Sky’s Major Mistika Upgrades Provide Impetus for their Grading and Finishing 4K Capabilities


Sky Continues to Revolutionise its High-End Programming with Mistika

13 September 2014, IBC, The RAI, Amsterdam – SGO Booth A11, Hall 6 – Sky has made significant upgrades and enhancements to its state-of-the-art dedicated 4k-capable Mistika client suites to boost its colour grading and finishing services.
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Mistika, which has already been placed at the heart of Sky’s creative pipeline, plays a vital role to meet quality and time-sensitive stringent requirements. At the centre of Sky’s high-end programming, the powered-up Mistika systems boast increased speed storage capacity, based around SGO’s SAN.

Following the upgrade, Sky now has additional capacity to host multiple client platforms from their Mistika systems which have their own localised storage for real time 4K playback, but also integrate directly with their large near-line storage infrastructure, supported by several render nodes that work in the background, for maximum efficiency and delivery.

Cara Cheeseman, Senior Manager of Operations for Entertainment, Creative & R&D comments: “With an already well-established and long-standing alliance with SGO, and the fact that they have been very much involved in the future of broadcasting right from the start, it makes sense for us to continue with significant investment in their technology.”

“With the newly built designated client area, we have consolidated and upgraded our systems, which also include the addition of 4K grading monitors from Canon. Our Mistika systems serve as our client-focused colour grading and finishing suites. Mistika’s open integration, compatibility with other systems and its flexibility, facilitates the process enormously.”adds Cara Cheeseman.

Chris Johns, Chief Engineer at BSkyB confirms, “Mistika is such a well-respected and powerful solution and it lets clients know we are serious about our work. It forms the core of all our workflows and continues to impress us with its speed, real-time immediacy, highly developed functionality and much more. The Mistika continues to play a part in the innovation by which that Sky strives to deliver ongoing improvements to the customer experience.”

“SGO is hugely excited to be associated with Sky and delighted that they have continued to entrust Mistika for their post and finishing requirements. Our relationship with Sky remains loyal and strong, and is immensely important to us. This vital move to upgrade SGO’s technology, provides Sky with a future-proof seal and plays a major role to further revolutionise and advance their excellency in speed and efficiency for audiences worldwide.” says SGO’s Director of Global Sales & Operations, Geoff Mills. “SGO is at the leading edge of creative technology and we cherish our relationship with Sky for many years to come.”

Mistika played a significant role in the launch of Sky 3D television and is used to complete numerous long and short form programmes. With many awards including BAFTAs to their name, Sky has recently worked on an impressive number of high profile projects using Mistika which include Inside the Mind of Leonardo.

Mistika used in BAFTA-winning “David Attenborough’s Natural History Museum Alive 3D” 4K film


Sir David Attenborough is the only person to have received a BAFTA in five formats, black and white, colour, HD, 3D and now 4K.
SGO’s Mistika was used at London’s ONSIGHT in David Attenborough’s Natural History Museum Alive (3D) which has just reaped a coveted BAFTA TV Award in the Specialist Factual Category. Produced by Colossus Productions, a joint venture between Atlantic Productions and Sky 3D, Mistika technology played a major role in post at ONSIGHT in the exceptional project.

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Vision3 Expands 3D Resources with Mistika at its Heart


Mistika is a 3D Vision at Vision3

“Our reason for purchasing a Mistika system is to improve our ability to supervise the stereo on the Native, VFX and Conversion 3D projects that we work on, particularly studio productions such as “Gravity” which I recently finished supervising for Warner Brothers and which premièred at the Venice Film Festival. The film is an indication of the sort of high-end calibre projects we will be putting Mistika to work on, doing the Stereo 3D format full justice.”
Chris Parks, Vision3’s Founding Partner and Stereo Supervisor

“It is important that Stereo 3D can be handled as efficiently as possible in post, to encourage programme makers to embrace the medium. Mistika is an important tool when it comes to making this a reality.”
Angus Cameron, Vision3’s Founding Partner and Post Stereographer

Soho, London, 21 October 2013 – In a move to further expand their capabilities, Vision3 has invested in a Mistika post production system from SGO to offer clients an advanced 3D post production pipeline for high level cinema productions in London. Vision3 now hosts a state-of-the-art cinema suite with Mistika and their bespoke shot management and workflow system integrated with SGO’s technology. This will enable Vision3 to further develop the creative and narrative set-up that is the hallmark of their approach. Vision3 specialises in stereography within numerous fields of expertise such as studio and independent feature films, high-end natural history documentaries, IMAX, unique special events and commercials.

Chris Parks, Vision3′s Founding Partner and Stereo Supervisor

Chris Parks, Vision3′s Founding Partner and Stereo Supervisor

Chris Parks, Vision3’s Founding Partner and Stereo Supervisor possesses both technical and creative stereoscopic experience spanning more than 20 years, with skills that encompass the full range of 3D expertise including direction, production, specialist film and special visual effects, from storyboarding through to production, post production and delivery. Chris states “Our reason for purchasing a Mistika system is to improve our ability to supervise the stereo on the Native, VFX and Conversion 3D projects that we work on, particularly studio productions such as Gravity which I recently finished supervising for Warner Brothers and which premièred at the Venice Film Festival. The film is an indication of the sort of high-end calibre projects we will be putting Mistika to work on, doing the Stereo 3D format full justice.”

Founding Partner and Post Stereographer Angus Cameron founded Vision3 with Chris Parks in 2008 and has over 20 years of industry experience in VFX supervision, project management, digital pipeline development and creative and technical consultancy.

He says “I have always been impressed with Mistika’s stereo capabilities. Vision3 embracing Mistika makes sense allowing us to better interface with the numerous VFX and DI companies that we work with.”

Angus Cameron, Vision3′s Founding Partner and Post Stereographer

Angus Cameron, Vision3′s Founding Partner and Post Stereographer

Angus expands further with recent Mistika-related project examples “We recently worked on Inside the Mind of Leonardo an IWC Media feature documentary for Sky, as well as the BAFTA award-winning Flying Monsters with David Attenborough a key 3D programme for BSkyB that had to be produced to the highest possible standard. Vision3 are again working with Colossus Productions, supervising the stereo on the upcoming David Attenborough’s Natural History Museum Alive where the Vision3 team will again be working closely with ONSIGHT. The toolset Mistika provides, in particular the Stereo 3D options, makes it the most powerful and interactive tool on the market when it comes to tackling high quality projects. It is important that Stereo 3D can be handled as efficiently as possible in post, to encourage programme makers to embrace the medium. Mistika is an important tool when it comes to making this a reality.”

SGO’s Director of Global Sales and Operations, Geoff Mills confirms “The team at Vision3 demand the very best leading-edge solutions and Mistika is the perfect fit for them. Mistika provides not only a system they can tailor to their specific pipeline and toolset needs, but it also strengthens further the relationship with SGO, required as their business expands into new areas. With their well-respected presence in London, Vision3 set a great example of native and converted Stereo 3D excellence, and we are delighted that they have invested in our award winning technology.”

The landscape of shooting in 3D is rapidly changing and evolving, and Vision3 are leaders of intelligent 3D methodologies and productions. Vision3 acts as the bridge between emerging stereoscopic technology and film and television productions shooting in 3D. Vision3’s vision is that shooting in 3D should be idea-led, embracing the innovative set of narrative tools now available to directors and creative teams. Vision3 plays an integral role in pre-production where the company’s stereographers and producers work closely with productions from the early concept stage, ensuring 3D is used to create original, exciting and fully immersive 3D productions. Vision3’s stereographers and stereo teams have years of on-set practical experience working seamlessly alongside traditional 2D camera teams with a dynamic “tools for the job” philosophy ensuring the project and production schedules are not compromised by technology and that creativity is not stifled in the process. Vision3 holds a firm belief in the value of carrying a stereographers vision from set, into post production ensuring quality of the final product. They also offer bespoke and unbiased advice on suitable equipment, providing efficient and individually designed production workflow.

Other high profile projects Vision3 have worked on include ‘Jack The Giant Slayer‘ (Warner Bros.), ‘‘World War Z’ (Paramount) and ‘John Carter’ (Disney). Directed by Alfonso Cuaron, Warner Bros. production Gravity is due for cinema release in the UK on 8th November 2013. The ambitious, edge-of-your-seat Sci-Fi thriller features Sandra Bullock and George Clooney, with over 80% of audiences choosing to see it in 3D, the highest percentage ever, beating both Avatar and Life of Pi. Vision3’s Chris Parks acted as the film’s Stereo Supervisor overseeing stereo work from Framestore, with additional Post Conversion Sequences at Prime Focus. “Alfonso wanted to ensure 3D remained at the heart of the project from its inception. Throughout the production process we were able to use 3D in new and innovative ways, to take audiences to a place that they have never been before. In this film, we were really able to utilise 3D to change the audience’s emotions and draw them deep into the experience of the lead characters,” states Chris.

Experience the 3rd Dimension

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