When The Lights Went Out Netflix

[Margaret Sigars]

Earlierthis year, entertainment conglomerate Netflix chose Norman as one of six American cities to get a Main Street holiday makeover, promising an orgasmic yuletide euphoria for Christmas starved residents across Oklahoma:

So, as I stood in front of Peters and Main in Downtown Norman this weekend, my mouth was naturally agape. Not in a winter wonder, mind you, but instead in a blitzkrieg blunder as scenic as your friend's Festivus Pole:

The traffic when I went last Saturday evening was packed but wholly manageable, as was the foot-traffic as I walked along the concrete steps of the place. While there, I noticed the usual disregard of college kids and younger out and about, laughing and making jokes at the expense of the city, but, to be fair, that was mostly unavoidable.

The new Compress Gamut operator fixes strange colour effects in

saturated colours from very small or negative RGB values. Turn up

the threshold to see the effect. 0.1 is a typical threshold setting.

Suppose you point a camera at a scene with a bright yellow light.

The camera records sensible raw red and green signals from the

yellow light, but the raw blue may be little more than noise. When

the raw signals are converted to image RGB, the blue channel may be

very noisy, clipped, or negative. Subsequent grades may make this

worse.

So the master files delivered to netflix etc , I guess are 0-1 range(jpeg2000?) so dont contain any negative or out of gamut values.(minus this rgb->ycbcr stuff shouldnt be a concern for netflix) So this can only happen when someone clips the gamut at some point?

But there still are some issues with neons as you said, as you end up with negative values when ingesting the raw plates into aces, when the colors are out of gamut, its fun. but should in any case really be caught by either grading or finishing. No auto-tools will find this stuff if it has been clipped off allready.

Creepy, masked "Squid Game" workers welcomed me when I arrived. I was hoping they'd have everyone wear the same tracksuit from the show, which features a unique number for each player, but that didn't happen. (Tracksuits were available for purchase, though.)

Instead, I was told in advance to wear comfortable clothes. I opted for a lightweight outfit that included capri leggings, a slightly loose T-shirt, and my running sneakers. I also brought a zip-up jacket in case it was cold.

There were 31 photos placed on a leaderboard. My group and I were told we'd get a chance to play a maximum of six games, but if we lost the first few games, we wouldn't be eliminated like on the shows.

The first challenge was inspired by one of the games late in "Squid Game." In the show, players are placed high above the ground and have to guess which of the two side-by-side glass tiles is sturdy. Guess wrong and you'd plummet to your death.

We weren't given the rules until we decided the order of play, so, understandably, the majority of people lingered toward the back when we saw the game. On the show, you have a better chance of crossing the bridge if you're the last to go.

Several of the squares brightened for a few seconds and I needed to memorize the pattern. In a few seconds, I was expected to step onto the center of one of those previously lit bricks until I made it across. The mirror above the glass floor threw me off, though. Was it square 10 or 11 that was illuminated further down?

We entered a playground-themed space resembling the dalgona room from the shows, and groups of five gathered around tables marked with our shapes. We were instructed to open the tin cases in front of us, expecting to find dalgona candy and some type of tool inside.

We had four minutes to play. One at a time, each player tried to get their marble in the center of the shape on the table. If you succeeded, you took back your marble and any marbles outside of the shape.

During the first two rounds, I stunk, rolling my marble too hard outside the circle. I noticed one guy was a natural, though, so I quickly adopted his strategy of gently dropping the marble onto the table and my luck changed.

My group worked together to remove fake organs from a giant, coffin-shaped box while racing against the clock. Hitting the sides resulted in time penalties. Specific tools were required to retrieve each organ, but it wasn't always obvious which one and someone else on your team might've been using it.

I've always prided myself on being good at Operation, but this was the second most stressful game I played. I managed to get something out successfully, but I'm pretty sure I contributed to a few penalties, too.

Once everyone chose a line, the lights in the room changed to reveal that everyone was standing in front of the color pink or teal. I was on the pink team. We were then guided through the doors coordinating with our colors.

We walked onto a giant game board, realizing we were about to play Battleship, similar to the ones on "Squid Game: The Challenge." The lines we were previously standing in corresponded to the ships we'd sit on.

This was the most stressful game of all due to the possibility of being eliminated. Every time the light changed to red, I was nervous I'd blink or move a finger. I kept hearing players' bracelets buzz around me, and I wondered if mine would be next.

Red Light, Green Light winners were supposed to compete in a final egg-drop challenge. Players needed to balance wooden eggs on spoons and could slap rivals' eggs to the floor. The last person standing faced off against the three finalists with the highest overall scores.

The winner was someone who made the original top three. She was given the choice to either claim the win or sacrifice herself so everyone would get a small prize. We all encouraged her to take her prize, which she did.

I had a good time and was impressed by the overall sense of camaraderie, despite most of us being strangers. People cheered others on in the final two games and no one was cutthroat. (But, then again, we weren't playing for over $4 million on a show.)

Now that I've had a taste of the competition, sign me up for season two of "Squid Game: The Challenge!" Just kidding. I may have made it through Red Light, Green Light, but I'm sure this was child's play compared to the real deal.

Mike Briggs is the Co-founder & Creative Director of Ranch Creative, a UK based content-creation agency. Mike has created content across many genres of industry & commerce including global sports brands, fashion houses & tech companies.

i don't think this is the most tasteless show of the year. there is so much crap on tv that this one doesn't even make my top 20 of bad shows. i think it gives a good look at the competitive nature of LA stringers. i do want to know how much 1 "hit" is worth. i don't think they ever said it. it's a dog eat dog world of video stringers. i would have liked to see more.

I agree with this guy. I loved the show. Gritty and raw. Don't act like you don't look at car crashes when you drive by either, because you do. Hell, one of the Roishbrook brothers even saved a life. Yeah the Loudlabs guy is a dick and speeds, but why are you blaming Netflix for that? Its life. Some people are dicks, some people save lives. I didn't think of Grand Theft Auto once while watching the show, so I'm not real sure where that got pulled in from aside from how cool the production is on the graphics package.

I did not think it was tasteless. Dealing with these issues is a part of life for many people. Including journalists of all types. Clearly, you haven't done any photojournalist work. But these stories need to be told. I do feel that even the tragedies are beneficial to share with the public. I do agree that the story about Austin was skipped over too easily. And that the guy from onscene is obnoxiously confident and the guy from loud labs is equally obnoxious for being brash. But the most tasteless show of 2017? No way.

Same here, did news photography in the beginning of my career and they usually had 3 questions they asked 1. Is someone dead, 2. Can you see blood, 3. Any children involved. If I said no to all of them then there was no interest.

I worked in this industry for a couple years when I first got started in LA and was dead broke and needed money so I actually edited video for awhile in one of these operations. No, I don't think it's tasteless, it's not much more than reportage. What is really tasteless would be the paparazzi waiting on every streetcorner for whoever the most famous celeb of the week is to get a shot of their kids. These news stringers aren't really shoving their cameras in people's faces or trying to get a reaction - the paparazzi stuff is 10x worse

Tasteless? Welcome to TV news where "...if it bleeds, it leads." I've been shooting/editing news for 30 years and it's nothing new. There have been news organizations that have tried "feel good news" and have all done poorly in the ratings. Why do you think people slow down and stare at car wrecks, as "tasteless" as that is? I found the show very interesting. Well produced, although after a binge viewing on my part, I started to wonder and figure out how much of the story was "sweetened" with audio and video shot later and added to the scenes. I wonder just how much of the driving video was shot and edited in later. Like most "reality" shows, I'm sure the guys were told or knew to play it up for the camera in terms of creating conflict between the characters. I also found it interesting that RMG was the company behind the Netflix series. As mentioned, the series is shot and edited very well and that's part of what kept me watching. It was also interesting to see several scenes that I had seen go national (the stringer who walked up to the carjacker for one). I hope there is a season 2, but I have a feeling they will play up the conflicts even more if that happens.

The show's been on my list for a couple weeks now. After reading the article I wasn't sure if this was worth my time, but the comments make it seem more like a show that portrays the reality of 'getting there first' to make money.

Sensationalism is something we all share, but most people forget there's always someone behind the pictures we see, someone with a motive. I'm interested to see these people's motives, their drive and their evolution through the series. So, thanks commenters.

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