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The Order is a horror drama television series created by Dennis Heaton that ran for two seasons streaming on Netflix. It was written by Heaton, Shelley Eriksen, Rachel Langer, Jennica Harper, Penny Gummerson, and Jason Filiatrault. The series premiered on Netflix on March 7, 2019.[1] The series stars Jake Manley, Sarah Grey, Matt Frewer, Sam Trammell, Katharine Isabelle, and Max Martini.
The Order follows college student Jack Morton (Jake Manley) as he joins the Hermetic Order of the Blue Rose, a secret society that teaches and practices magic. As Jack goes deeper into the organization's history, he uncovers dark family secrets and an underground battle between werewolves and the magical dark arts.[5]
On April 17, 2018, it was announced that Netflix had given the production series order for a first season consisting of ten episodes. The series was created by Dennis Heaton who will also act as writer and executive producer. Additional executive producers are set to include Shelley Eriksen (head writer), Chad Oakes, Mike Frislev and David Von Ancken. Production companies involved with the series include Nomadic Pictures Entertainment.[5][7][8][9] On March 28, 2019, it was announced that the series was renewed for a second season of 10 episodes.[2] On November 14, 2020, Netflix canceled the series after two seasons.[4]
Production for the first season began on April 18, 2018, in Vancouver, British Columbia, and concluded on July 20.[10] Filming for the second season commenced on August 6, 2019, and ended on November 7, 2019.[11]
The fictional Belgrave University was portrayed by various buildings of the University of British Columbia Vancouver Campus. The aerial shots of campus, however, are of Georgetown University in Washington, D.C. The Blade and Chalice bar was set in the UBC Old Auditorium building. The abandoned building housing The Order is the Riverview Hospital in Coquitlam.[12]
On February 21, 2019, the official trailer for the series was released. The first season was released on Netflix on March 7, 2019.[13] On June 15, 2020, the official trailer for the second season was released.[14] The second season was released on the streaming platform on June 18, 2020.[3]
The review aggregator website Rotten Tomatoes reported a 100% approval rating for the first season with an average rating of 7.5/10, based on 6 reviews.[15] On Rotten Tomatoes, the second season has a 100% approval rating with an average rating of 7.68/10, based on 5 reviews.[16]
The Witcher: Fireplace: This is quite literally what is says on the tin, just a fire place. Watch it whenever (I don't see why you would though!). However, it is at Kaer Morhen so if you want to avoid spoilers for what that looks like wait until it's introduced later on in season 2.
The Witcher: Bestiary: The full names for this is actually The Witcher Bestiary Season 1 and it is available in 2 parts. As such it only goes over monsters in the first season. You are fine to watch it after the first season to avoid spoilers.
The Characters of the Continent: I've not watched it yet but this appears to go over characters in the series including those in series 2. To be safe from spoilers you probably want to watch it after season 2.
The Witcher: Nightmare of the Wolf: This is an animated spin off focusing on a younger Vesemir. It isn't necessary to watch but watching it in release order should be fine so after season 1 and before season 2. Though you may wish to watch it at any time.
The Witcher: Blood Origin: This is going to be a mini-series spinoff focusing on the first of the Witchers. It's not out yet so we can't say for certain but it is likely not necessary to watch. I'd probably watch it in release order so probably after season 2 and before season 3 but as above I imagine it can be watched at any time or not at all.
Kaleidoscope is currently holding the #1 TV show title on Netflix, largely due to its unique approach: No numbered episodes. Instead, the first seven episodes of the heist show appear in a randomized order, each showing a different part of the story from 24 years before the heist to six months after it. All of this leads to the finale, which covers the heist itself.
If you just want netflix to buy the finished product as a finished product as a distributor, you should be ok on almost any camera system so long as it's a good movie. If you are expecting them to look at you and then order the pilot from you or something like that that's a whole other story (and an unlikely one).
If the story is good enough and Netflix feel like that can make a profit from it, you can record your movie on an android phone and sell it to Netflix, they don't care! Now if Netflix is producing it, you don't have to worry about "owning" a camera, they'll give you a large enough budget to rent what ever camera package that is on their recommended camera list.
Depends on the 4K. I think a 4K final DCP would be wise, no doubt, but honestly, were I to go into almost any production, I'd want to err towards an Arri, personally, over a Red, if only to save myself a head-ache between takes (and honestly, I find an Alexa to be easier to work with-- image wise-- than a red.)
I suspect, it depends if you're talking about Netflix commissioning you to make the production or if they buying to screen an already made film. If it's the former, you'd have to discussions in advance with Netflix and the reasons for using anything less than their required cameras and technical specifications. With the latter, it's up to them to decide if they wish buy a number of screenings having seen the technical quality, they don't have any long term involvement and investment in the production. .
My understanding is that Netflix (and similar organisations) are a sales target for a lot of very dubious productions, and have put in as many barriers to access as they possibly can. They certainly don't take unsolicited material. It's hard to object - they must get absolutely deluged with unwatchable bilge - but the upshot is that there is no effective way to sell to them unless you have a significant track record and personal contacts. As such, a decent camera might be a necessary condition for selling a production to any broadcaster, but it's very far from a sufficient condition.
I say all this because it's quite common to encounter this sort of question from an indie filmmaker who has grand plans about selling a production to a particular outlet. If you're part of a production which is already talking to a distributor, that's great, but you should probably ask the distributor. If not, then please be very cautious about putting lots of effort into a production on the basis that an outlet will somehow be found for it. Unless you are in a very specific position as regards personal contacts and a preexisting business relationship (and you would know if you were), there is no way to sell film and TV productions to Netflix. Quite the opposite: they'll do everything they can to avoid talking to you.
There's a filmtrooper podcast that's hysterical about a filmmaker who was approached by Netflix. Someone there saw his documentary at the Toronto film fest and approached the filmmaker expressing interest. This employee at Netflix who was in touch with the filmmaker left Netflix shortly after without giving the director any follow up contact info for anyone else at Netflix.
It took the filmmaker years to get back in touch with Netflix about his movie. Even though Netflix actually wanted it. haha. Point is, yeah, you can't reach them. Even when they want your film you can't reach anyone there. If you do make a contact. Make sure they give you an additional email or phone number for someone else just in case.
They made a big deal of acquiring the monty python catalogue, most of that is a mash up of 1"C format and 16mm. Format isn't barrier to purchases. There's usually a minimum technical quality they will accept - but thats not just in terms of resolution (since they will take SD). Sound quality, chroma and Luma levels, blanking etc.... I used to work in QC for a UK broadcaster/film distributor and have rejected many many television programmes and films for technical reason's. 90% it wasn't because of a substandard camera format - but usually it was due to audio problems and mistakes made in the edit. The choice of camera is far less important then your choice of sound recordist and post production team in getting a film/show past QC.
If you have a C300 and the film looks good - it won't be the lack of 4k that prevents a Netflix sale, more likely lack of stars and the plain of numbers game of it being a real long shot. Blue Ruin (shot on C300) was on Netflix
As others have said use the best camera you can afford for your project. If you already have a C300 then shoot on that. But if your hiring in maybe check out the Ursa mini and Sony FS7 as well. They rent for similar amounts and may give you a bit more latitude for colour correction. I'm a bit fan of the C300 - but the 8 bit files do limit your flexibility in post. Stretching to FS7 or C300 Mk2 might make your life easier on the shoot - regardless of the Netflix rules.
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