Mistika has a totally unique evolution, building from a background in high-end vfx, which has helped create a totally unique approach to real-time colour grading, enabling Mistika to provide unmatched colour workflows and generate totally unexpected results for the end client, elevating projects beyond the normal market expectations. With all colour correction tools designed by colourists, for colourists, Mistika provides a broad and all-encompassing rang of capabilities, presented in an intuitive and ergonomic interface, further adding speed to workflow throughput.[/text_output][gap size=”3em”]
Mistika’s advanced colour science, coupled with industry-leading image processing quality and performance, enables creative opportunities that are truly unlimited. Colourists can apply and combine an infinite number of primary and secondary corrections, shapes, colour selections and vectors, all in true real-time, without waiting for any rendering to complete. Every colour effect and decision is applied non-destructively, at 32-bit floating-point and 16-bit half-float precision.[/text_output]
Mistika provides the industry’s most advanced digital acquisition format support, leading the way in both quality and performance with un-match quality debayering, with all the required tools to preserve image highlights, set white balance, gamut, target colour space, and more. Mistika integrates high-performance support for RED, Arri, Sony, Canon RAW formats, as well as modern compressed camera formats such as Apple ProRes and Sony XAVC. As with all media, these formats can be imported and utilised directly on the Mistika timeline without transcoding, copying or caching required, allowing direct access to original camera files, metadata and decode parameters, maximising final image quality, all in true real-time.[/text_output]
Primary correct is the key to final creativity, as the underlying base image colour alignment provides the foundations onto which further creative changes can be added. Mistika provides powerful primary correction via interactive lift, gamma, gain, broken down into range isolation to accurately set black, shadows, mids, highlights, and more, all performed within Mistika’s unrivalled colour science.[/text_output]
Perfect primary correction sets the scene, while unmatched secondary creativity is where the unexpected can be delivered with ease. It’s not just ultra-clean colour isolation, with the cleanest edge definition combined with unmatched colour qualification, that sets Mistika colour creativity apart. It is the ease with which any creative colour grading can be performed, even using more traditional VFX tools with the grading process.[/text_output]
“What SGO is doing with Mistika is completely different to anyone else, and the result is one of the most powerful toolsets out there”
– John Daro
Senior DI Colourist, Fotokem, Los Angeles
Isolation shapes add power to grading specific areas in the image by allowing defined areas to be independently adjusted with the full gamut of creative tools available within Mistika. There are no limits to the number of shapes that can be defined, using regular geometric forms, user defined irregular shapes, and more, all combinable using different levels of interaction, including automatic shape tracking and creation.[/text_output]
Fully integrated point and cloud tracking that enables garbage masks, key isolation shapes and vignettes to follow even the most traditionally challenging subjects, including those that leave frame. Full scene tracking can also be performed thanks to the intelligent tracker pruning process that will automatically discard lost trackers as well as disregard temporary flutters caused by temporary loss of traction. Multiple shapes can be used to define precise areas where the point cloud should be populated, giving users additional control in especially difficult shots that include a lot of moving objects. Universal tracking data can be applied in multiple effects to smooth, stabilize and place compositing layers or shapes.[/text_output]
Real-time Optical Flow analysis is a central feature of the system’s image processing foundation, delivering unsurpassed image quality while maintaining speed, responsiveness, and flexibility. Optical Flow technology determines the motion of each and every pixel within a scene from one frame to the next, to the next, to the next, all in true real-time throughout all areas of the system, including interpolated speed change, grain reduction, motion blur, frame repair, “bullet time” and Stereo 3D equalization operations. Optical Flow epitomises the inherent power available within Mistika and the outstanding results the technology it is based on can produce.[/text_output]
Mixing Colour and Creativity
Grade any way you want, using multi-layer high dynamic range tools. Printer Lights, Exposure controls and Look-Up Tables per Vector allow for a traditional film style grading in a digital world. Traditional telecine Primaries and HSL controls provide for standard video grading, including 5-band colour grading with customizable luminance ranges, fixed colour vector tools, and curve grading, leading to a wide range of compositor based toolsets for those at ease with Blending Modes, Expressions, Channel re-mapping, and more, including complex Shapes and roto’ing, removing the traditional limits of simple HSL and RGB keying. Even GLSL shader scripts are supported so that no transform is impossible. Operators are free to use RGB, YUV, HSL, and XYZ controls and transforms in a single colour grading layer, of which infinite layers are possible, allowing the most demanding colourists to combine correction layers in unique ways to achieve even the most demanding block buster and high-end commercials looks. Up to 4 scopes can be used at once, which combined with an interactive colour picker provide colourists with multiple full proof ways to technically manage colour, check exposure and set contrast per shot before getting creative.
“Mistika is at the core of Park Road’s award-winning DI pipeline. Moreover, the team at SGO share our passion for continual refinement alongside innovation, all in service of bringing the filmmakers’ vision to life”
– Anthony Pratt
Workflow Architech, The Hobbit Trilogy Park Road Post Production, Wellington
Full function Colour Grading Curves, with auto-selection of 1 and 3 point ranges for especially powerful curve shape control. Independent and connected Tangent control means colourists can be as specific or generic with their selection as liked. LUTs can be added at the Vector level and work either pre, post, or in parallel with Curve tools, for example allowing the design of custom shaper LUTs to work with film emulator LUTs, including through a key at the same time desired.[/text_output][image type=”circle” float=”none” info=”none” info_place=”top” info_trigger=”hover” src=”7361″]
Noise-free colour controls that allow precise separate management of individual colour components without aby danger of increased image noise, as is common with many alternative direct colour control processes. For example, directly change just the luma value of a specific colour, without increasing or introducing noise, or other unwanted artefacts.[/text_output][image type=”circle” float=”none” info=”none” info_place=”top” info_trigger=”hover” src=”7362″]
Operator speed and efficiency is enhanced with numerous tools for transferring grades between shots, across reels or even between projects. Mistika’s DI Storyboard view provides thumbnail visualisation of your project for timeline navigation, shot comparison and for the simplified copying of grades between shots. Partial grade settings can be copied and pasted between shots, while advanced custom shot gangs can be created to automate the propagation of grade settings across an entire timeline.[/text_output][image type=”circle” float=”none” info=”none” info_place=”top” info_trigger=”hover” src=”7363″]
Embracing open extensibility is central to Mistika’s core philosophy. Mistika fully supports the OpenFX standard, allowing use of third party creative and utility toolsets such as NeatVideo and Genarts Sapphire. But beyond this, users have the freedom to develop their own customised image manipulation presets, combining any number of native Mistika effects for reuse both across and between projects.
In addition, Misitka provides the ability to directly integrate completely customised image processing algorithms and effects into any timline using GLSL script, complete with live, animated and operator adjustable parameter sets, unleashing a level of technical and creative flexibility unseen in any other finishing system.[/text_output]
When paired with Mistika, operators can fully customise the function of almost every button on the Precision control surface. Individual buttons can be quickly and easily mapped to any User Interface control, and users have the flexibility to define custom macros mapped to a single control surface button, ensuring the hardware at your fingertips thinks the way you do and understands the intricacies of your workflow.
Individual user profiles and configurations can quickly be saved and loaded from within Mistika’s toolset, allowing every operator in a facility to customise keyboard shortcuts and control surface mapping to their individual needs, with recall and operation at a moment’s notice.[/text_output][gap size=”3em”]
Any creative colour system must possess highly accurate colour science, and Mistika takes this to new levels, with unmatched colour accuracy, regardless of the user’s needs, including ACES, DCI, all flavours of broadcast colour, and more. Beyond the traditional requirements for accurate colour science Mistika also provides a real-time GLSL compiler node that enables users to define colour transforms as mathematical expressions as well as provide a means to create your own hardware accelerated effects and filters.[/text_output]
The award winning capabilities of Mistika’s Stereo 3D technology and workflows are totally unrivalled within the industry, and ensure the highest quality results when there is no room for compromise. Mistika is the Golden Standard and the system of choice for Stereo 3D in all sectors of the broadcast and film market. Based around Mistika’s core optical flow analysis engine, all Stereo 3D processes are performed with unparalleled accuracy, speed and quality, all in real-time. Working in Stereo 3D in Mistika is as simple as working in 2D, as the vast majority of Mistika’s integrated effects are fully stereo aware, processing stereo footage as seamlessly as any other media.[/text_output]
Any project requires editorial interaction, from full ground-up editing from raw rushes, to the trimming of project imported from third party editing systems, to editorial changes required for final finishing.