Japan’s well-established and reputable post facility Tokyo Sound Production (TSP) made the recent forward-thinking move by upgrading to SGO’s Mistika post production system to boost their broadcast projects.
Leading the way, Mistika Ultima provides dependable, efficient and prolific capabilities for broadcasters of content, from HD to 8K 60P. With the Next Generation Television and Broadcasting Promotion Forum having already started the 4K TV Program “Channel 4K” back in 2014, and the multi-channel pay-TV broadcasting SKY Perfect JSAT Corporation commencing its 4K broadcasting service from April 2015, TSP’s Mistika is already playing a vital role in 4K 60P creation. The team are already making full use of the system’s versatility and wide ranging toolsets to service its clients’ immediate demands.
Recent eye-catching footage for a leading Channel 4K program which aired on CS Digital Broadcasting was achieved using Mistika at TSP.
Mistika Operator Shigeyuki Koeda working on the project at TSP says “It is always great to hear positive feedback from our clients about how stable the playback of contents in 4K 60P is with Mistika. After receiving this uncompressed one hour project, I just put the content on the Mistika timeline and made the project play-out. It doesn’t require much time, and with Mistika there is no stress in front of clients.”
In addition, with the Japanese government encouraging 4K and 8K investments in the domestic retail sector in time for the future Olympic Games, TSP is now set to meet its clientèle’s expectations with Mistika’s unprecedented 4K abilities.
Yutaka Hamada, department director at TSP states, “SGO Mistika’s technology is truly impressive. There is virtually nothing Mistika cannot do. It comfortably post produces any project, including 4K and 8K, whether it is for broadcast, cinema or commercials, pretty fast and all in real-time. Its creative features, advanced workflows and resolution-independence have won us over, and it’s taken centre stage here, making us feel secure in the knowledge that we have the world’s most innovative system backing us.” He adds, “As the excitement grows for the 2020 Tokyo Olympic year, we feel prepared and future-ready with Mistika at our side.”
“With higher-resolution formats rapidly gaining a foothold in Japan for production, TV programmes and displays, many post facilities in Japan are looking to SGO’s Mistika to support their current and upcoming projects and provide stability in a fast-paced changing industry. I am delighted that the discerning team at TSP have made this exciting step by putting their trust in SGO technology which is playing a fundamental role in their future strategy.” confirms Geoff Mills, Director of Global Sales and Operations, SGO Group.
“Mistika has everything we need in one beautiful box. It is not only the best grading software I have ever encountered, but it is also an impressive finishing suite with a myriad of capabilities…”
Sasha Franklin, CEO and Owner of Edit Studios
Edit Studios has installed a Mistika post production system and Mistika Assist Station at its newly-refurbished post production facility in Tel Aviv. The boutique post house specialises in long-form film and broadcast editing for cinema and television, boasting sixteen large edit suites with their own balconies, including the stylish new Mistika finishing suite. Mistika will anchor the firm’s stunning new Digital Intermediate theatre with 2K real-time resolution and 4K rendering of documentary and feature film projects. Edit Studios selected the Mistika system for its flexibility and ease with which it can be integrated into the facility’s file-based workflow.
Founder of Edit Studios Sasha Franklin states, “Mistika has everything we need in one beautiful box. It is not only the best grading software I have ever encountered, but it is also an impressive finishing suite with a myriad of capabilities. Mistika seems to have taken the best features of various finishing suites and put them all together into one package, without any compromise in quality. It has versatility and allowed us to finish a feature-length documentary shot over several years on many different formats, within just one week, as well as a period drama, filmed using the latest RAW files – this kind of adaptability is essential for us in today’s market.” Sasha adds, “Gone are the days of just being required to only grade a project, as full production skills are now a prerequisite. Unlike other systems, Mistika has a fully integrated compositing and titling toolset that’s inbuilt for most of our SFX needs. For us, Mistika combined with the advent of DCPs, is a dream come true, allowing us to finish many of the projects here at base, whereas in the past, we would have had to send them to labs abroad.”
With over fifteen years of grading experience in both film and broadcast behind him, Edit Studios’ Chief Grader Yoav Raz says, “I am blown away by Mistika’s ability to deal with the toughest of shots on a daily basis. We also need Mistika to be able to work natively in Hebrew, working from right to left, and the team at SGO wrote a special version of the program to enable this within just a few days. Their support has been unbelievable – in over 15 years of working with various other systems, it is the first time I have seen Hebrew working in the way I wanted.”
Amit Gilboa, Technical Director and Post Production Supervisor at Edit Studios added that the facility’s grading theatre, with its ability to grade 2K media in real-time is unrivalled in the region and on par with the highest international standards . “I think what we’re looking to get from Mistika is the ability to support the whole process of movie post production, from tests and preparations through to dailies delivery and screenings, to rough cut screenings, VFX and grading, right down to DCP creation and all other deliveries. Our experience in managing the different aspects and collaborations of post production enables us to become the focal point of the full DI and film workflow.”
Jose Luis Acha, SGO’s Regional Sales Manager concludes, “I have just returned from visiting Edit Studios in Israel which hosts one of the most amazing state of the art Mistika suites I have ever seen. Edit Studios are made up of a savvy team of creative and technical professionals who take their work seriously, but also know how to enjoy their work creatively. They are enthusiastic and excited to work with Mistika technology because it delivers genuine results on challenging projects. They are an exceptional company and we are very pleased to include them in our ever-growing Mistika artists’ user-base.”
Edit Studios was founded in 1993 by well travelled British-born editor Sasha Franklin, who gained many years of post production experience across the world. He decided to establish his own independent facility in Israel, that firmly places the needs of the editor at the forefront. The popular American series Homeland is an example of an Israeli programme post produced at Edit Studios. The facility is associated with films and documentaries that have been awarded at the major film festivals, namely Cannes, Berlin, Venice, Sundance, Toronto, Tribeca, and their portfolio includes an Oscar nomination for Best Foreign Film. The boutique post house exudes a professional and welcoming “home-away-from-home” atmosphere, where clients return time and time and again to enjoy their exclusive services.
An exhaustive list of award-winning film and documentary titles include “Lebanon” by Samuel Maoz (Golden Lion Award, Venice 2010); “Footnote” by Joseph Cedar ( Oscar Nomination, Best Foreign Film 2012); “Fill the Void” by Rama Burshtein (European Cinematographer Award 2012); “Bethlehem” by Yuval Adler (Fedeora Award, Venice 2013); “Zero Motivation” by Talya Lavie (Best Narrative Feature – Tribeca 2014); “Children of the Sun” – Ran Tal – Best Documentary & Best Editing, Jerusalem Festival 2007; “Hitler’s Children” – Chanoch Zeevi – Audience Award, Boston 2012; “The Gatekeepers” – Dror More – Oscar Nomination, Best Documentary, 2012; “Life in Stills” – Tamar Tal – Best Documentary, Israeli Film Academy 2012; “The Law in these parts” – Ra’anan Alexandrowicz – Grand Jury Prize Sundance 2012 portfolio and many others.
ABOUT EDIT STUDIOS
Edit Studios was founded in 1993 by British-born editor Sasha Franklin, who spent many long days and nights in post production facilities all over the world, and decided that the time was right to establish his own independent facility in Israel, firmly placing the needs of the editor at the forefront. Films post produced at Edit Studios have reaped major awards at the key Film Festivals, namely Cannes, Berlin, Venice, Sundance, Toronto and Tribeca as well as an Oscar nomination for Best Foreign Film. The boutique post house exudes a warm welcoming “home away from home” atmosphere. Each of the 16 suites has a décor theme, which adds a quirky touch to the fun-loving but hard working culture that prevails in the studio. The themes cover “Time”, “The World”, covered in maps and souvenirs that clients have donated from their travels, “Lego” filled with children’s drawings, “Space”, “Comics”, “New York”, “Beatles”, “Night”, “Park”, “Island”, “Grandma’s sitting room”, “Toy” and many others. The themes bring a fun element, altering from time to time, according to what clients and friends bring to the company on their journeys. The American series ”Homeland” for example was originally an Israeli series made at Edit Studios.Edit Studios was also the first company in Israel to edit a feature film on a non-linear system. The team have in-depth knowledge and experience of film craft, having spent many years coordinating and traveling to Film Labs to complete projects, due to the fact that there has not been a Lab in Israel since the 1980’s.
SELECTED FEATURE FILMS INCLUDE:
“The Band’s Visit” – Eran Kolirin – Feature Winner at Montreal,2007
“Beaufort” – Joseph Cedar – Silver Bear, Berlin and Oscar Nomination, Best Foreign Film, 2007.
“Meduzot” – Etgar Keret & Shira Geffen – Camera d’Or at Cannes 2007
“Lebanon” – Samuel Maoz – Golden Lion Award, Venice 2010
“Footnote” -Joseph Cedar – Oscar Nomination, Best Foreign Film 2012
“Fill the Void” – Rama Burshtein – European Cinematographer Award 2012
“Bethlehem” – Yuval Adler – Fedeora Award, Venice 2013
“Zero Motivation” – Talya Lavie – Best Narrative Feature – Tribeca 2014
SELECTED DOCUMENTARIES INCLUDE:
“Children of the Sun” – Ran Tal – Best Documentary & Best Editing, Jerusalem Festival 2007
“Hitler’s Children” -Chanoch Zeevi – Audience Award, Boston 2012
“The Gatekeepers” – Dror More – Oscar Nomination, Best Documentary, 2012
“Life in Stills” – Tamar Tal -Best Documentary, Israeli Film Academy 2012
“The Flat” – Arnon Goldfinger -Best Editing Documentary, Tribeca 2012
“The Law in these parts” -Ra’anan Alexandrowicz- Grand Jury Prize Sundance 2012
Mistika is a tough 2D act to follow in Shakespeare’s Globe’s 2014 Theatre Season
Experienced freelance Colourist and Online Editor Ian Grey was responsible for the stylish 2D colour grading using Mistika at BTV Post for Globe on Screen’s three titles for Shakespeare’s Globe’s 2014 theatre season.
Ian Grey talks through the key creative processes of how he achieved the realistic results using Mistika. “The main challenge of the grades was that the recordings took place in an open air theatre, often transitioning from day to night. Maintaining continuity in the grade was crucial, taking into the account the sun setting, especially as the final edit could be cut from performances on different days and nights.”
Ian continued further, “A key tool in Mistika that I used extensively during the initial primary grade, was the digital printer lights, which made balancing the multiple cameras a simple and fast process. Being able to quickly amend the white point, black point, overall gain or overall contrast with access, to not only red, green and blue vectors, but also cyan, magenta and yellow, meant I could get through the nearly three-hour-long performances at a speed that was vital to completing the jobs on time.”Ian highlighted other challenges overcome by Mistika. “Another issue we had is that the stage was lit by tungsten lights and the cameras are white-balanced for 3400k colour temperature, but because some of the performances took place during the day, a majority of the audience was lit by natural daylight, which left a blue colour tint, making them feel cold. So, in the grade for Tempest, I corrected this by drawing shapes around the audience so that I could isolate them for a separate grade. Because Mistika’s HSL qualifiers pull very clean keys, I was able to combine with the shapes to produce great results. At times, due to either the camera movement, shot composition or performers’ movements, it meant some complicated shapes had to be used, but Mistika made this a simple task with its user-friendly shape editor with key-framing, combined with the new fantastic cloud-based auto-tracker tool, which I cannot underestimate how much time this saved me.”
The stunning productions are set to exhilarate audiences around the globe, for more information, visit www.shakespearesglobe.com
ABOUT IAN GREY
Ian Grey is a creative Colourist and Post 3D Stereographer with a wide range of experience in Broadcast Television and Cinema. A purveyor of the best possible image quality across a wide range of formats, Ian has worked on projects up to 4k whether 2D or 3D, using high-end post production systems such as Mistika from SGO. He has a vast technical knowledge of all areas of post production and has worked with a diverse clientèle from all over the world, including BBC, Channel 4, Discovery Channel, TLC and has also had feature films released by Universal Studios and Metrodome. Ian enjoys working with new clients and always demonstrates an outstanding commitment to projects, devoting time and passion to every job no matter what the budget. As well as the high standard of work, clients also value his personable approach and ability to remain calm and consistent even under the pressure of tight deadlines. Contact Ian at email@example.com
ABOUT SHAKESPEARE’S GLOBE
From modest beginnings, Shakespeare’s Globe has become one of the most popular visitor destinations in the UK, at the heart of the regeneration of London’s Bankside. Shakespeare’s Globe is a UK charity and continues to operate without annual government funding. Under the leadership of Artistic Director Dominic Dromgoole, the Globe Theatre season plays in repertory from April to October annually, and has gained an international reputation for performance excellence, welcoming over one million visitors annually. The recent addition to the Shakespeare’s Globe complex of the indoor Sam Wanamaker Playhouse, which opened on 9 January 2014, will allow Shakespeare’s Globe to present plays all year round. More information is available at www.shakespearesglobe.com
ABOUT BTV POST
BTV Post is a cutting-edge production facility, offering post-production, digital media solutions, and video editing services. A specialist in HD, 2D, 3D, and 4K content, BTV Post delivers on behalf of the world’s most prominent production companies across all genres, standards, and formats. More information is available at www.btvpost.com