NETFLIX DARK SERIES SEASON 3 DOWNLOAD ALL EPISODE

Dark,Netflix's German-language sci-fi drama, has the well-earned reputation of being one of the most confusing shows on TV. Spanning multiple timelines and diving into the intricate connections between four families in a small German town, Dark was already somewhat difficult to follow before the third and final season introduced multiple universes and split realities. That's why we put together this timeline of everything that's happened on Dark in every world, reality, and time. 

• But before you get to the timeline itself, let us explain some of the methodology that went into creating it so it's easier to understand and use.

• Starting December 1, 2017, "Dark," a mystery family saga produced by Wiedemann & Berg on behalf of Netflix, streams simultaneously in 190 countries worldwide. ARRI was hard at work behind the scenes of this ten-part series by Baran bo Odar and Jantje Friese. 

• Mr. Nuri, you were responsible for the postproduction on "Dark" at ARRI Media. Why did you choose ARRI Media as your postproduction partner?

• For various reasons. One of the biggest challenges on "Dark" was the really tight time schedule. Picture lock was at the end of July, the first test packages had to be ready by mid-August, and the first deliverables for the Netflix location team had to be available by September. So, we had to find a service provider that was capable of producing 504 minutes of content in that brief period of time, in the quality that is synonymous with showrunners Baran bo Odar and Jantje Friese. For that to be possible, the service provider had to have a finely-tuned team of outstanding experts at its disposal and be able to upscale at will to react to any eventualities. That is why we wanted to work with ARRI Media. Another reason was the request from cinematographer Nik Summerer and from Bo to shoot with what they considered to be the best camera: the ALEXA. Netflix films in 4K, so we quickly decided to go with the ALEXA 65 from ARRI Rental to shoot the series. Then it made sense to put together an entire package with ARRI.

• Netflix ordered the ten-part mystery series and is streaming it worldwide in 190 countries. What are the quality standards for that kind of project?

• I have never before had such spirited discussions with a client about quality control more than a year before delivery. It is something that Netflix places great value on, and their QC is like nothing I have ever experienced. The people responsible at Netflix examine everything very precisely and repeatedly to make sure that nothing restricts the “viewer experience.” That is the prime concern at Netflix, and it covers a wide range of things. It is always about giving the viewer the best possible – the perfect – product. The postproduction engineers at Netflix were closely involved in everything we did. They repeatedly asked for status reports and even visited us from time to time. It was an excellent and intense collaboration. At the same time, there was yet another challenge with "Dark": Everything had to be perfect, extremely fast, and within budget. As a rule, you plan on one of those three things not working out, but we managed them all this time.

How was that possible in such a short time?

• With really good planning. I have been in contact with the ARRI team since February 2016 for the project. Doing the final production of ten episodes in cinema quality was a new experience for us too. That equates to five feature films, and complex ones at that! I knew Bo and Jantje from working together with them on WHO AM I, and like on that series, all the people and departments involved worked together with great commitment and precision right from the word "go." We started sound postproduction right after we wrapped up shooting at the end of April, parallel to the editing, so that all the viewings and approvals could be held and given with processed sound. That probably made the process much smoother because no one had to "imagine" anything additional that wasn't there yet. It also meant that we didn't have to start the really short postproduction phase after picture lock with nothing, but had already processed the sound for all ten episodes to a large degree. We also launched the visual effects work, which was shared between ARRI VFX and RISE FX, really early on – all with the goal of being almost finished when the time came for picture lock.

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