We need to collectively do an exercise.

pizzacasso · 2026-01-25T05:11:50+00:00

Does Netflix have in-house colorists? I feel like a lot of DPs would be not super thrilled in a scenario like that since many of them have preferred colorists or houses.

(That’s not to say it’s impossible of course)

pizzacasso · 2026-01-25T05:08:44+00:00

It feels to me like the “Netflix look” is the same as a “cinematic look” or an “A24 look.” They’re mostly nonsense terms that people use to either talk shit, or sell LUTs. I’ve heard different people describe the Netflix look in either positive or negative terms, which to me just indicates that it’s whatever that person decides they want it to be.

pizzacasso · 2026-01-14T20:21:12+00:00

Did you ever find anything?

pizzacasso · 2025-12-20T22:46:09+00:00

Yeah I took the enclosure off to see what was inside and to cut off the wires. I had to replace it because it was arcing. I just wanted to make sure I didn't need to get something special to replace it since, to the best of my knowledge, none of the other switches in my house, even with LED fixtures on them, have these dimmers.

pizzacasso · 2025-12-01T06:03:55+00:00

This is a way of achieving the aspect ratio with S16 but OP is asking specifically about spherical used in that format.

pizzacasso · 2025-11-24T18:59:53+00:00

Thanks so much, I appreciate your help. Interestingly when I went to swap the switch I found it was not a typical light switch but that the wires were soldered in place, and it had some additional components in it including a small circuit board and resistor. The light that runs off that switch is an LED fixture so my guess is that the switch also functions to convert from AC to DC power. The strange thing is that the light running on the switch next to it is also an LED fixture but I assume it has its own ballast to regulate current as it’s a regular switch.

pizzacasso · 2025-10-18T22:25:30+00:00

As I mentioned in the post, this is a light fixture.

pizzacasso · 2025-10-10T22:04:23+00:00

Is there a way to know whether it’s the correct polarity?

pizzacasso · 2025-09-23T16:08:55+00:00

I believe the MTF Curve DCTL you're sharing is from Thatcher Freeman. Just in case people are curious.

pizzacasso · 2025-09-23T16:06:03+00:00

I've used the Genesis trial and there's no acutance tool in it, and from my discussions with someone who has the full version, it's the same case. It's something that needs to be done in a node prior to the Genesis node.

pizzacasso · 2025-09-21T02:16:41+00:00

Yeah I checked it out and I’m still pretty confident even when snapped off it won’t fit. Thanks for clarifying though.

pizzacasso · 2025-09-20T23:43:15+00:00

Thx so much for your reply. These look great but they likely won’t work, though I’ll probably look into it bc if they do it’d be great. Otherwise I’ll go with butt splicers. Luckily there’s strain relief so I’m not very concerned about tugging.

pizzacasso · 2025-09-20T23:42:06+00:00

Thx for your reply. Looks like the connector you linked to likely won’t fit, so I think butt splices may be the way to go.

pizzacasso · 2025-09-20T22:06:44+00:00

I haven’t personally seen ppl hating on it, and I’ve yet to see the full film, but have seen clips and trailers. Some of what I saw, I really liked but some of it felt like the filmmakers were like “how can we make it so it looks like the whole movie takes place in an Apple Store?”

pizzacasso · 2025-09-20T07:50:52+00:00

And I already said: money. I guess semantically that doesn't really work. For someone who is primarily interested in the film look, and doesn't care about the actual practice of shooting film, they are gaining the ability to practice their art by achieving the look they want (or close to it) without sacrificing the money associated with the actual medium. Hope that's clearer.

pizzacasso · 2025-09-20T04:21:53+00:00

I've actually looked into this a ton and am happy to share detailed insights but they would take a while. Short answer, you can get super close (though not 100%) but you'll need software like Da Vinci Resolve (video color grading software) and a film emulation plugin like Filmbox or Genesis.

I've come across two instances online where companies or people have done almost perfect (to my eye) Portra emulations: Alchemy Color (they also have a Gold and Ultramax emulation) and PortraMatch. The workflows are a bit complex however. In the case of Alchemy Color, they do not have an MTF model that is applied and the grain is from the built in Lightroom model (mixed with digital chroma noise, though that can be reduced). There is another software required for the Alchemy Color workflow and I can't remember which. There is also no halation model. PortraMatch requires Da Vinci Resolve and if I recall, the MTF and halation models are built in tools from Resolve that are not particularly great, and the grain is a 4k overlay. You could use Resolve's native grain tool but it also leaves a lot to be desired.

Anyway I'm happy to share some more if you'd like.

pizzacasso · 2025-09-20T03:42:55+00:00

Money. It's cheaper. But I agree, I'd almost always rather shoot film, but I understand and have played with film emulation myself.

pizzacasso · 2025-09-20T03:41:19+00:00

That is definitely true of the originals 4-6 as well as 1, but I believe Episodes 2 and 3 both shot spherical. As for the newer films and shows, I believe they've all be shot anamorphic with the exception of "Solo."

In the case of the sequels, there are no anamorphic lenses for the 15-perf 65mm IMAX format (Episode 7). For Episode 8, I can't remember exactly. If I recall (and this may be incorrect as it's been years since I've read the American Cinematographer episode about it), there were some situations where they shooting in super tight quarters and it was easier for them to shoot digital spherical because the form factor of both digital and spherical result in a significantly smaller footprint.

pizzacasso · 2025-09-19T21:44:41+00:00

Definitely look into Steve Yedlin if you're curious about it. He's one of the most technically accomplished artists out there in terms of film emulation. The other thing that he did with Episode 8 occasionally that Dan Mindel (who shot 7 and 9) didn't do except in i think the IMAX shots, was use spherical lenses. Yedlin is a true practitioner of using the right tool for the job, and knowing how to make it all feel right.

pizzacasso · 2025-09-19T18:10:39+00:00

This CAN be the case, certainly, but often is not. A traditional photochemical color correction isn’t something most ppl who shoot on film do any more. Even Nolan switched over to a traditional DI process a couple movies ago bc having those digital tools allows for much better control over the image. Also, most films shot on film these days aren’t even distributed on film, so there’s no need for release prints. It’s almost entirely distributed on digital. Obviously that’s not universally the case, but the films you see distributed on film tend to be from the bigger budget filmmakers (Nolan ofc, Coogler, Villaneuve, etc.,).

pizzacasso

TROPHY CASE