Netflix Approved Cameras | 2025
To earn Netflix’s approval in 2025, cameras must meet specific capture criteria.
ARRI
Blackmagic
Canon
Panasonic
Panavision
RED
Sony
ARRI
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| Camera Model | Resolution | Color Space | Gamma Curve |
|---|---|---|---|
| ARRI Alexa LF 4.5K | 4448×3096 | ARRI Wide Gamut | Log C |
| ARRI Alexa Mini LF 4.5K | 4448×3096 | ARRI Wide Gamut | Log C |
| ARRI Alexa 65 6K | 6560×3100 | ARRI Wide Gamut | Log C |
| ARRI Alexa 35 4.6K | 4608×3164 | ARRI Wide Gamut | Log C |
Blackmagic
| Camera Model | Resolution | Color Space | Gamma Curve |
|---|---|---|---|
| Blackmagic Design URSA Mini 4.6K | 4608×2592 | Blackmagic Design 4.6K Film | Blackmagic Design Film |
| Blackmagic Design URSA Mini Pro 4.6K | 4608×2592 | Blackmagic Design 4.6K Film | Blackmagic Design Film |
| Blackmagic Design URSA Mini PRO 4.6K G2 | 4608×2592 | Blackmagic Design 4.6K Film | Blackmagic Design Film |
Blackmagic Design URSA Mini PRO 12K OLPF Blackmagic URSA Cine 17K 65 | 12288×6480 17K (17,520 × 8,040) | Blackmagic Design Gen 5 Color Blackmagic Wide Gamut | Blackmagic Design Gen 5 Gamma Blackmagic Log (Film Gen 5) |
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Canon
| Camera Model | Resolution | Color Space | Gamma Curve |
|---|---|---|---|
| Canon C300 Mk II 4K | 4096×2160 | Canon Cinema Gamut | Canon Log 2 |
| Canon C300 Mk III 4K | 4096×2160 | Cinema Gamut | Canon Log 2 |
| Canon C500 Mk II 5.9K | 5952×3140 | Cinema Gamut | Canon Log 2 |
| Canon C500 4K | 4096×2160 | Cinema Gamut | Canon Log 2 |
| Canon C700 4K | 4096×2160 | Cinema Gamut | Canon Log 3 |
| Canon C700 FF RAW FF | 5952 x 3140 | Cinema Gamut | Canon Log 3 |
| Canon EOS C70 4K | 4096×2160 | Cinema Gamut | Canon Log 2 |
Canon EOS R5 C 4K Canon EOS C80 Canon EOS C400 | 4096×2160 4K DCI (4096 × 2160) 6K Full Frame (6144 × 3240) | BT.2020 Canon Cinema Gamut Canon Cinema Gamut | Canon Log 3 Canon Log 3 Canon Log 2 / Canon Log 3 |
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Panasonic
| Camera Model | Resolution | Color Space | Gamma Curve |
|---|---|---|---|
| Panasonic AK-UC4000 | UHD: 3840×2160 | V-Gamut | V-Log |
| Panasonic AU-EVA1 | 4K: 4096×2160 | V-Gamut, V-Log | V-Log |
| Panasonic BGH1 | 4K: 4096×2160 | V-Gamut | HLG, V-LogL |
| Panasonic BS1H | 4K: 4096×2160 | V-Gamut | HLG, V-LogL |
| Panasonic S1H | 4K: 4096×2160 | V-Gamut, BT.2020 | HLG, V-Log, V-LogL |
| Panasonic VariCam 35 | 4K: 4096×2160 | V-Gamut, V-Log | V-Log |
| Panasonic VariCam LT | 4K: 4096×2160 | V-Gamut, V-Log | V-Log |
| Panasonic VariCam Pure | 4K: 4096×2160 | V-Gamut, V-Log | V-Log |
Panavision
| Camera Model | Resolution | Color Space | Gamma Curve |
|---|---|---|---|
| Panavision DXL2 | 8192×4320 | Panalog | Light Iron Color |
RED
| Camera Model | Resolution | Color Space | Gamma Curve |
|---|---|---|---|
| RED DSMC2 DRAGON-X 6K S35 | 6K: 6144×3160 | REDWideGamutRGB | REDLogFilm |
| RED DSMC2 / EPIC-W GEMINI 5K S35 | 5K: 4448×3096 | REDWideGamutRGB | REDLogFilm |
| RED DSMC2 / WEAPON HELIUM 8K S35 | 8K: 8192×4320 | REDWideGamutRGB | REDLogFilm |
| RED DSMC2 / WEAPON MONSTRO 8K VV | 8K: 8192×4320 | REDWideGamutRGB | REDLogFilm |
| RED DSMC2 DRAGON-X 6K S35 | 6K: 6144×3160 | REDWideGamutRGB | REDLogFilm |
| RED EPIC DRAGON 6K S35 | 6K: 6144×3160 | REDWideGamutRGB | REDLogFilm |
| RED EPIC-W HELIUM 8K S35 | 8K: 8192×4320 | REDWideGamutRGB | REDLogFilm |
| RED KOMODO 6K | 6K: 6144×3240 | REDWideGamutRGB | REDLogFilm |
| RED RANGER GEMINI 5K S35 | 5K: 5120×3000 | REDWideGamutRGB | REDLogFilm |
| RED RANGER HELIUM 8K S35 | 8K: 8192×4320 | REDWideGamutRGB | REDLogFilm |
| RED RANGER MONSTRO 8K VV | 8K: 8192×4320 | REDWideGamutRGB | REDLogFilm |
| RED RAVEN 4.5K | 4.5K: 4608×2160 | REDWideGamutRGB | REDLogFilm |
| RED SCARLET-W DRAGON 5K S35 | 5K: 5120×2700 | REDWideGamutRGB | REDLogFilm |
| RED V-RAPTOR 8K S35 | 8K: 8192×4320 | REDWideGamutRGB | REDLogFilm |
| RED V-RAPTOR 8K VV | 8K: 8192×4320 | REDWideGamutRGB | REDLogFilm |
| RED V-RAPTOR XL 8K S35 | 8K: 8192×4320 | REDWideGamutRGB | REDLogFilm |
Additional Notes:
- While REDLogFilm is the recommended gamma curve for Netflix content, there may be technical or artistic reasons for choosing a different curve. Always consult with the Netflix post-production team for specific guidance.
- RED cameras offer various recording options within REDCODE RAW, including different compression ratios and recording formats. Netflix recommends using the highest quality settings possible, such as REDCODE RAW (8:1).
- For anamorphic capture with RED cameras, Netflix recommends using the “anamorphic squeeze” setting in the camera menu. This will ensure that the footage is properly formatted for Netflix’s post-production workflow.
Sony
| Camera Model | Resolution | Color Space | Gamma Curve |
|---|---|---|---|
| Sony F5 4K | 4096×2160 | S-Gamut3.Cine | S-Log3 |
| Sony F55 4K | 4096×2160 | S-Gamut3.Cine | S-Log3 |
| Sony F65 4K | 4096×2160 | S-Gamut3.Cine | S-Log3 |
| Sony FX3 UHD | 3840×2160 (UHD) | S-Gamut3.Cine | S-Log3 |
| Sony FX6 4K | 4096×2160 | S-Gamut3.Cine | S-Log3 |
| Sony FX9 4K | 4096×2160 | S-Gamut3.Cine | S-Log3 |
| Sony FR7 4K | 4096×2160 | S-Gamut3.Cine | S-Log3 |
| Sony FS7 / FS7 II 4K | 4096×2160 | S-Gamut3.Cine | S-Log3 |
| Sony HDC-F5500 UHD | 3840×2160 (UHD) | BT.2020 | S-Log3 |
| Sony PXW-Z450 UHD | 3840×2160 (UHD) | BT.2020 | S-Log3 |
| Sony PXW-Z750 UHD | 3840×2160 (UHD) | BT.2020 | S-Log3 |
| Sony Venice 6K | 6048×4032 | S-Gamut3.Cine | S-Log3 |
| Sony Venice 2 6K | 6048×4032 | S-Gamut4 | S-Log3 |
| Sony Venice 2 8K | 8640×5760 | S-Gamut4 | S-Log3 |
Source: NETFLIX
