23 – 26 March 2015 – Digital Magic Booth 1A-B13
Hong Kong Animation & Digital Entertainment Pavilion, Hong Kong Convention and Exhibition Centre (HKCEC) – Hall 1, Hong Kong Convention & Exhibition Centre, 1 Harbour Road, Wan Chai.
SGO, with partners Digital Magic and Altec, will be featuring Mistika’s latest innovative capabilities at FILMART from 23 – 26 March at Digital Magic’s Booth 1A – B13 at the Hong Kong Convention and Exhibition Centre. A state of the art Mistika post production system will be on display featuring the Precision Panel in all its glory.
FILMART (Hong Kong International Film and Television Market) is an annual film festival and part of Asia’s largest entertainment industry gathering at Hong Kong’s Entertainment Expo. Organised by the Hong Kong Trade Development Council, the event is the regional hub for distribution and production of film, TV programs and entertainment-related products in the Asia-Pacific area. A line-up of various multimedia events covering film, television, digital entertainment and music, is set to attract a record number of exhibitors from all over the world at this 19th edition of the show.
Designed to promote cross-media and business partnerships, the expo’s theme this year is based around “Get into the Scene”. The three founding events of the expo include FILMART, the Hong Kong International Film Festival (HKIFF) and the Hong Kong Film Awards (HKFA). There are also other core events such as the Hong Kong–Asia Film Financing Forum (HAF), the Hong Kong Asian-Pop Music Festival (HKAMF), the IFPI Hong Kong Top Sales Music Award, ifva (Incubator for Film & Visual Media in Asia Festival), the Asian VFX and Digital Cinema Summit, the Digital Entertainment Summit as well as the affiliated event TV World International Forum.
This year’s FILMART will welcome over nearly 700 exhibitors from around thirty countries and regions which include Indonesia, Malaysia, the Philippines, Singapore, Taiwan, Thailand, Vietnam, Israel and Mexico. Exhibitor pavilions from Canada, France, Italy, the UK; KOFIC and KOCCA from Korea; UNIJAPAN, Okinawa Film Office, Hokkaido Contents Distribution and JETRO from Japan; the Independent Film and TV Alliance from the United States; and China Film Promotion Inc from the Chinese mainland will also be present.
Book your Mistika demo at FILMART by contacting firstname.lastname@example.org, email@example.com or firstname.lastname@example.org
For further information about FILMART, visit www.hktdc.com/hkfilmart
For The Hong Kong Entertainment Expo Video, view http://youtu.be/9vWi8rsxgPQ
For The Entertainment Expo Hong Kong, visit www.eexpohk.com
Altec International Ltd. was established in 1996 and specialises in providing and integrating the latest technology with advanced software solutions, professional equipment and related peripherals to the broadcast video and film production industry. Their main office is located in Hong Kong with branches in Guangzhou, Shanghai and Beijing. Visit them at www.altec.com.hk
About the HKTDC
A statutory body established in 1966, the Hong Kong Trade Development Council (HKTDC) is the international marketing arm for Hong Kong-based traders, manufacturers and service providers. With more than 40 global offices, including 13 on the Chinese mainland, the HKTDC promotes Hong Kong as a platform for doing business with China and throughout Asia. The HKTDC also organises trade fairs and business missions to provide companies, particularly SMEs, with business opportunities on the mainland and in overseas markets, while providing information via trade publications, research reports and media room. Visit them at www.hktdc.com.
Post produced entirely using SGO’s Mistika, suspense thriller Marshland (La Isla Mínima) is Spain’s film of the year, nominated for seventeen Goya Awards. Best Special Effects nominee for his role as colorist and digital effects supervisor, Juan Ventura Pecellín remarked, “Mistika’s impressive capabilities helped us to achieve a 100% realistic look which was nothing less than spectacular.”
Mistika played an integral part throughout the whole filmmaking process of Marshland from pre-production, image-testing, LUTs inspection, ISO, densities through to complete post. Mistika’s technology enabled the team to work at resolutions of 4K, up to 7K of complex aerial scenes for pre-visualisation and colour grading, coupled with intense car chase sequences that involved intricate light elements. More information here.
The 17 Goya Award nomination categories for Marshland include the Best – Film, Director (Alberto Rodríguez), Special Effects (Pedro Moreno and Juan Ventura), Cinematography (Álex Catalán), Editing (José M.G. Moyano), Art Direction (Pepe Domínguez), Production Supervision (Manuela Ocón), Original Screenplay, Sound, Original Score, Actors (Javier Gutiérrez and Raúl Aréval), Supporting Actors and Actresses (Antonio de la Torre and Mercedes León), New Actress (Nerea Barros), Costume Design and Make up and Hairstyles. In addition, the film has received several accolades including recognition as the Best Film in the Official Section at the San Sebastian International Film Festival, as well as the Silver Concha Award for Best Photography.
The 29th Goya Awards ceremony, will be hosted by actor-comedian Dani Rovira, and is scheduled to take place on 7th February 2015 at the “Centro de Convenciones y Congresos Príncipe Felipe” in Madrid to honour the world’s top Spanish films of 2014. Visit the Goya Awards website at www.premiosgoya.academiadecine.com/home/?&idioma=EN.
FILM CREDITS INCLUDE
Studios: Atípica Films // Sacromonte Films // AtresMedia Cine
Actors: Raúl Arévalo, Javier Gutiérrez, Antonio de la Torre, Nerea Barros, Salva Reina, Jesús Castro, Manolo Solo, Jesús Carroza and Juan Carlos Villanueva
Director: Alberto Rodríguez
Writer: Rafael Cobos and Alberto Rodríguez
Script: Rafael Cobos and Alberto Rodríguez
Executive Producer: José Antonio Félez
Colourist and Digital Effects Supervisor: Juan Ventura Pecellín
“Mistika was the perfect grading and finishing tool for this movie.”
Antonio Zhang, Mistika Colorist, PO Group, China
PO Group graded and finished American Dreams in China on Mistika. Produced and directed by Hong Kong’s Peter Chan, the Mandarin-language film brought in US$87.6 million at the box office.
PO Group purchased from SGO, a Mistika 4K Colour Grading and Finishing System, a Mistika Assist Station and an SGO SAN to support their Stereo 3D and high end Colour Grading services for film and commercials projects a few years ago. Founded in 2003 by famous entrepreneur and actor, Nicholas Tse, PO Group is the largest post production house in Hong Kong, which grosses over one billion Hong Kong dollars annually, with branches in Shanghai, Hong Kong and Beijing.
American Dreams in China is Peter Chan’s first digital camera shoot where he filmed the entire movie using ARRI Alexa and recorded it on Codex. His strong affection for the filmic look set the tone and brief for PO Group’s colorist Antonio Zhang to work with, selecting Mistika for the grading and finishing of the entire movie.
Antonio Zhang, Mistika Colorist at PO Group, explains the colour grading process, “I chose the ARRI Log C as the default debayer and applied a FPE (Film Print Emulation) 3D LUT on top of all of the shots to mimic the “filmic look” that Peter Chan was after. Also, my aim was to preserve the highlighted elements and enhance them further by revealing even greater details where possible.”
The film is based on a true story about three friends who graduated from Peking University and go on to build a successful English language school in China called “New Dreams”. This school helps to make the dreams of Chinese teenagers come true. As the film covers a time-span of over 3o years which involved various scenes flicking backwards and forwards into the present and past, the PO Group team combated this challenge by setting the looks for each time period. The first part covers the time the three friends study in Peking university and the second focuses on them building the language school, followed by their success in the stock market.
Antonio outlines how he achieved the various looks and tones for each decade in the film, “For the first look, we tried to make the colours more vivid to depict university life and the passion for the characters’ start-up days. We used an old 1980’s Chinese magazine as a reference and made the grade look really old but colourful.” He adds further, “The second look had to be really cool, professional and business-like, and due to the fact the characters had a lot of arguments, the cool tone helps to portray that antagonistic atmosphere effectively.”
While the 4K Mistika system forms PO Group in Beijing’s principal system, the Mistika assistant station is a fully capable file-based Mistika system in its own right, which allows the studio to increase efficiency and throughput, by having an assistant to the main colorist to prepare projects in advance, or to work alongside to ensure the smooth running of even the most complex projects. The SGO SAN not only allows the two Mistika’s to share project assets, but also allows the media sharing to extend to all other technical facilities at PO. Projects of various formats occupy the facility’s pipeline from 2K to 4K, and S3D to higher frame rates. With the SGO Mistika and SGO SAN, PO Group have built a very efficient pipeline.
“Mistika was the perfect grading and finishing tool for this movie.” Antonio expands, “It has a strong editing function, and we were also able to achieve both the conform and grading in Mistika. This really created a smooth and effective workflow, as I could grade from the original ARRI RAW Raw file and easily change the debayer for individual shots which was so convenient.” He concludes, “Flexibility is really important to us here at PO Group, especially as we face a lot of different digital camera formats, however Mistika’s compatibility with various camera formats is a great advantage and provides an excellent high-end service for us throughout the entire post production process.”
General Manager of PO Group in Beijing, K.C. Yeung states, “Mistika forms the core of our DI suites and its speed and performance is phenomenal. The comprehensive toolset allows for tasks to be completed in one suite which provides an interactive and immediate environment in real-time for client-facing work.”
CEO of SGO, Miguel Angel Doncel affirms, “PO Group is one of China’s major post production companies and SGO is proud to be associated with them and continues to support the company in meeting the growing and complex demands that feature film productions involve. PO Group have raised the bar for what clients should expect in terms of quality, speed and efficiency.”
American Dreams in China features Huang Xiaoming, Deng Chao, and Tong Dawei, and was shown at the 2013 Toronto International Film Festival. Find out more about the film here.
ABOUT PO 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
Top Chinese Colorist Szu-Yi CHU Embraces Mistika.
Cornucopia Film Co. Ltd has invested in a Mistika 4K finishing and colour grading system to deliver high-end post production services to its clients. It is the first post house to host a Mistika system in Shenzhen, and is one of China’s new creative companies offering excellence in editing, CG/VFX production, colour grading and DI services for feature film projects.
One of China’s top colorists, Szu-Yi CHU, who is also the Managing Director and Chief Colorist at Cornucopia Films, has enthusiastically adopted Mistika and believes in its remarkable capabilities. He states, “SGO’s Mistika was a natural choice when looking ahead to a 4K future at Cornucopia Films, and I have to say, I am a real fan of this technology. After thoroughly researching the market, Mistika is the most comprehensive and open system in the industry, and is ideal for us to build an efficient workflow around. We will primarily put our Mistika to work on high-end colour grading and compositing for film and broadcast productions.”
Expanding further he adds, “I joined Cornucopia Films at the beginning of this year, and invited a team from Taiwan over, to build a movie DI platform purely from scratch. Although we had to be cautious with every step, as selecting the right kit is a vital decision. Colour grading equipment is the most important priority to me, and to everyone’s surprise, I chose a system that nobody in our team was yet familiar with – the Mistika.” Szu-Yi CHU continues, “As we were starting from the beginning anyway, my position was that we may as well take advantage of the opportunity and choose the very best that the market has to offer, which is Mistika. I feel that investing in SGO’s intuitive Mistika technology gives us an edge and an opportunity to offer a unique service to our clients. It was worthwhile taking the time to master it and I believed that it deserved our time. I told my team that we need to be visionaries, and not conservative about trying something else which is not only new, but also much better at everything.”
Szu-Yi CHU first came across Mistika two years ago, and it was a couple of years later that he discovered its infinite potential during a dynamic training session with DI Supervisor and Colorist David Rivero. “All my requests about colour grading in Mistika were realistically achievable, via a combination of different methods and the use of advanced tools that realize effects that colorists desire. Later I was given access to try the Mistika with David’s assistance. After using it for several weeks, I got to know Mistika competently, and became extremely interested in it. It’s that attractive! I was won over!”
He points out, “I do think it is important that SGO encourages users to learn all the functions within Mistika though. A colorist just learning colour grading and a compositor only learning compositing, is a restrictive approach – the key to success with Mistika is the proficiency of the combination of both skills that are available within the system. Color grading in the future won’t simply just involve color grading anymore, and that’s why I keep telling my team “to think outside of the box” which Mistika allows for.”
Szu-Yi CHU entered the field of colour grading in 1987, mastering all of the industry’s main grading brands throughout his years of experience as a colorist. He remarks, “All those systems I became familiar with over the years in my career are very similar, with little difference between their functions and toolsets – until I discovered Mistika, which is truly outstanding and unique, it stands out from the rest.” He has worked on a plethora of notable films and projects such as Back to 1942 (“一九四二”), Seediq Bale: The Rainbow Warriors (“赛德克•巴莱”), The Flowers of War ( “金陵十三钗”) starring Christian Bale, Coming Home (“归来”), Assassins (“铜雀台”), Amazing (“神奇”), amongst many others.
SGO’s CEO Miguel Angel Doncel, who met the team in Schenzhen, confirms, “Cornucopia Films is a vibrant and forward thinking company, and we are delighted that they have made this key investment in Mistika, after initial research and testing. The creative team will truly benefit from Mistika’s range of toolsets. The fact that Mistika merges all of the post production disciplines for broadcast and film such as editing, compositing, finishing, grading, into one complete powerful system is appealing, and that it can be used for any project, irrespective of size. We warmly embrace Cornucopia Films into the Mistika community and look forward to a long term relationship with them.”
AVI Studio, an established post production house which has served the high-end commercials market for nearly 20 years, has recently upgraded its AVID DS suite to a state-of-the-art Mistika colour grading and finishing system from SGO.
Furnishing high-profile clients such as Istropolitana Ogilvy, Mayer/McCann-Erickson, MUW SAATCHI & SAATCHI, VCCP, Creo/Young and Rubicam, as well as Wiktor Leo Burnett, and many others, it was imperative that AVI Studio selected a system they believed in with toolsets that not only impress, but also deliver the goods under a high-pressured client-attended environment.
AVI Studio originally chose Mistika when they realised Avid was discontinuing the DS range, which they had used for the last 15 years. “We started our research to find an appropriate solution to replace our existing system, and found that Mistika is the ideal solution to meet all our needs with its speed and functionality. We met the SGO guys at NAB last year, where we made the final decision to invest in SGO’s technology.” remarks AVI Studio’s Production Manager Daniela Zipajova.
“Another reason for selecting Mistika was the level of support SGO offers and we were also impressed with their consistent pace of development. It is an advantage to have such a well-respected and powerful system on board. It boosts confidence and provides our creative team with artistic freedom, with the knowledge and reassurance that our clients will benefit from Mistika’s real-time speed and versatility.” Daniela adds further, ”And we hope that we will be a step ahead of our competitors with Mistika, which significantly strengthens our service offerings.”
“AVI Studio is one of the largest facilities in Slovakia and is well-known for its its high-end commercial, television documentaries and music promos which they have put Mistika to work on straight away. The recent addition of Mistika has enabled the company to reinforce its position as a leading high-end finishing house, and we are thrilled to welcome them into the growing SGO group of global creative artists.” states Jose Luis Acha, Regional Sales Manager at SGO.
Some of the recent commercials projects completed in Mistika at AVI Studio include the O2 Telefonica Christmas campaign, the Hyundai Autumn campaign, Telekom HW TV spots and projects for Dovera / Health Insurance and Pilsner Urquell.
ABOUT AVI STUDIO
Founded in 1996, AVI Studio has evolved into a high-end facility that offers a broad range of post services. Covering predominantly short-form genres, such as commercials, music videos, promos and trailers, they are also fully equipped to work on long-form projects including feature films. Besides professional offline and online editing, AVI Studio also provide advanced compositing and 3D graphics in order to provide endless options for digital imaging and special effects. In addition, their production services and excellent creative team along with their advanced technology, results in the delivery of award-winning spots. For more information, please visit www.avistudio.sk
Mistika’s Comprehensive Visual Creation Suite and Precision Panels on Display in Japan
“Versatility, power and technological innovation all in one system – everything went like clockwork from start to finish with Mistika.” Juan Ventura Pecellín, Colourist and Digital Effects Supervisor.
La Isla Mínima (Marshlands), one of 2014’s best Spanish-language and visually active thrillers, was post produced entirely in Mistika. Directed by Alberto Rodríguez, also responsible for Unit 7, the film has received several accolades at the San Sebastian International Film Festival where it has been recognised as the Best Film in the Official Section, already viewed by over 500,000 people.
Boasting the Silver Concha Award for Best Photography which went to Alex Catalán, it was filmed using the ARRI Alexa, with RAW footage post produced in 3K using Mistika. Juan Ventura Pecellín, Colourist and Digital Effects Supervisor confirms, “We used SGO’s Mistika technology throughout the various processes, ranging from pre-production, image-testing, LUTs inspection, ISO, densities and so forth.” He continues, “Once this process had been completed, all of the data prepared at the Mistika suite was then used during the following two months of shooting.”
“Versatility, power and technological innovation all in one system – everything went like clockwork from start to finish with Mistika.” Juan Ventura adds further, “Mistika enabled us to work at resolutions of 4K, right up to 7K of complex aerial scenes for pre-visualization and grading, including chase sequences, which involved intricate light elements that were worked on in post. Mistika’s impressive capabilities helped us to achieve a 100% realistic look which was nothing less than spectacular.”
From the digital effects perspective, Juan notes, “Mistika has been a key tool that I would personally recommend to any digital effects workflow supervisor.” He concludes, “Mistika is crucial when it comes to visualisations, as well as creating effects and is a vital asset in the pre-grading phase. It speeds up the workflow considerably, increasing productivity, thanks to the tools and advanced technology implemented in every software version.”
La Isla Minima depicts two policemen from Madrid sent to Seville to investigate the disappearance of two girls at Guadalquivirs salt marshes, the action sets pace where they uncover unsavoury evidence.
Some of the Credits include:
Studios: Atípica Films // Sacromonte Films // AtresMedia Cine
Actors: Raúl Arévalo, Javier Gutiérrez, Antonio de la Torre, Nerea Barros, Salva Reina, Jesús Castro, Manolo Solo, Jesús Carroza y Juan Carlos Villanueva
Director: Alberto Rodríguez
Writer: Rafael Cobos y Alberto Rodríguez
Script: Rafael Cobos and Alberto Rodríguez
Executive Producer: José Antonio Félez
Colourist and Digital Effects Supervisor: Juan Ventura Pecellín
Images: Courtesy of Atípica Films and Warner Bros
Significant New Mistika Advancements Enhance Production Workflows in Real Time
Following a successful and ongoing co-development partnership with leading Hollywood stereo VFX company Legend3D, SGO is proud to announce that Mistika is now fully integrated within Legend’s unrivaled “2D to 3D” conversion process and digital asset management system.
This co-development resulted in a new “Depth Grade” node in Mistika, which accepts and utilizes data created by Legend3D’s market-leading conversion process to interactively design the depth of a given scene in real-time. As the conversion data is passed through the Mistika, each 3D scene can be flawlessly fine-tuned, using Mistika’s already proven and highly-advanced stereo optimization features in conjunction with the “Depth Grade” node, eliminating unnecessary artist iterations. From designing a director’s 3D story at the beginning of a feature, to approving large volumes of shots that require an accelerated conversion time frame towards the end, the “Depth Grade” node will completely redefine the creative and schedule implications for 3D VFX and Conversion work.
Jared Sandrew, Legend3D’s Chief Creative Officer states, “It is an incredible experience to collaborate with innovative Directors that care about how their story is told in 3D. With our depth grading process, we are able to dial in the stereo with a Filmmaker in the room in real-time resulting in 100% depth approval upon first viewing. This allows us to interactively show multiple versions of a 3D experience in continuity with the filmmaker.”
“This is a real game-changer for the 2D to 3D conversion industry and provides Legend3D with a huge competitive advantage so that they can offer something unique to their clients.” Geoff Mills, Director of SGO’s Global Sales and Operations confirms. “This new capability of allowing converted material to be creatively and interactively manipulated in front of the director or stereographer in real time, to achieve the desired creative depth for a given scene, significantly speeds up the entire conversion process. This is an exciting time for both of our companies and we have more announcements to follow.”
SGO’s CEO Miguel Angel Doncel adds, “SGO has earned the reputation as the dominant Stereo 3D force, and it is very rewarding to see Mistika integrated into Legend3D’s unique conversion pipeline with customized configurations. We enjoy a close and special relationship with the team at Legend3D and look forward to working together on more exciting developments in the future.”
Delivering the very best of 3D filmmaking to the market, Legend3D delivers world-class high quality projects such as Transformers: Age of Extinction, The Amazing Spider-Man 2, The Lego Movie, Man of Steel, Life of Pi as well as six additional theatrical releases in the upcoming 2014 and 2015 seasons.
California-based Legend3D, Inc. is an innovative 3D visual effects and conversion company committed to advancing the 3D medium globally. Legend3D leverages the most sought-after 3D talent with cutting-edge technology and works closely with the creative community to elevate the art of 3D on new feature films while also identifying opportunities to generate new revenue from iconic library titles, broadcast television and commercials. Legend3D utilizes its patented proprietary technology to create the highest quality conversions with the fastest turnaround time at the most competitive pricing in the industry. For more information, please visit www.Legend3D.com
Mistika’s Brand Grows in Strength in New French Venture
SGO expands its European horizons further with the launch of a new office in France which will open its doors next month to serve a thriving creative community. Sergio Ochoa, credited with over 25-years as colourist and post production veteran, has been appointed by SGO to head the new Parisian-based subsidiary. With premises based in central Paris, SGO France will host Mistika colour grading and finishing services and support.
“Strategically, it is of great importance for SGO to have a world-class location in France,” says Miguel Angel Doncel, CEO of SGO. “The new office will benefit our regional customers, and further extend SGO’s global philosophy to provide outstanding customer service. Sergio is an asset to SGO and his experience is an immense advantage, he is the perfect person to head this division.”
Sergio Ochoa, Director of SGO France confirms, “I have known SGO for many years, as a Mistika customer from some of the world’s top post facilities while working on well-known commercials and feature films. Opening “SGO France” is a very exciting development and I regard it as a privilege to be entrusted to manage it. I am very familiar with the French market which has been embracing Mistika for a while now, and the timing is right to set-up a permanent SGO presence in the region. With numerous key studios and post companies from abroad also basing their services in Paris, it is a great opportunity to be established here at such a vibrant and important time in the industry.”
Many leading French post companies have already invested in Mistika to provide creative solutions for film and broadcast productions. Level S3D used Mistika to post produce the Oscar-winning Mr Hublot, whereas cutting-edge visual effects house Digitaline, with Mistika at the helm, works on commercials for major brands such as M&M, Citroen, Playstation, Pepsi, as well as feature films. Furthermore, Mistika was selected at Paris’ Digimage for the entire post production of The Young and Prodigious T.S. Spivet, directed by Jean-Pierre Jeunet. In addition, Digimage also chose Mistika for the French-language feature film Asterix & Obelix: On Her Majesty’s Service with Sergio credited as Stereoscopic Post Production Supervisor on the project.