SGO accelerates its high-end post production products with the NVIDIA Quadro K5200. This new graphics board provides significantly higher performance and greater data handling capability than the previous generation Quadro, for SGO’s Mamba FX and Mistika products, which are utilised in the world’s biggest film, television and commercial productions.
“The NVIDIA Quadro K5200 is the perfect partner for SGO’s Mamba FX. With phenomenal performance and 8GB of on-board memory, visual effects compositors can work at even higher resolutions, bit depths and frame rates with ever more complex composites, while maintaining industry-leading throughput,” says SGO’s CEO, Miguel Angel Doncel.
SGO’s Mamba FX is a high performance but very low cost visual effects compositing suite. It costs from just 239 Euros and is available for free trial. It can be downloaded from the SGO shop or from www.MambaTutorials.com, where Mamba FX’s extensive compositing tools are explained in a library of online video tutorials.
“Our new Quadro line-up is at the center of visual computing workflows,” says Greg Estes, VP Enterprise Marketing and GM of Media & Entertainment at NVIDIA. “SGO’s highly optimised programming with NVIDIA’s advanced graphics processing have enabled SGO Mistika and Mamba FX to provide ground-breaking real-time post production environments for 4K, Stereo 3D and high-frame rate productions.”
Credits spanning every type of production across the globe include commercials for Emirates Airlines, television drama for BSkyB and feature films such as Peter Chan’s American Dreams in China, Edge of Tomorrow, Stalingrad, The Hobbit Trilogy, Switch, Walking With Dinosaurs (for BBC Earth), The Amazing Spiderman 2 and many others. Mistika also played a major role in David Attenborough’s Natural History Museum Alive (3D) 4K film which received a BAFTA TV Award this year.
NVIDIA Quadro K5200 graphics boards will be supported in Mistika’s V8.4 software and Mamba FX’s version 2.0, showcased this month at IBC at the SGO Booth A11, Hall 6, at The RAI in Amsterdam.
With Vive Cantando as their first Mistika project.
Grupo Secuoya, content creation communications giant and one of Spain’s major production companies, boasts the recent purchase of a Mistika DI 4K system with DCP creation capabilities from SGO, to enhance their post production department.
The company was drawn to Mistika’s unique ability to empower creative artists by providing them with a solution that combines all of the post production processes in one complete system, resulting in significant time-saving.
Mistika Artist Pepe Abellán at Grupo Secuoya confirms, “Mistika provides the toolset that covers the full spectrum of requirements that a current production demands.”
Director of Post Production at Grupo Secuoya, Ricardo Zamora highlights Mistika’s role as an agent of change and why it is an advantage to have Mistika on board, saying, “Mistika represents innovation in production, which helps us stand out and it’s what makes us different.” Pepe Abellán expands further concerning the opportunities that SGO’s technology brings to Grupo Secuoya, “Mistika allows us to develop our workflow without any complications. It supports footage captured on a variety of cameras such as Sony’s F55 or RED Digital Cameras at resolutions ranging from HD, 2K, 4K up to 5K, and all in the same timeline.” He adds, “After conforming the various resolutions within a project, Mistika provides the perfect opportunity, owing to its broad assortment of tools and real-time capabilities, to conduct high-end colour correction at incredible speed. The system also gives us the ability to achieve all of the VFX, compositing, and credits as well as the means to export various master versions, according to client requirements.”
Jose Luis Acha, Regional Sales Manager at SGO affirms, “We warmly welcome Grupo Secuoya into the SGO family. As an innovative company, Mistika fits in perfectly with their philosophy of optimising the production process so that they can deliver the desired results of the highest quality to their customers. This is the beginning of a relationship that will be mutually beneficial and we are delighted that they are part of the growing Mistika community.”
Grupo Secuoya’s first Mistika project Vive Cantando is a comedy drama series for Antena 3 prime time TV, produced by Atresmedia, and airs in the autumn. The programme follows band singer Trini (Maria Castro) who returns to her roots where she reunites with her family and the love of her life Juanjo (José Luis García Pérez).
Executive Producer: AMPARO MIRALLES
Director: MIGUEL ALBADALEJO
DoP: OSCAR MONTESINOS
Producer: MIGUEL ANGEL LARRAYA
ABOUT GRUPO SECUOYA
Grupo Secuoya offers valuable solutions and communication services for production companies, TV channels and many other industries. Visit them at www.gruposecuoya.es
First film posted in Mistika at Darkroom Asia helps to revitalise the film industry in Pakistan
Pioneering post house Darkroom Asia won a major contract with ARY Films as a strategic partner in providing post production and VFX-related services, as a direct result of its investment in an SGO Mistika 4K system purchased from reseller Pixelution. Darkroom Asia is the first facility in Pakistan to host a cutting-edge Mistika 4K suite to support its television commercials and feature film projects.
The CEO of Darkroom Asia, Salman Hasan confirmed that Mistika’s reliable, robust and vast post production toolsets consequently led the company to win the long-term customer deal with ARY Films and he outlines why they selected Mistika above other systems, “Our decision to make Mistika our first choice was simple. The tools and real-time RAW image and other native workflows are superior to any other system out there, and we wanted to be the first company in Pakistan to have a fully equipped Mistika 4K system which would provide a one-stop solution, in real-time, for our film and commercials industries.”
Darkroom Asia completed the first commercial film titled ‘MAIN HOON SHAHID AFRIDI‘, an action-drama sports film, produced by Six Sigma Entertainment, with the entire post production, including colour grading, completed in Mistika and shot with RED Digital Cameras. Well-received by Pakistani audiences, Salman Hasan affirms, “This film has marked the rebirth of the Pakistan Film Industry of which Darkroom Asia and Mistika played a vital role.”
“Mistika helped us immensely throughout this project.” explains Ubaid-ur-Rehman, Technical Director and Partner at Darkroom Asia, “Especially with handling real-time RAW workflow for R3d files which really made this project possible in Pakistan. All other camera formats were placed in Mistika’s timeline in real-time without any conversion required or the usage of any other systems, which was a real advantage. Colour grading was also achieved simultaneously, which was an added bonus.” He adds, “We made the decision to include Mistika technology to serve our creative clients with a high-end state-of-the-art post solution. As an award-winning powerful post production system, we are delighted to be the first company in Pakistan to own SGO’s creative 4K innovation. This system will help us in opening up many other new opportunities and attracting high profile projects.”
ARY Digital Network’s CEO, Mohammad Jerjees Seja states, “I would like to congratulate Darkroom Asia for being pioneers and introducing Mistika 4K to Pakistan which will help to strengthen and enhance the great work that is being done by filmmakers here. We believe that this is an important step made by Darkroom Asia and will not only motivate producers and directors, but will also give them additional motivation, encouragement and support in the post production phase of filmmaking.”
Also closely associated with Darkroom Asia, and one of Pakistan’s most famous commercial directors Asad U. Haq from Ambiance Films, discloses, “We at Ambiance films are proud to be linked with Darkroom Asia from its inception, and we can’t wait to play with it newest addition, Mistika, and work with one single powerful platform from start to finish.”
“Darkroom Asia’s upgrade to Mistika is another example of how its technology is being adopted world-wide. It is history in the making that Mistika has been involved in this key project in Pakistan and has helped to reinvigorate the film industry there. This is a new and exciting beginning for Darkroom Asia as the first Mistika 4K post house in the country and it is great to see doors open for them due to their investment in SGO’s technology. We are proud to welcome Darkroom Asia into the talented global Mistika community.” notes SGO’s Director of Global Sales and Operations, Geoff Mills.
ARY Digital Network’s CEO, Mohammad Jerjees Seja concludes, “With the rapid growth of the cinema industry in Pakistan right now, ARY Films is now well-prepared to produce the best high quality entertainment for cinema-goers. We are privileged to be aligned with Darkroom Asia in supporting the post and VFX work of our upcoming feature film releases, and to provide a one-stop solution for post production and VFX, using Mistika’s unique capabilities and ability to help minimise time-constraints. Mistika is a system used by the industry’s top professionals all around the world, and we are looking forward to utilising its strengths to help us produce world-leading projects here.
A specialist supplier of digital solutions for content creation and displays.
Visit them at www.pixelution.co.uk
Mistika Redefines the “Hero” Suite enabling Creatives to Unleash their Extraordinary Talent
SGO will showcase Mistika and Mamba FX at Stand A11, Hall 6, from 12 – 16 September at IBC2014. Powerfully different, SGO’s flagship product, Mistika appeals to filmmakers, broadcasters and content creators for its efficient finishing, grading and Ultra HD capabilities for any project regardless of resolution or frame-rate, including 4K at 60P and stereoscopic 3D. SGO will feature version 2.0 of its compositor Mamba FX which provides unlimited layers of compositing in a resolution-free, node-based environment. Running on Windows, Linux and now also available on MAC, Mamba FX represents another choice at incredible value to the VFX community.
SGO is immensely proud of all its customers that work on amazing projects that span across every type of production, including short and long-form formats such as promos and commercials for big brand names such as Samsung, Emirates Airlines and Ford; television drama for BSkyB and well-known 2D and 3D feature films such as Edge of Tomorrow, Jupiter Ascending, The Amazing Spiderman 2, Transformers: The Age of Extinction, The Hobbit Trilogy among many other familiar titles listed on the SGO website at http://www.sgo.es/on-screen/
Mistika – Powerfully Different – The “Hero” Suite Redefined
SGO will demonstrate at IBC how Mistika provides seamless integration between conforming, editing, colour grading and visual effects to create the most comprehensive visual creation suite. Mistika has redefined the “Hero” suite, designed to empower the user to unleash their inner creativity. Operators can take full advantage of Mistika’s remarkable toolsets equipping them to accomplish stunning results that deliver and impress. Mistika’s unique abilities boast innovative colour correction by blurring the line between colour and compositing, enabling colourists to be even more creative by adding textures and filters to looks. Artists can tap into Mistika’s world-leading capabilities to produce high quality work that meets exacting standards.
Continuing the SGO custom of rapid development and to meet the high demand for the new toolset, Mistika 8.2 will be launched this August, prior to IBC, with a preview of the next version 8.4 being demonstrated at the show itself. New highlights include the incredible Spatial Isolation Toolset (previewed at NAB) which allows unrivalled control over multi-layer EXR image files by making full use of meta-data provided by CGI animation systems.
Also on show will be Mistika’s next-generation colour finishing functionalities supporting the Precision Grading Panels. Other new features include support for Dolby Vision, improved ACES workflows, enhanced AAF support, Dolby Atmos DCP generation and support for an even wider range of image codecs such as Canon’s RMF, Sony’s XAVC and ProRes 4:4:4:4. SGO will present Mistika performing effortlessly with mixed resolution raw camera files on the same timeline all in real-time.
Mamba FX – The VFX Evolution Redefined
Main headlines for Mamba FX 2.0 include the Layer Route Effect, providing associated functions for working with multi-layer EXR files; an innovative “Spatial Isolation Keyer” which interfaces with metadata that can be passed from CGI software via the EXR files and a high-speed, “point cloud” shape tracker, which enables compositors to track 2D roto-shapes to shots very quickly. Mamba FX 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.
Geoff Mills, SGO’s Director of Global Sales and Operations remarks, “SGO’s innovation continues to push all boundaries, evident in its artist-leading toolsets which are revolutionising the way post production is evolving today. The fact that Mistika is the most complete and powerful creative suite that can conform, grade, finish, edit and do much more, in all resolutions and formats, in real-time and at mind-bending speeds, empowers users beyond what other systems can offer them.”
SGO appreciates the loyal support of its long-standing specialist technology partners ATTO Tech, Canon, Dot Hill, DVS, HP, NVIDIA, Tangent Devices and many others. Visitors to the show can also benefit from SGO’s expertise along with customer guests at hand to discuss industry trends and projects. Advanced bookings for Mistika demonstrations can be made by contacting SGO at email@example.com. Register for IBC at www.ibc.org. Follow SGO on Twitter @SGOMistika.
Mamba FX 1.0 customers receive free Mamba FX 2.0 update
SGO has made another significant development upgrade to its compositing software, Mamba FX in version 2.0 available for Windows, Linux and Mac, providing advanced additional features which give compositors infinite opportunities and possibilities to enhance their creativity. Redefining VFX and rapidly evolving, Mamba FX’s new toolsets extends the existing SGO product line and draws on Mistika’s powerful compositing and image quality technology, as well as adding a host of innovative features and functionality.
One of the key highlights in Mamba FX 2.0 is the Layer Route Effect, providing support and associated functions for working with multi-layer EXR files.These files are capable of carrying multiple streams of images as well as metadata, in a single file. They are commonly used to hold multiple render passes from CGI software, or to carry multiple matte or alpha channels. Mamba FX 2.0 includes features to split and route the multiple layers, allowing Mamba FX’s other compositing tools to act on individual elements during the compositing phase.
Furthermore, Mamba FX’s all new “Spatial Isolation Keyer” interfaces with metadata that can be passed from CGI software via the EXR files. This enables advanced compositing techniques such as isolating elements in a scene by their 3D (XYZ) location, their surface direction (normals), their object ID or their Material ID.
Also new for Mamba FX 2.0 is a high-speed, “point cloud” shape tracker, which enables compositors to track 2D roto-shapes to shots very quickly. Multiple shapes can be tracked and combined using Boolean operations to rapidly create moving matte shapes. Mamba FX 2.0 also includes new colour space conversion tools to aid project colour management including ACES workflows. Other additional features include an adaptive interface for monitor configuration, as well as Dolby EDR support.
CEO of SGO, Miguel Angel Doncel confirms, “SGO’s development team is dedicated to deliver ever more efficient and flexible VFX workflow management with finely-tuned integration in Mamba FX ‘s version 2.0 . The results are a combination of a powerful, node-based VFX finishing suite designed to empower creative artists and provide them with a new way of working – making the impossible possible at affordable rates.”
Mamba FX 2.0 is available for Windows, Linux and Mac (Mountain Lion 10.8.5) and is fully compatible with SGO’s Mistika, which together provide a powerful complete conform, online, VFX, grading and delivery workflow that stands out from other systems. Mamba FX 1.0 customers will receive a free Mamba FX 2.0 update. Mamba FX 2.0 is now available to buy and trial at www.sgo.es/shop with online video tutorials at www.mambatutorials.com
Mamba FX Version 2.0 Product Specification Details
– Number of processors: 2
– Number of cores: 6 per processor
– RAM: 32GB or 64GB
– Screen Resolution: 1920×1200
– Graphic card dedicated video memory: 1GB
– Graphic card model: NVIDIA
– OpenGL version: 2.0
– Shader (GPU): shader4 (GL_EXT_gpu_shader4)
Minimum Configurations Required:
– Number of processors: 1
– Number of cores: 2
– RAM: 4 GB
– Screen Resolution: 1920×1200
– Graphic card model: NVIDIA
– Graphic card dedicated video memory: 512 MB
– OpenGL version: 2.0
– Shader (GPU): shader4 (GL_EXT_gpu_shader4)
Tested MacOXs distributions:
– Mountain Lion 10.8.5
– Maverick 10.9.3
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
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.
Hollywood’s most innovative stereoscopic and visual effects company Legend3D, has invested in SGO’s trail-blazing technology to launch them to the next level. Esteemed for delivering the highest-quality Stereo 3D film conversions, Legend3D will integrate its Mistika post production system with two Assist Stations into the conversion and visual effects pipeline at the Company’s impressive 60,000 sq. ft. studio with multiple theaters and R&D facilities. With the capacity to work on up to three full feature films and multiple commercials concurrently, Legend3D delivers world-class high quality projects such as The Lego Movie, Man of Steel, Life of Pi, The Amazing Spider-Man, The Smurfs 1 & 2, Pirates of the Caribbean: On Stranger Tides, and many others.
Legend3D’s Director of I.T. Anthony Lopez, says “We looked at Mistika a while ago and were immediately impressed, and after researching all competitive products, we came to the conclusion that SGO is refreshingly different and a company we can work with, not only because of their passionate commitment to the S3D industry, but also for our mutually beneficial development opportunities.” He expands, “As we continue to grow, so do our systems and technology. Mistika is a trustworthy system with dependable 4K S3D real-time playback and visual effects capabilities that can handle everything from editorial, depth grading, and they are open and accessible to partner on development projects. We plan on using Mistika as a client facing platform to create realtime, on-the-fly adjustments to suit our clients creative needs.”
“Legend3D’s constantly evolving tools and workflow, combined with Mistika’s innovation, manages to liberate precious man hours into productive creativity. We foresee Mistika playing a huge role here and its time-saving strengths make it a wise investment.” explains Jared Sandrew, Legend3D’s Creative Director. “We have a great deal of respect for SGO’s development team with their professionalism and flexibility to tailor their technologies around our specific needs. Their personalized service has won us over as well as Mistika’s compelling attributes that cleverly merge S3D toolsets, grading, compositing and finishing all in one powerful system, providing us with ultimate control, instilling even greater confidence in our work from our clients. We are very enthusiastic about this next chapter and we look forward to ongoing development with SGO as we work on new feature films using Mistika such as Jupiter Ascending and many more.”
Geoff Mills, Director of SGO’s Global Sales and Operations adds, “It’s incredibly rewarding to see Legend3D set the pace with SGO’s technology in their pipeline. With Mistika as an indispensable resource, we are immensely proud to contribute to their successful productivity and to play a crucial part in their new development phase. We look forward to a profound relationship with them for many years to come.”
SGO’s official U.S. Reseller Partner, Colin Ritchie at AArmadillo confirms, “Legend3D is the perfect client for SGO and Mistika, they share a desire to deliver the best that 3D can offer. The plan is to integrate Mistika into the unique Legend 3D pipeline with custom tools and configurations. This is an exciting time for both companies as we approach 4K, HFR and HDR imaging, it’s good to know that Mistika will be a big part of what Legend 3D delivers next.”
ABOUT LEGEND3D – 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. Founded in 2001 by Dr. Barry Sandrew, 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.
ABOUT AARMADILLO – AArmadillo is a unique resource to the Entertainment industry consistently introducing ground breaking products to the business. They have been in business 10 years and during that time have played a significant role in Private Media Networks, On Set Recorders, 3D workstations, On Set Daylies Systems, Mobile video and rendering trucks and Color Correction Suite design. The company has a wealth of knowledge with digital pipeline development, both 2D and 3D and has advanced solutions to solve today’s production challenges. Visit them at www.aarmadillo.com
28 March 2014, Los Angeles, California
Taking the industry by storm and due to popular demand, SGO will soon launch its new open node-based compositor MAMBA FX on MAC. As a versatile multi-level platform compositor serving all VFX artists, Mamba FX already runs under Microsoft Windows and Linux, and its compatibility with Mac completes the next step in its evolution.
Miguel Angel Doncel, SGO’s CEO confirms, “To be able to run Mamba FX on various platforms significantly broadens its appeal. SGO’s multifaceted development approach is designed to invite everyone to enjoy the Mamba FX experience and widen the fast-growing community. I am delighted with the fact that Mac users from all over the world will soon reap the benefits of SGO’s technology as well. Mamba FX brings convenience, flexibility and affordability to all our customers. Try Mamba FX and have some fun.”
Follow Mamba FX on Twitter @sgomambafx to keep up to date on the Mamba FX on Mac release date. Mamba FX will be shown at NAB 2014 for the first time. It can be trialled or ordered online at www.sgo.es/shop with access to forum support and tutorials.
Visit the following links for further information:
Visit SGO’s Booth SL9021 at NAB to see Mamba FX live and kicking!
27 March 2014, NAB, Las Vegas, Nevada