The contagious visual blandness of Netflix

Re:The contagious visual blandness of Netflix by antiterra on Sunday January 22, 2023 @10:47AM (#34478470)

None of this is true, nor does it need to be. As my photography professor says, “digital is better, but I don’t want better.”

Roma is as beautiful as anything shot on film, Amelie from 1995 is as teal-orange medium-shot photo filter as anything on Netflix. The Crown is often beautiful because of impressive practical lighting effects.

[EDIT: Amelie is from 2001, I mixed up the date with the same director’s City of Lost Children from 1995]

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Re:The contagious visual blandness of Netflix by royjacobs on Sunday January 22, 2023 @10:50AM (#34478518)

Amélie is from 2001, not 1995. Interestingly, it is one of the first films that was colour corrected completely digitally. This is also why the movie's colour palette is so striking. Not necessarily to everyone's taste, but I really found it to 'pop' in the cinema.

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Re:The contagious visual blandness of Netflix by antiterra on Sunday January 22, 2023 @10:54AM (#34478562)

Sorry, I was also thinking of the same director’s City of Lost Children, which is 1995 and still has a teal/orange aesthetic. (Apologies to the French for using the translated titles.)

It looks like City of Lost Children was graded by Yvan Lucas via an analog process called ENR. Subsequently, Amelie was the first digital coloring he did, and, since it was before LUTs, his analog experience was crucial.

https://www.digitalmediaworld.tv/post/2917-colourist-yvan-lu...

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Re:The contagious visual blandness of Netflix by royjacobs on Sunday January 22, 2023 @12:06PM (#34479488)

Is ENR similar to bleach bypass? They seem to be mentioned in the same breath but it's a bit vague.

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Re:The contagious visual blandness of Netflix by antiterra on Sunday January 22, 2023 @12:37PM (#34479935)

It believe it’s a specific method for a partial bleach bypass on prints but that’s basically me being ChatGPT from random internet knowledge.

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