," says Aron. Netflix Originals shot on these cameras include the Academy Award-winning documentary Icarus (2019), feature film Our Souls at Night (2017), and Emmy-nominated series Grace and Frankie (2015).

"This gives filmmakers an extensive choice of Canon Cinema Solutions, allowing them to combine different cameras while maintaining a consistent image quality," Aron concludes.

So, what exactly are the camera requirements for Netflix Originals? Here, we explore why the EOS C500 Mark II, EOS C300 Mark III, EOS C70, EOS C400 and 澳门现金网_申博信用网-官网5 C made the cut, while DoP Patrick Smith, whose credits include Tell Me Who I Am (2019) and Captive (2016), explains how he's been using Canon Cinema EOS cameras to shoot a variety of Netflix documentary projects.

The minimum technical specification for a Netflix approved camera is a true 4K UHD sensor, a benchmark the Canon EOS C500 Mark II more than meets thanks to its Canon-developed 5.9K full-frame CMOS sensor, while the EOS C300 Mark III, the 澳门现金网_申博信用网-官网5 C and the EOS C70 can shoot Full 4K up to an impressive 120p. The EOS C400 takes this one step further, with its 6K full frame backside illuminated (BSI) sensor offering 16 stops of dynamic range. However, there are a host of other capture and camera requirements.

Netflix is one of the leading providers of High Dynamic Range (HDR) content, so the ability to deliver an appropriate file for post-production in HDR is important. The 澳门现金网_申博信用网-官网5 C delivers extended dynamic range with Canon Log 3 when recording in Canon's 4:2:2 10-bit XF-AVC format. Thanks to the groundbreaking Super 35mm DGO sensor, the EOS C300 Mark III and EOS C70 have a dynamic range of 16+ stops, while the full-frame EOS C500 Mark II is 15+ stops. The 澳门现金网_申博信用网-官网5 C, EOS C70, EOS C500 Mark II and EOS C300 Mark III also have the option of recording in either Cinema RAW Light or XF-AVC format, producing footage that can be successfully put through an HDR workflow, be that in PQ or HLG. The EOS C400 offers 12-bit Cinema RAW Light LT / ST / HQ up to 6K 60P, and 4K 120P. Oversampled 4K 4:2:2 10-bit is also available via XF-AVC and improved XF-AVC S / XF-HEVC S (MP4) formats, all featuring detailed metadata and filename structures.

Patrick has shot numerous productions for Netflix with the Canon EOS C500 Mark II including scientific four-parter The Surgeon's Cut. BBC Studios' first commission for the prodigious streaming service required a camera that would deliver high-quality images in a high-pressure environment.

Patrick shoots about 50% of his footage handheld and likes to introduce subtle movement. "I often rock slightly from left to right. This gives the image a fluidity – and also stops my body from seizing up! I was really pleased to find that the Electronic IS wasn't too aggressive – it allowed me to keep some lateral movement in the frame but lose some of that high-frequency vibration."

The light weight of the camera and its compact, modular format proved advantageous when following medical staff around the hospital. "I needed to be able to keep up in those dynamic, fast-moving, reactive environments and the Canon EOS C500 Mark II was the right tool to have," he says.

"I love the modularity of the camera. I'm constantly changing the setup, either for the application or as the way I work evolves. I often need a range of additions: wireless video link, follow-focus control, matte box, onboard monitor, radio mic support and sound equipment. You find different ways to power them, different ways to balance them – and that's part of the enjoyment of filming with the Canon EOS C500 Mark II and the EOS C300 Mark III."

On this particular project, Patrick mainly used Canon's EF Prime lenses, but the Canon EOS C500 Mark II's support for the interchangeable lens mount meant he could also switch from EF to PL and use Canon's Sumire Prime lenses.

"The lenses are amazing – light, small and sharp," he says. "I've been using them for 10 years now, so focusing manually is instinctive. They're short throw, so pulling focus from infinity to 1.5m is only 10 degrees or so, whereas on a film lens that would be a much larger rotation. With film lenses I need a follow focus system or assistance to get it right, but with the stills lenses I can rack focus very quickly myself, just as accurately."

Using primes rather than zooms helps maintain the visual palette. "I wanted to keep things looking as filmic as I could on the full-frame chip," says Patrick. "I'm now shooting nearly everything for Netflix in 2.35:1, which is such a cinematic aspect ratio. You have to ask permission to shoot anything wider than 2:1, but if you can justify it, they'll go with it.

"Being able to apply a customised aspect marker on the image is one of the camera's most useful features. It makes a massive difference when you're shooting in this Netflix world, where 2:1 as a minimum aspect ratio is something you really want to be able to see rather than just guess."

With the EOS C300 Mark III now added to his kit and approved by Netflix, Patrick has the perfect multi-camera setup, using a combination of the EOS C500 Mark II and EOS C300 Mark III for much of his work. "It's the perfect setup because they both shoot the same codec. They shoot to the same colour science. They have the same form factor. Everything just works really seamlessly across both of them," he says. "I can just stop and swap to suit the individual camera's strength. With the EOS C500 Mark II, I tend use on the wider frame because it's got a larger chip, delivering a narrow depth of field for that particular type of shot. The EOS C300 Mark III, I tend to use for close-up shots, while being able to shoot at 120p in 4K is extremely useful. The two cameras complement each other beautifully."

Patrick believes the Netflix approved EOS C70 will also be of great use to him when working on documentary film productions. "The small form factor and versatility of the EOS C70 makes it an ideal second camera for high-end documentary work," he says. "Whether it's rigged to cars, being run around on a gimbal or even as an extra angle on an interview, it has a real place on my core kit list."

Cameras like the more compact 澳门现金网_申博信用网-官网5 C on the Netflix approved Canon cameras list offers filmmakers like Patrick even more creative options. "It can really fit into any type of story being told, regardless of whether it's a high-budget cinematic piece, a TV drama or a documentary," explains Aron.

The camera is equipped with an active cooling fan that enables long duration recording, while a tough yet lightweight magnesium alloy body ensures durability and versatility. "It's a multipurpose camera that can adapt to any type of storytelling," Aron continues. "Being so powerful and compact really does make it an exciting prospect for professional filmmakers."

The 澳门现金网_申博信用网-官网5 C's small size makes it a natural fit as a B-cam – but it could just as easily be an A-cam for productions that have no need for a more modular type of camera, such as the EOS C500 Mark II. It's also the most affordable Netflix approved camera in Canon's range, making it a great option for smaller budgets.

"You won't be making compromises when it comes to the image quality," says Aron. "So regardless of whether it's your A-cam or your B-cam, you can be certain that you're using a camera that is amongst the best in the industry."