Online Editor Christian Tröger working at Berlin’s ARRI Mitte used Mistika’s advanced toolsets to post produce majestic scenes in Cathedrals of Culture.
Neue Road Movies, owned by Oscar award-winning director Wim Wenders, produced the striking film which portrays various buildings around the world. Using the visual language of stereoscopic film-making, it was directed by acclaimed directors bringing their own unique style. Wim Wenders covers the Berlin Philharmonic building; Robert Redford‘s film shows off the Salk Institute at La Jolla in California; Michael Glawogger depicts the National Library in Russia’s St. Petersburg; Michael Madsen features the Halden Prison in Norway; Margreth Olin sheds light on the Oslo Opera House and Karim Ainouz focuses on the Centre Pompidou in Paris.
Neue Road Movies selected ARRI Mitte’s creative team to conduct the visual post work. The complete finishing process, including conform, Stereo 3D alignment, as well as most of the VFX shots, were achieved by Christian Tröger using SGO’s Mistika post production system based at ARRI Mitte. The successful collaboration between Neue Road Movies and Christian with Mistika at the helm, goes back many years now, where they have worked together before on award-winning and high profile films such as Palermo Shooting and PINA. In Cathedrals of Culture most of the offline editing occurred on location where the buildings were filmed, or where the director resided. A variety of cameras and formats were used ranging from the ARRI Alexa, Canon RAW 5k timelapse, RED 3, 4, and 5K, right through to archival and still shots.
Christian Tröger shares his experiences on how Mistika enabled him to accomplish the required results, “Mistika was again used as the main tool for most of the work but also used as a hub and collector for all other processes. The Mistika timeline was simply created based on an EDL and a reference, with some episodes only modestly tweaked after editing, while other timelines requiring up to 20 stereo layers to organise the different sources, and also to visually vary and blend them to create interesting pictures.” Christian explains further, “We decided to complete this project in a 2.5K workspace, but always directly from the camera footage, which meant that all of the array of resolutions were brought down on-the-fly to a specific 1:1.85 ratio which would fit exactly into the final 2K DCP at a later stage. From this unity resolution, we continued to add the stereoscopic treatment that the film required, including re-framing, compositing, stabilisation and so forth.”
The idea was to merge as many logical steps and tasks together as possible, because the goal in mind was to have only one render process from the camera native file to the final resolution at all times. Christian continues, “When working directly from the native camera files like this, it is still necessary to have robust real-time playback in order not to disrupt the creative flow. Our Mistika runs on the latest HPZ820 with a Nvidia Quadro K6000 GPU, and this provided direct real-time playback in many areas. Where this was impossible, for short sections, I used Mistika’s “look ahead” cache, which pre-processes non real-time elements further along the timeline “on-the-fly”. By the time the play head reaches these elements, they are cached and therefore play in real-time. For longer playback needs, I background-rendered several parts as a 2.5K pixel-native proxy for each eye.”
Christian adds, “A 2.5k stereo as a proxy sounds crazy, but the machines are ready to give – so we should take it, as they can handle it! I made extensive use of Mistika’s built-in batch render manager, so that I could split system performance by processing multiple files in the background while still carrying on with creative work. I also used the batch manager to give Mistika a task-list to complete while I slept! For the real output, Mistika generated a 16bit DPX file sequence, which is the format we use as standard for exchange within ARRI Mitte, as we believe that our interchange format must be of the highest possible quality.”
ARRI Mitte’s workflow solution allows for the DOP and stereographer to work in-house at the same time on the images, but on different systems. Every evening throughout this project, Mistika would diligently output the daily work as stereoscopic 16bit DPX in 2K, which automatically replaced the source pool to feed the grading session.
Every morning began with a screening session with all collected work visible in the theatre. These morning sessions Christian describes as the most important times throughout the six episodes: – DOP, directors, stereographer, producer and artist assembled to spend a concentrated hour together, to define a to do list for that day regarding the overall post production timing. “In my opinion,” he adds, “a stereoscopic project needs more options for collaborative working than 2D projects for example, because the contribution of each department, including editing and colour grading, influences the perceived depth of the images.”
Christian goes on to describe how he approached the management of the project when considering how much to do within Mistika: – “As a finishing artist, you have to understand the moment your client explains the idea. Sometimes it is more efficient to start a separate VFX pipeline with the producers, which means outsourcing a task and then, exporting, coordinating and collecting the results thereafter. On other shots it was much more efficient to complete the shot directly within Mistika. Many other tasks such as tracking, roto-scopic work, relatively complex warps and matching archival footage to the filmed stereo material, were also completed using Mistika.”
He adds further, “When all conform, VFX and stereo work was approved on the Mistika, and this output had been finally graded and rendered, it was just a simple re-link in the timeline to have final colours in the Mistika environments. The next step was to title and finish all the episodes and create the first versions. Projects like this always have a long list of versions and a huge list of deliverables. The versioning is part of Mistika’s role too, as they need to be created from the original sources, which are sometimes within the set-ups or from steps in-between processes.”
Christian explained how all of the set-ups needed to be amended for the mono-scopic theatre version as well, to meet the client’s requirements, discarding all unnecessary stereo adjustments, but keeping all other decisions that had been made on the picture. “The stereoscopic television version also needed a different depth grade and an additional colour grade to bring it to the REC709 standard. All of these important tasks took place within the Mistika timeline.”
Christian noted, “Our last sizeable Stereo 3D project was back in 2010, and since then, the Mistika stereoscopic toolset has grown into a very complex and main core solution. Without the smart functions and the utterly phenomenal speed and usability, we wouldn’t be able to deliver such complex depth grading work, not to mention as well as all the other demanding tasks that Mistika handles at the same time for us.”
The 168-minute film which combines all of the six episodes, examines human life through man made structures, and will be released in Stereo 3D to distinctly capture the very essence of each building. The Director of Stereography was Joséphine Derobe. The films will be shown across the globe, following their Première at the Berlin International Film Festival 2014. Discover more about this fascinating project at the production company’s website.
Wim Wenders: Berliner Philharmonie – Berlin, Deutschland (DOP Christian Rein)
Michael Glawogger: Russische Nationalbibliothek – Sankt Petersburg, Russland (DOP Wolfgang
Michael Madsen: Haftanstalt Halden – Halden, Norwegen (DOP Oistein Mame)
Robert Redford: Salk Institute – La Jolla, Kalifornien, USA (DOP Edward lachman)
Margreth Olin: Opernhaus – Oslo, Norwegen (DOP Wolfgang Thaler)
Karim Ainouz: Centre Pompidou – Paris, Frankreich (DOP Ali Olkay Götzkaya)
Produced by: Erwin M. Schmidt, Gian-Piero Ringel
Executive Producer: Wim Wenders
Co-Producers: Signe Byrge Sørensen, Anne Köhncke (DK), Tommy Pridnig,
Peter Wirthensohn (AT), Maria Ekerhovd (N), Charlotte Uzu (F), Laura Michalchyshyn, Sidney Beaumont (USA), Nobuya Wazaki, Kayo Washio (JP)
Produced by: Neue Road Movies (D)
Co-produced by: Final Cut For Real (DK), Lotus Film (AT), Mer Film (NO),
Les Films d’Ici 2 (FR), Sundance Productions / RadicalMedia (USA), Rundfunk Berlin-Brandenburg In Collaboration with Arte D/F), Wowow (JP)
Director of Stereography: Joséphine Derobe
ABOUT ARRI MITTE
Arri Film & TV Services Berlin GmbH, Auguststr. 48, 10119 Berlin, Phone +49 30 726267-150
ABOUT CREATIVE TOOLS
SGO’s official German Reseller. www.creativetools.de
SGO will be showcasing its world-class leading Mistika colour grading and online finishing system at this year’s Broadcast Asia conference held at Marina Bay Sands in Singapore from 17 – 20 June. Mistika is widely regarded as the most powerful and efficient finishing and grading system for projects at any resolution and frame rate, including 4K at 60P and stereoscopic 3D. Mistika’s diverse and versatile creative toolset is not restricted to 4K and is already able to provide for 8K post production pipelines. Global credits span every type of production from commercials for Samsung, television drama for Sky and feature films such as The Hobbit trilogy, Flying Swords of Dragon Gate, Young Detective Dee and the Sea Dragon, Let Go for Love, Switch and many more.
SGO will preview the new Mistika version 8.2 software which includes many new and unique features such as their in-context node based compositing capability and the incredible Spatial Isolation toolset, which was unveiled for the first time at NAB in April this year. Customers visiting the SGO booth 5K6-06 in The Spanish Pavilion will be able to experience firsthand how Mistika performs effortlessly with mixed resolution raw camera files on the same timeline and all in real-time. Mistika provides seamless integration between conforming, editing, colour grading and visual effects to create the ultimate post production finishing platform all in one system. Mistika’s unique abilities allow “next generation” colour grading by blurring the line between colour grading and compositing, enabling colourists to be more creative by adding textures and filters to their looks.
SGO will also be introducing its affordable compositor Mamba FX to Broadcast Asia which provides unlimited layers of compositing in a resolution-free, node-based environment, running on Windows, Linux and soon available on Mac. It can be used as a stand alone compositor, or collaboratively, as part of a highly efficient post production pipeline with many Mamba FX platforms connected to a central Mistika as the post production hub.
Visitors to the show can also meet and discuss workflows and industry trends with specialists from SGO, including Mojo Media Solutions, SGO’s official reseller partner for South East Asia. Advance bookings for Mistika demonstrations can also be made by contacting Stuart Monksfield at Mojo Media Solutions at email@example.com or directly through SGO at firstname.lastname@example.org. Register for Broadcast Asia at www.broadcast-asia.com.
With ever increasing demand for future-ready post production solutions, SGO reported a highly successful outcome at NAB. Located in the South Hall, the popular Mistika post production systems and Mamba FX compositing software were showcased at SGO’s booth, attracting a lot of visitors, among them content creators, post facilities and widely known broadcasters. SGO’s progressive creativity and efficiency in colour grading and finishing received positive feedback resulting in new relationships, collaborations and sales.
SGO’s forward-looking quantum-leap development leads in giant strides. One of the many breathtaking highlights which amazed colourists in engaging demonstrations included SGO’s new Spatial Isolation Toolset for Mistika 8.2. It provides colourists with a number of methods to isolate individual objects within a scene, so that they can be graded separately, for example based on their depth in the scene or by metadata provided by CGI animation systems. The new features allow both the colour and the directional lighting of CGI objects to be fine-tuned in real time and in context. Find out more and watch the demos at www.sgo.es/2014/04/sgo-discloses-unique-colour-grading-tools/
Also on show was a stylish Precision Grading Panel for SGO’s Mistika made by Digital Vision, delivering an additional option to boost Mistika’s powerful colour grading feature-set even further. It was proven to be a sensation, and within hours of the show opening, an order was placed for two Precision Panels by ONSIGHT for their 4K, 3D, HD Mistika grading and finishing suites.
SGO’s affordable compositor Mamba FX made its first NAB appearance and was a smash-hit with its intuitive node-based graphic interface delivering a complete visual effects suite with unlimited compositing layers and effects, running on Windows, Linux and soon available on Mac. With the recent addition of GenArts Sapphire 7, over 250 new effects and pre-sets are accessible to users. Mamba FX tutorials were launched at the show and are available at www.mambatutorials.com
For Broadcasters, Mistika Air Ultra enables a viable and stress-tested solution with seamless integration of high-end post finishing tools for HD, Ultra HD and 8K productions. Mistika Air Ultra is capable of delivering real time and render-free colour grading and finishing processes, even at 4K 60P. Its diverse and versatile creative toolset is not restricted to 4K and is already able to provide for 8K post production pipelines.
Other exciting new features in Mistika version 8.0 this NAB included an all-new node-based compositing interface, support for Canon’s RMF, Sony’s XAVC, enhanced AAF support, ProRes 4:4:4:4 file formats, a re-branding output render module and Dolby Atmos DCP generation. Mistika’s presence on Canon’s booth played a vital part in exciting presentations demonstrating Canon’s Colour Management ACES process for Digital Motion Imaging. SGO also hosted Stream TV Networks, Inc.’s revolutionary Ultra-D™ glasses-free 3D technology marking the first time their auto-stereoscopic screens have been shown at NAB. Stunning footage of Mistika-related projects including the jaw-dropping Stalingrad 3D film trailer and David Attenborough’s Natural History Museum Alive 3D stunned passers-by.
News following on from NAB is that Mistika is to support Dolby® Vision™ technology. Working in close collaboration with Dolby, the capabilities are available in Mistika from version 8.2, previewed at NAB and due for release shortly after IBC. Mistika has inherently supported HDR workflows, and perfectly placed for its customers to enjoy this exciting advancement.
“NAB creates dynamic access to global markets and it’s a great sphere of energy where we meet interesting new people and provide them with the very latest technological breakthroughs to fully support their creativity.” SGO’s Director of Global Sales and Operations Geoff Mills said.
SGO will be exhibiting at Broadcast Asia 17 – 20 June at Booth 5K6-06 in the Spanish Pavilion.
Follow SGO @SGOMistika for the latest updates and news.
2 May 2014, Madrid, Spain
Canadian boutique post production company Slik has invested in SGO’s Mistika post production system to expand its 4K capabilities and colour grading. Established in Montreal in 2001, Slik offers comprehensive post services for television, film and commercials. Recent credits include TV series such as Infoman, Les gars des vues and commercials such as Boston Pizza directed by Alain Chicoine, co-founder of Slik, and documentaries which include Légendes Urbaines and Les Coulisses du Bye Bye 2013.
Co-founder and editor, Philippe Fafard, at Slik states, “With its wide variety of tools, we think Mistika will provide us with a tremendously fast and flexible central system with the highest digital image quality. The real-time performance with online, compositing and colour grading in a single platform was a very important aspect of our decision with the short turn around we have with our projects. We expect Mistika will open new doors for our clients and team and we look forward to placing it at the centre of our workflow.”Proud of their new partnership with SGO, Canadian Reseller 3vis is honoured to welcome Slik to the global Mistika community. 3vis President Sylvain Plourde confirms, “We are extremely happy to have Montreal-based Slik join the SGO family with their recent purchase of Mistika. Slik has a long and successful history as a boutique post production facility in the Canadian market. With this new technology they will enhance and expand their services through offering 4K+ resolution capabilities and high-end colour grading. As with many post production facilities, Slik’s pipeline is dependent on Avid and Mistika’s support for the AAF format which was an important aspect of this procurement.” He adds further, “We are very excited to see the enthusiasm around the SGO product line and delighted to be working with Slik on their new projects.”
Director of Global Sales and Operations at SGO, Geoff Mills concludes, “The team at 3vis’ energetic passion and commitment to expand the SGO customer-base in Canada is evident. It is great to see a successful and talented post company such as Slik join the ever growing Mistika ranks and we warmly welcome them.”
Visit them at www.slik.tv
Visit them at www.3vis.com
25 April 2014, Montreal, Quebec, Canada
Mistika, powerfully different, revolutionizes colour correction and finishing with the most advanced tools and workflows for grading.
To provide enhanced creative capability within online grading and finishing SGO is proud to announce the development of Spatial Isolation Toolset to its world renowned Mistika DI, Grading and Finishing system for Mistika version 8.2
In both 2D and Stereo 3D finishing it is common for multiple objects to brought together from separate creative systems, using masks, object IDs, positional information, travelling mattes, etc, and in the case of live-action Stereo 3D, associated z-depth maps. Unfortunately, it is standard practice for such information to be dropped before entering the on-line grading and finishing, especially when the number of objects being combined is large in number, resulting in a single-plane image with no ability to re-adjust objects independently within the grading and finishing stage of the project workflow.
SGO’s new Spatial Isolation Toolset works with all the associated additional object information, enabling the simple selection of any object or group of objects, providing total interactivity with respect to blending objects together through the use of Mistika’s advanced grading tools.
A colourist can use any object selection options by single clicking any elements or part of an element, correcting only object surfaces pointing in certain directions, or separate objects by a z-depth range selection, all of which can be combined with traditional object isolation modes, such as windows and colour or luminance range selection, but now with total object isolation accuracy.
What Spatial Isolation offers to the colourist is not compositing – it is object separation inside the colour grading workflow, using the information provided by the previous effects and compositing systems. This means it is no longer necessary to spend time attempting to fine-tune objects integration with their surroundings with the slow and non-interactive capabilities provided within effects systems, instead allowing the real-time and fully interactive capabilities of Mistika to creatively light and grade 3D animation objects sympathetically within their final surroundings.
When working with Stereo 3D footage the associated z-depth map can just as easily be used to perform object and image plane isolation, allowing the colourist to perform far greater creative manipulations, from grading and colour correction, to defocus, and re-lighting, further enhancing the reality that Stereo 3D can bring to the big screen.
“SGO strives to bring unique and unmatched creative capabilities to its customers, and Spatial Isolation is a perfect example of SGO’s ability to think beyond the normal constraints associated with grading and finishing”, added Geoff Mills, Sales Director, SGO.
Spatial Isolation Toolset
Directional Relighting (a.k.a. “pick direction”)
Utilise the Surface Normals layer of an EXR source clip to simulate directional lighting within the original 3D environment.
Localised Positional Relighting (a.k.a. “pick position”)
Use the XYZ Position layer of an EXR source clip to generate grading selections or alpha channels that simulate localised positional lighting within 3D space
Object Selection (a.k.a. “pick object”)
Use either the Object ID layer or Material ID layer of an EXR source clip to generate clean and accurate grading selections or alpha channels that specifically isolate individual CGI objects.
Stereo Depth Selection (a.k.a. “pick depth”)
Generate grading selections and alpha channels that allow both colour correction and other effects to be applied either locally within a narrow depth plane, or variably within the depth of a stereo 3D scene.
Booth #SL9021, 7 – 10 April, NAB 2014, Las Vegas Convention Centre, Nevada
SGO’s new strap line “Beautifully Creative Technology” sums-up the ethos behind the company’s avant-garde performance-leading development drive to provide creative artists with the most empowering facilities available. SGO will exhibit the latest additions to its range of extremely powerful Mistika post production systems and Mamba FX compositing software at the 2014 NAB Show. SGO’s technology will demonstrate how broadcasters and post facilities can transform their companies by accessing new markets and revolutionising creativity and efficiency in colour grading, finishing and compositing with Mistika and Mamba FX.
– Mistika post production system will support the stylish Precision Grading Panel, read more
– Mamba FX is now available on Linux and soon on MAC! read more
– Preview of the Mistika V8.2 Spatial Isolation Toolset, read more
Mistika Post – Powerfully Different
Designed to be different, SGO unveils its new Mistika range based on accelerated optimum performance levels, namely Mistika Post, Mistika Optima and Mistika Ultima in version 8.0. Radically crossing the boundaries between grading, compositing and editing for ultimate creative freedom in real time, Mistika seamlessly merges all post disciplines for broadcast and film. All projects, irrespective of size, can be completed on any Mistika system, with the fastest being Mistika Ultima, handling HFR capabilities, 4K and beyond, in real time. New features include a Spatial Isolation Toolset with the ability to allow grading selections or keying mattes to be derived from CGI object meta data. Other new key features in version 8.0 include an all-new node-based compositing interface, support for Canon’s RMF, Sony’s XAVC, enhanced AAF support, ProRes 4:4:4:4 file formats, a re-branding output render module and Dolby Atmos DCP generation. SGO will also showcase Mistika on other booths at NAB, with updated information soon to be made available on the SGO website.
Mistika Air – Intelligent Broadcasting
Mistika Air is a specific version of Mistika especially tailored for broadcasters of HD, Ultra HD and beyond. Mistika Air Ultra allows for even greater speed and throughput in a crowded multi-platform environment that caters for the delivery of high resolution programmes, which are swiftly becoming the standard. Mistika provides a viable and stress-tested solution which promotes seamless integration and high-end production tools for HD, Ultra HD and 8K productions. Mistika also boasts 4K HFR modes at 59p and 60p speeds for the UHD market, supported through the QuadSDI standard.
Mamba FX – Evolution Redefined
Mamba FX is SGO’s affordable and very powerful, open, node-based compositor introduced at NAB for the first time since its initial launch at IBC2013. It displays an intuitive node-based graphic interface delivering an integral visual effects suite with unlimited compositing layers and effects. Mamba FX can also be extended with OFX plug-ins or additional options from SGO. These options include DCP creation and access to SGO’s unbeatable stereo correction tools. Mamba FX is available to order online at www.sgo.es/shop including access to tutorials and forum support.
Miguel Angel Doncel, CEO of SGO says “What keeps SGO’s technology at the forefront of cutting-edge innovation is that we are continuously creating radically cool new solutions that transcend traditional film and broadcasting. We are not hesitant to embrace change in new ways in the best interests of the industry that we passionately serve.”
Geoff Mills, SGO’s Director of Global Sales & Operations adds “SGO is enjoying continued growth around the world as more and more people adopt our products. Customers are drawn to agile technology that gears them up for every potential encounter. SGO’s future-ready dependability and foresight enables customers to prepare for any project of any size, at any time, anywhere, right now and in the future.”
SGO appreciates the dedicated support of technology partners ATTO Tech, Bright Technologies, Canon, Dolby, Dot Hill, DVS, HP, NVIDIA and Tangent Devices at the show this year. Look out for further NAB announcements on SGO’s website as the event date draws closer.
Book your Mistika Demo at email@example.com and register for NAB at www.nabshow.com using Guest Pass Code: LV9255. Feel the difference at the SGO Booth – the SGO team looks forward to welcoming you to enjoy their technology.
NAB Show® is the world’s largest electronic media show covering filmed entertainment and the development, management and delivery of content across all mediums. With more than 93,000 Attendees from 156 countries and 1,550+ Exhibitors, NAB Show is the ultimate marketplace for digital media and entertainment.
Visit them at www.nabshow.com
Press Release Date: 28 February 2014, Madrid, Spain
Mistika to be used on new Feature Film Torrente 5
Madrid, Spain, 20th January 2014 – One of Spain’s most prominent and established post production companies, Free Your Mind, has invested in another Mistika DI and Finishing 2K System. The purchase of a second Mistika system indicates their move to further reinforce the company’s current infrastructure to maximise on commercial and film production strengths. Equally at home at Free Your Mind making short-form commercials or long-form series, Mistika provides the most complete and extensive range of features that their skilled creatives need and enjoy making the most of. The Mistika systems are already an asset and help free-up creative time for compositors, colourists and digital artists.
Senior Partner at Free Your Mind Eduardo Jiménez states, “This second investment in Mistika reflects our ardent belief in SGO’s advanced award-winning technology and reveals how serious we are about its capabilities. Mistika truly is the best option for us as we continue to grow and we are proud to own a second system. We are impressed with how Mistika combines a familiar timeline-based editing and layering workspace seamlessly with colour grading and compositing tools that have been utilised on some of Spain’s most high-profile productions as well as the world’s biggest international blockbusters of our time. We are eager to expand Free Your Mind, and with another Mistika at the forefront of our service offerings, we look forward to a productive and successful future ahead.”
José Luis Acha, SGO’s Regional Sales Manager comments, “This is a very exciting time for Free Your Mind as they recognise that Mistika is the perfect system for them in a competitive sector and a vital component to help accelerate their growth strategy. With Mistika’s world-leading technology and advanced toolsets at their finger tips, they are sending out a clear message that they are a company that thinks ahead. SGO is proud to continue the warm relationship with Free Your Mind and supports them in all their creative and commercial decisions now, and in the future.”
Mistika’s unique capabilities include stunning colour grading toolsets, optical flow, RAW format and codec support, real-time performance, openness, speed, DCP creation, High Resolutions (UHD), unrivalled Stereo 3D and the ability to serve as a central hub for complex workflows.
Free Your Mind is associated with big brand name commercials, many of which have been directed by Alex de la Iglesia using Mistika, namely Vodafone Yu – Hugo Silva for sale, National Lottery, Gillette, Burger King, Verti, PlayStation Vita and many others. Feature films post produced using Mistika at Free Your Mind include Combustion directed by Daniel Carlparsoro for Zeta Audiovisual and Tres60 directed by Alex Ezkurdia for Bowfinger International. Other Spanish films using Mistika include La isla mínima and A night in old México.
About Free Your Mind
Free Your Mind is a motion graphics and post production house with 10 years of substantial experience behind them. The company has post produced over a dozen released films, along with several stunning commercials productions. The facility consists of many suites that offer services that cater for the entire post production process, from editing, compositing, colour grading through to sound and deliveries. The powerful new Mistika suites at Free Your Mind are available for real-time customer-attended sessions allowing for immediate professional client interaction.
WorleyWorks, LLC. is ahead of the Game Investing in New York’s very first Mistika
Already Hard at Work in a City that Never Sleeps
Brooklyn, New York, 7 January 2014 – WorleyWorks, LLC., a dynamic 2D/3D post stereoscopic production and motion capture studio has become the first East Coast company to invest in a Mistika 4K Post Production Solution from SGO’s official North American reseller partner AArmadillo. The Mistika system will be integrated into the facility providing world-class 2D and stereoscopic 3D grading, finishing and delivery. Founded by Greg and Minah Worley, WorleyWorks, LLC. provides a host of boutique services in 2D and High Frame Rate Stereo 3D production, 4K post production including DI colour grading and compositing, high-speed lighting, green screen (Composite Component’s Digital Green), and motion capture for high-profile clients that include Paramount, MTV, Viacom and many more.
“We chose Mistika because it is the most intuitive system in the industry and forms the next step-up in our expansion by enabling us to support and reinforce complex 3D 4K productions as well as exciting 2D post projects. SGO attracted our attention as a company rapidly innovating and changing their field which appealed to us, as well as their high level of support on offer. Having a Mistika on board certainly helps to validate our offerings as it is such a well-respected and powerful system,” says Greg Worley Co-Founder and CEO of WorleyWorks, LLC. Expanding further he adds “We started by building stereoscopic 3D systems utilising Stereolab’s PURE Stereo 3D analyser with live analysis and rig correction, enabling the use of zoom lenses and fast initial alignment after changing prime lenses. This was then followed by the addition of matched Cooke primes, global shutter f55s, and Aladin MK2 motorisation on Stereotec Light Weight rigs. Although, WorleyWorks, LLC.’s speciality is 3D we also deliver a wonderful 2D post experience which Mistika’s versatility will also fully support and enhance tremendously well. So, we are absolutely thrilled to now have Mistika’s award-winning technology to join the ranks at WorleyWorks, LLC.”
AArmadillo’s CEO, Colin Ritchie, who is also an associate member of the ASC, and an active member of the VFX Society says “It’s great to place the “first one” of anything, – and placing the first East Coast Mistika at WorleyWorks, LLC. in Brooklyn NY is especially exciting! Greg is a true visionary and the perfect client for us in NY, expanding his client services with a 4K 2D/3D Mistika will give him tremendous advantages over the traditional NY post house.”
SGO’s Director of Global Sales and Operations, Geoff Mills confirms “SGO received further recognition last year by winning the prestigious Lumière Award for its Mistika finishing and colour grading system, and for advancements in Stereo 3D and Ultra HD technology, and specifically, due to its impact and innovation in the market. This is testament to the fact that Mistika’s advanced toolsets in both 2D and S3D, are of the highest standard, and are setting new performance and flexibility benchmarks in the entertainment industry today. They play an integral role in professional facilities of WorleyWorks, LLC.’s calibre and in their growth and ongoing expansion. We are absolutely delighted to welcome WorleyWorks, LLC. as an important member of the growing SGO Mistika community and look forward to a long-standing relationship with them.”
Recent high-profile projects using Mistika include The Hobbit: The Desolation of Smaug, Justin and the Knights of Valour, Star Trek into Darkness, The Great Gatsby, Stalingrad and many others in 2D and 3D for film and television.
About WorleyWorks, LLC.
With a passion to share their expertise and help their clients achieve their dreams, WorleyWorks, LLC.’s stereo department offers a vertically integrated 2D and High Frame Rate Stereoscopic 3D experience with the highest quality 3D production equipment available on the market today with award-winning 3D Mirror Rigs by Stereotec, real-time 3D analyzer PURE by StereoLabs, high-speed specialized lighting rentals appropriate for their camera systems and high-end post production services using SGO’s Mistika. Their motion capture stage is based on a 24 camera PhaseSpace system providing real time pre-visualization and high quality robust marker tracking. Visit them at www.worleyworks.com
Contact: firstname.lastname@example.org or call (646) 797-2941.
“I was impressed with how the Spanish Mistika technology which we have embraced at KANDOR Graphics enhanced Justin and the Knights of Valour in Stereo 3D. It is great to see passionate companies like SGO contribute to innovation in our industry in such a significant way.”
Manuel Sicilia, Company Partner & Chief Creative Officer of KANDOR Graphics & Director & Author of Justin and the Knights of Valour