Based on the Rotten Tomatoes’ critics ratings, we built a list of the 43 best Netflix original TV shows of 2019. Then we analyzed the cameras behind them to try to find a new segmentation comparing to the 77th Golden Globe Awards, the Pre-Oscar, and, more importantly, to the previous 2018 Netflix camera charts that we’re created. Should we be surprised? Explore the results down below.

Cinema cameras segmentation: Sundance, Oscar, and Netflix

The beginning of 2020 is one of the most intriguing times of the year for filmmakers. That is the season of the film festivals and significant contests and ceremonies. The forthcoming 2020 Sundance Film Festival (23 Jan- 2 Feb) and the 92nd Academy Awards (February 10) are two main events that define excellence in major filmmaking disciplines. Last year, Y.M.Cinema Magazine’s cameras and lens charts were watched and shared by a massive amount of users from the filmmaking community. Although it’s important not to forget that cameras and lenses are only tools to tell the story. Nevertheless, it’s always fascinating to try and examine technical trends and what the pros are using to deliver their vision into the big screen. This year is no different, and the Sundance, Oscar, and Cannes charts will be revealed later on. Meanwhile, we decided to drill a bit into Netflix 2019 original productions to find out if there is any different segmentation regarding the cameras compared to 2018. Here you can find the data concerning 2018. Let’s explore what’s going on in 2019. Take a look at the high-level chart below.

The list of 2019 Netflix original TV shows and their cameras

These are Netflix’s original TV shows of 2019 and the cams that used to shoot them. The chart is down below the list.

Arrested Development (season five): Panasonic Varicam LT The Politician (season one): RED Helium 8K Marvel’s The Punisher (season two): RED DRAGON 6K The Witcher” (season one): Panavision Millennium DXL2 Bonding (season one): ALEXA Mini She’s Gotta Have It (season two): ALEXA LF The Last Czars (season one): Sony F55 After Life (season one): Panasonic VariCam 35 and LT Daybreak (season one): ALEXA LF Marvel’s Jessica Jones (season three): RED Epic Dragon Black Summer (season one): RED Helium 8K The Umbrella Academy (season one): ALEXA LF Raising Dion (season one): ALEXA LF Lost in Space (season two): RED Helium 8K Tidying Up With Marie Kondo (season one): Canon EOS C300 Mark II Chilling Adventures of Sabrina (season two): RED Helium 8K Armistead Maupin’s Tales of the City (season one): ALEXA LF Living With Yourself (season one): Sony Venice Élite (season two): Sony F55 The Society (season one): Sony Venice The Spy (limited series): RED Monstro The Dark Crystal: Age of Resistance (season one): RED Dragon VV 8K Dead to Me (season one): Sony Venice Glow (season three): RED Helium 8K Dear White People (season three): RED Helium 8K Sex Education (season one): Sony Venice Stranger Things (season three): RED Monstro 8K The End of the Fxxxing World (season two): ALEXA LF The OA (season two): RED Helium 8K Our Planet (season one): RED Helium 8K Unbreakable Kimmy Schmidt (season four): RED Helium 8K When They See Us (limited series): ALEXA LF Orange Is the New Black (season seven): Panasonic VariCam Unbelievable (limited series): Panavision Millennium DXL2 Mindhunter (season two): XENOMORPH with Helium 8K A Series of Unfortunate Events (season three): Sony F65 On My Block (season two): Sony Venice Grace and Frankie (season five): RED Epic Dragon Russian Doll (season one): RED Helium 8K Easy (season three): RED Helium Santa Clarita Diet (season three): Sony F55 La Casa de Papel (Money Heist) (season three): RED Helium 8K Dark (season two): ALEXA 65

Netflix original TV shows camera chart

Important note: Y.M.Cinema Magazine invests a tremendous amount of effort to create those charts for the filmmaking community. In case you choose to share it, please do! It’s our pleasure. However, do not fail to remember giving the proper credit linked to the specific article.

Discussion

There is nothing new under the sun. RED dominates Netflix’s productions with its Helium sensor. It seems that cinematographers love this sensor. On the contrary, there is not much usage regarding the Monstro, which is known as RED’s most advanced sensor to date. In my opinion, it’s all about choosing between the two worlds: Super 35 and large format. According to this data, the Super 35 is still very relevant. Furthermore, we can understand why cinematographers prefer the Helium, which broke the DxOMark record for the highest sensor score (tested in 2017). What about ARRI? Till now, Netflix was RED’s ballpark. However, these charts might be changed since the Mini LF is penetrating the Netflix’s garden, and RED also has their Rangers. As for Canon, I don’t predict that the C500 Mark II is going to change the map, but who knows. Maybe it will. What do you think? Are those charts going to change in the next year? Enlighten us!