Cathedrals of Culture aspires to great new heights with the Mistika finishing treatment


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.

Opera House – Oslo - Cathedrals of Culture, Courtesy of Neue Road Movies via ARRI Mitte, Copyright Oystein Mamen 2013

Opera House – Oslo – Cathedrals of Culture, Courtesy of Neue Road Movies via ARRI Mitte, Copyright Oystein Mamen 2013


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.”

Online Editor Christian Tröger at Berlin's ARRI Mitte selected Mistika

Online Editor Christian Tröger at Berlin’s ARRI Mitte selected Mistika

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.”

Halden Prison – Norway - Cathedrals of Culture, Courtesy of Neue Road Movies via ARRI Mitte, Copyright Heikki Farm 2013

Halden Prison – Norway – Cathedrals of Culture, Courtesy of Neue Road Movies via ARRI Mitte, Copyright Heikki Farm 2013


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.”

Centre Pompidou, Paris - Cathedrals of Culture, Courtesy of Neue Road Movies via ARRI Mitte, Copyright Ali Olkay Gazkaya 2013

Centre Pompidou, Paris – Cathedrals of Culture, Courtesy of Neue Road Movies via ARRI Mitte, Copyright Ali Olcay Gozkaya 2013


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.”

National Library - St. Petersburg, Russia - Cathedrals of Culture, Courtesy of Neue Road Movies via ARRI Mitte, Copyright Wolfgang Thaler 2013

National Library – St. Petersburg, Russia – Cathedrals of Culture, Courtesy of Neue Road Movies via ARRI Mitte, Copyright Wolfgang Thaler 2013


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.

Salk Institute – La Jolla, California - Cathedrals of Culture, Courtesy of Neue Road Movies via ARRI Mitte, Copyright Alex Falk 2013

Salk Institute – La Jolla, California – Cathedrals of Culture, Courtesy of Neue Road Movies via ARRI Mitte, Copyright Alex Falk 2013


CREDITS
Wim Wenders: Berliner Philharmonie – Berlin, Deutschland (DOP Christian Rein)
Michael Glawogger: Russische Nationalbibliothek – Sankt Petersburg, Russland (DOP Wolfgang
Thaler)
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

Mistika empowers Montréal’s Studio Post Kopic


“In fact, Montréal is the R&D capital of Canada and now Montréal is Mistika! We see Mistika as the key that opens doors to new opportunities…”
Alain Baril, CEO and editor, Studio Post Kopic, Montréal, Quebec, Canada

Alain Baril, CEO and editor, Studio Post Kopic, Montréal, Quebec, Canada

Alain Baril, CEO and editor, Studio Post Kopic, Montréal, Quebec, Canada

Montréal, Quebec, Canada, 17th December 2013Studio Post Kopic has significantly expanded its service offerings with the purchase of a Mistika DI Post Production System from SGO. The boutique studio specialises in the creation of 2D and stereoscopic 3D content and is based in the thriving film industry city of Montréal in Quebec. Headed by groundbreaking veteran editor Alain Baril and digital artist Nicolas Fournier, the move to progress further with a game-changing investment with Mistika at the helm, reflects the constant desire the company has to push the envelope and offer alternative innovative and creative ways for post production finishing for film and broadcast.

Experienced editor with over 25 years of experience behind him, Alain has worked with the cream of the crop which includes editing feature-length films by award-winning directors, as well as working on numerous big brand commercials, TV series, documentaries and shorts. Recently, Alain has also taken a step behind the stereo cameras for a different perspective. His undivided attention and devotion in the editing suite equipped him with first-hand, frame-by-frame exposure to a vast array of styles and techniques, making him an expert consultant for clients wanting to create powerful and persuasive images, with compelling personality and a commanding presence.

CEO and Editor, Alain Baril states “We made the decision to include the world-class Mistika technology to serve our creative clients with a reliable, flexible high-end state-of-the-art post solution. As a widely-recognised and award-winning powerful post production system, we are delighted to be the first company in Montréal to own world-leading SGO creative innovation.” Alain adds “We see Mistika as the key that opens doors to new opportunities and exciting high-profile projects. Mistika has effectively influenced and enhanced our current business model to enable us to become even more competitive with budget spend allocated on the screen and not on the overheads, which makes a significant difference to our profit margins.”

Based in a strategic location that is only a six-hour flight from London, five from Los Angeles and a mere hour from New York City, Montréal is the cultural capital of Canada and the heart of the film industry making creativity its trademark. Always open to the world, the cosmopolitan city has become a hub of fashion, aerospace, life sciences and information and communication technologies, digital creation and film. Alain Baril adds enthusiastically “In fact, Montréal is the R&D capital of Canada and now Montréal is Mistika!

Alain confirms, “In the current economic climate, larger post facilities are having to restructure themselves in order to survive and producers are no longer interested in a “hypermarket” style service. As a “boutique” post facility, the timing is perfect for us to move forward with Mistika in order to offer cutting-edge innovation, technologies and methods that provide that personal service that clients relish.”

Jose Luis Acha, Regional Sales Manager at SGO states “SGO warmly welcomes Alain and his talented team at Studio Post Kopic to the international family of Mistika users. This is a very exciting step for the company which has already has a great reputation in Montréal. I am delighted they have chosen Mistika as their finishing system of choice for the future; it’s a clear leader in the market and will keep them one step ahead of the game in a highly competitive arena.”

Studio Post Kopic has worked on many interesting and varied projects. Current projects include enthralling film Stealing Alice directed and produced by internationally renown artist Marc Séguin. OutSideIn, is another short Stereo 3D film directed and produced by Newfoundland filmmaker Anne Troake about an up, close and personal look at the dancing human body in natural environments, using S3D micro-rigs. With Sherbrooke University, Studio Post Kopic have also developed a stereoscopic 3D robot to capture RAW 2K DPX files. Blended with Mistika, a full package will be available early next year in order to produce high quality Stereo 3D content which will also be available for the benefit of the world-wide Mistika community.

SGO’s official Canadian reseller partner 3vis is also based in Montréal, visit them at www.3vis.com

ABOUT STUDIO POST KOPIC
SPK is a boutique post facility based in Montréal, dedicated to the creation of 2D and stereoscopic 3D content. 1207 St-André, Montréal, Qc, Canada, H2L 3S8, 514.835.4529
Visit them at http://www.studiopost-kopic.com/

Berlin’s ARRI Mitte Invests in a Mistika 4K DI System to service Feature Film and High-End Commercial Projects


ARRI also chose Mistika to Finish Engaging 4K Feature Film “Run Boy Run”

Berlin, Germany, 18 October 2013 – Strategically placed in the centre of the trendy Mitte area of Berlin, brand new post production house ARRI Mitte has emerged and has invested in a Mistika 4K DI post production system from SGO’s German Reseller creative tools, to service its high-end commercial and feature film projects. ARRI Mitte is the second facility related to the established parent company ARRI Film and TV Services Berlin GmbH and works on feature films by leading directors and with blue-chip clients for big brand names for ad campaigns for the likes of McDonald’s, VW, Nikon, Fiat, Mobile.de, SKY, Danone Activia, Vodafone, Schweppes, BMW, Toshiba, Goretex, Sony Ericsson, Lipton Ice Tea and many others.

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