TV/STREAMING . . .

Dad of the Year! Scott Disick Designs "the Most Extravagant" Playhouse for His Kids. Scott Disick's client list now includes his own children! On Sunday's all-new Flip It Like Disick, the reality star turned house flipper undertook a passion project on behalf of kids Mason Disick, Penelope Disick and Reign Disick. Specifically, after being inspired by a chic cabana, the father of three hoped to build his children a luxurious playhouse. "This playhouse, obviously, isn't gonna be an ordinary playhouse," Lord Disick explained in a confessional. "It's definitely gonna be something a little unique and different." The catch? Scott required ex Kourtney Kardashian's permission to build the special fixture in her backyard. Thankfully, Scott and Kourtney have maintained a cordial co-parenting relationship and were able to chat about the construction project. "So, I'm here for a little bit of business," Scott relayed to the Keeping Up With the Kardashians star. "I wanted to build the kids this guest house." "Guest house?" Kris Jenner's oldest replied. "No, like a guest house for the kids," the dedicated dad pitched. "Like, a tree house, but more luxurious. But, cool [and] modern with nice fixtures and hardwood floors." To help visualize the design, Kourtney and Scott mapped out space in the backyard. Despite being skeptical about the fixture's height, Kardashian agreed to the Disick-driven project. "I'm gonna try to build the most extravagant kids playhouse you've ever seen," a confident Scott added to the Flip It Like Disick camera. For the design of the structure, Scott decided to channel a Mexican resort's all-wooden cabana. Of course, as the space was for his kids, Disick had Mason and Reign also sit down with the design team. Ironically, 4-year-old Reign selected the same wood Scott eyed for the exterior of the house. "I mean, like father, like son. Reign picks out the Ipe," Scott quipped later on. "Must be in the family having good taste." As construction began, Kourtney found herself frustrated by all the noise. Nonetheless, during a walk through, the mother of three praised Scott's "cute" floor plan. Still, the Poosh founder had some notes about the planned ceiling fan. "Like, a fan that spins around and that you can get your fingers cut off?" Kourtney retorted. "A regular fan scares me." Thus, Scott pivoted his plan and decided to move forward with central air conditioning instead. "You know, as crazy as Kourtney might sound, she's probably actually right," Scott reflected. "I don't need the kids being unattended in a playhouse with a fan that they could possibly get their hands caught in." During the final reveal, Scott expressed happiness with the outcome as the playhouse matched his vision. "I couldn't be happier with the kids' playhouse. I mean, everything came out great," Scott relayed in a confessional. "I think it came really close to the Baja beach house that I was trying to mimic." The Disick kids were equally impressed as they gave Scott a big, "Thanks, Dad!" (Eonline)

How Netflix Is Using Its Muscle to Push Filmmaking Technology Boundaries. From editing software to actual cameras, the streamer is driving manufacturers to innovate -- or risk losing its vast business. Arguably the most popular camera among Hollywood cinematographers is the ARRI Alexa, made by the century-old ARRI camera company. But as recently as six months ago, Netflix would not permit DPs to use this camera (other than the large-format Alexa 65) for its original programming because the standard model employed a 3.2K resolution sensor instead of the streamer's required 4K. Many Alexa fans argued that the difference between a 3.2K and 4K sensor doesn't create a noticeable difference in the footage and say the camera's dynamic range and other image characteristics make it a more pleasing choice. But Netflix stood firm on its decision: "The ARRI Alexa and Amira are fantastic cameras, and we stream plenty of content that was captured with these cameras. However, since these cameras do not have true 4K sensors, we cannot accept them for our 4K original productions," Netflix said in a statement. "For those who pay a premium for our UHD 4K service, we only deliver content that was shot and delivered at a true UHD 4K resolution." The result is some frustrated cinematographers. At November's Camerimage Festival in Poland, where Netflix execs said its requirement was designed to "protect your creative intent," things got a little heated. "This isn't about quality, this is about marketing," argued one DP in the audience. This past winter, ARRI released a new model with a 4.5K sensor, which some referred to as "the Netflix camera," acknowledging a key reason for its development. In the end, Netflix won. ARRI released a new model of its camera with a 4.5K sensor, and some refer to it as "the Netflix camera," acknowledging the reason for its development. If you have used the "Netflix calibrated mode" on your Sony or Panasonic TV or seen the "Netflix Recommended TV" logo in a consumer electronics display, you've had a glimpse of how the streaming giant has exercised its clout to become the most influential entertainment company in the technology field, pushing boundaries (and occasionally ruffling feathers). Netflix's size has allowed it to touch and influence everything from hardware and software development to industry display standards. Many welcome the enthusiasm with which the streamer is focusing on quality and workflows. "Netflix is in a class all its own right now," says Larry Chernoff, CEO of MTI Film, which develops postproduction technology and offers post services. "Netflix has hired some of the top industry engineers out of the top postproduction houses in Hollywood and beyond. I don't know any other company that has reached out more and demonstrated more respect for the post community than Netflix ... It has had a profound influence on everything we do." Case in point: Netflix wanted its original content to be delivered in 4K resolution with the Dolby Vision brand of high dynamic range (Netflix now offers about 1,000 hours of HDR across its catalog) and Dolby Atmos brand of immersive sound. Broadcasters are still entrenched in 2K, and many acknowledge that, if not for Netflix, adoption of the advanced formats might have stagnated. To make sure its content is being produced how it wants, the streamer in September launched a Netflix Post Technology Alliance with MTI, Adobe, Sony and others. It shares its roadmap with these companies, and if these firms develop tools -- from cameras to editing systems -- that meet its requirements, they are permitted to use the "Netflix Post Technology Alliance" logo. The logo has been visible in the past year at industry trade shows -- a literal sign of growing influence. Netflix also is involved in industry standardization and development efforts. For instance, it recently joined the Academy of Motion Picture Arts and Sciences' Academy Software Foundation, a forum for open source software developers. While Netflix is involved in collaborations, the company also maintains robust engineering efforts in-house -- beyond the teams working on its secret distribution algorithms. It is pioneering new interactive content, such as Bandersnatch, which was made incorporating Branch Manager, a software system developed in-house. Other homegrown advances include Netflix's scheduling software and its work to bring more automation to audio dubbing through artificial intelligence. There's likely much more in the works that Netflix does not share with the public. But one thing is certain: The company is having a penetrating impact not only on which content is made and how it is distributed and consumed, but also on the very tech that creates it. (Hollywood Reporter)

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