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.
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.
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.
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 https://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 firstname.lastname@example.org. 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 melted hearts at Creative Post
10 June 2014, Toronto, Canada – Supervising Editor Adrian Saywell at Toronto’s Creative Post Inc. discusses the challenges of grading the recent IMAX documentary Wonders of the Arctic 3D, and the reasons behind selecting Mistika for online, colour correction and titling.
The $4 million visually stunning Wonders of the Arctic 3D natural world epic marks Science North’s fifth IMAX production in conjunction with Lickley and Giant Screen Films based in Chicago and will be distributed in more than 100 theatres around the world. The flawless 42-minute film focuses on the effects of climate change to the Arctic environment and the impact on humans and animals, such as the resilient Inuit peoples and Polar bears that reside there.
The film depicts how it is the toughest place to live on earth and how creatures that live there thrive despite the harshest elements. Historically, more than half of the Arctic Ocean was covered by ice all year round but in the past 50 years, ice cover has been reduced by 70 per cent, and is predicted that within 15 years, there could be a completely ice-free Arctic during some months of the year, according to Lickley. The film provides a voyage to a world many would never visit themselves and plays a key role in educating and informing audiences about this incredibly important topic.
Creative Post started work on the film back in 2010 when primary camera shooting started.
Part of what made it possible to achieve such stunning results is the company’s pipeline. Adrian outlines the steps involved, “The first duties included onset processing and backup of Phantom footage. Once backed up and shipped to Creative Post, the processing of dailies for all digital formats in both Phantom and Red was completed using Mistika. This enabled us to create HD ProRes files with matching names and T/C’s for offline.” He remarks, “Before we purchased Mistika, the Phantoms T/C would not match the QT created by other programs.”
Adrian goes on further to explain the online process in more detail, “Footage was supplied by DKP and Science North at various resolutions ranging from 4K to 8K in both 2D and 3D. Utilizing the open platform that is Mistika, we were able to scale all the various formats to the end result 5616X4096, which was then filmed out to 70MM for IMAX Projection. As it is near impossible to work in 3D at the full 5.6K resolution, the proxy and render options in the Mistika enabled us to scale to 2K in 3D, where all work was completed before applying the corrections back to the raw camera material. This made it fast and easy to work in such a large format. Full online finishing, stereoscopic 3D alignments, colour correction and titling were performed in Mistika as well as final versioning in 5.6K 3D, 4K Scope 3D and 2K Scope 3D. New tools in version 7.2 enabled us to apply display filters such as log to linear LUTs as well as cropping of 1.85 and 1.79 images into the 70MM format without actually applying any FX to the environment.”
Creative Post’s owner and CEO, Ken MacNeil remarked that before they had a Mistika on board, they would not have been able to work on a film of this scope, within the given deadlines. Purchased in 2011, Mistika was chosen for its multi-resolution capability and advanced 3D tools that are required for the 4K+ resolution that Creative Post generally master in. Online Editor Adrian Saywell was also able to use Mistika’s powerful tools to stabilise and fix 3D shots, which included colour matching, and alignment, that he said, without Mistika, would have been deemed unusable.
Senior colourist Jim Fleming was also able to use the powerful colour grading tools to pull the best images out of the footage. The 3D colour grading session was technically straightforward because the left and right images were already exactly colour-matched in the pre-grade processing. This allowed for a film that was breathtaking in its amazing images but also for 3D that was easy to watch, allowing for a more realistic viewing experience.
Other high profile programmes Creative Post have recently worked on include Ice Road Truckers, Bollywood Star, High-Tech Red Necks, Ice Sweat and Tears and many others.
Cameras used in filming Wonders of the Arctic 3D:
IMAX Dual Phantom 4K
Red Epic 5K
35MM 8 perf vista vision 3D IMAX Camera (scanned to 6K)
65MM Aerial IMAX MSM Camera (scanned to 8K)
Creative Week has now drawn to a successful end. Thursday’s HD and Beyond sessions opened interesting debates about 4K and once again SGO was in the spotlight at a key London event about a hot topic within the creative community.
Geoff Mills, Director of Global Sales and Operations of the SGO Group spoke on the Post Perspective panel yesterday, where he made salient points about 4K positively impacting the market and how Mistika is already streets ahead of the resolution revolution. With Will Strauss as Chair, Geoff shared the discussion with ONSIGHT’s Post Production Supervisor Rik Tester and The Farm’s Technical Director and MD Dave Klafkowski. The topic covered how both The Farm and ONSIGHT have already embraced 4K a while back using Mistika. The Farm had worked the Kudos/C4 drama Utopia in 5K and ONSIGHT completed many 4K projects that include Walking With Dinosaurs, Peter Gabriel’s Back to Front and David Attenborough’s Natural History Museum Alive 3D, all with Mistika’s advanced 4K capabilities. “We find solutions for our customers that they can use, not only for today, but also for tomorrow.” Geoff stated and reaffirmed that Mistika’s diverse and versatile creative toolset is not restricted to 4K and is already able to provide for 8K post production pipelines. A session dedicated to David Attenborough’s Natural History Museum Alive 3D, which recently won a BAFTA award, followed the panel.
With Mistika technology at the helm, SGO’s Senior Product Application Specialist Sam Sheppard was also present at the event in a prime position to discuss the future and Mistika to delegates throughout the day.
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.
With ever increasing demand for future-ready post production solutions, SGO reported a highly successful outcome at NAB. Located in the South Hall, the popular Mistika post production systems and Mamba FX compositing software were showcased at SGO’s booth, attracting a lot of visitors, among them content creators, post facilities and widely known broadcasters. SGO’s progressive creativity and efficiency in colour grading and finishing received positive feedback resulting in new relationships, collaborations and sales.
SGO’s forward-looking quantum-leap development leads in giant strides. One of the many breathtaking highlights which amazed colourists in engaging demonstrations included SGO’s new Spatial Isolation Toolset for Mistika 8.2. It provides colourists with a number of methods to isolate individual objects within a scene, so that they can be graded separately, for example based on their depth in the scene or by metadata provided by CGI animation systems. The new features allow both the colour and the directional lighting of CGI objects to be fine-tuned in real time and in context. Find out more and watch the demos at www.sgo.es/2014/04/sgo-discloses-unique-colour-grading-tools/
Also on show was a stylish Precision Grading Panel for SGO’s Mistika made by Digital Vision, delivering an additional option to boost Mistika’s powerful colour grading feature-set even further. It was proven to be a sensation, and within hours of the show opening, an order was placed for two Precision Panels by ONSIGHT for their 4K, 3D, HD Mistika grading and finishing suites.
SGO’s affordable compositor Mamba FX made its first NAB appearance and was a smash-hit with its intuitive node-based graphic interface delivering a complete visual effects suite with unlimited compositing layers and effects, running on Windows, Linux and soon available on Mac. With the recent addition of GenArts Sapphire 7, over 250 new effects and pre-sets are accessible to users. Mamba FX tutorials were launched at the show and are available at www.mambatutorials.com
For Broadcasters, Mistika Air Ultra enables a viable and stress-tested solution with seamless integration of high-end post finishing tools for HD, Ultra HD and 8K productions. Mistika Air Ultra is capable of delivering real time and render-free colour grading and finishing processes, even at 4K 60P. Its diverse and versatile creative toolset is not restricted to 4K and is already able to provide for 8K post production pipelines.
Other exciting new features in Mistika version 8.0 this NAB included an all-new node-based compositing interface, support for Canon’s RMF, Sony’s XAVC, enhanced AAF support, ProRes 4:4:4:4 file formats, a re-branding output render module and Dolby Atmos DCP generation. Mistika’s presence on Canon’s booth played a vital part in exciting presentations demonstrating Canon’s Colour Management ACES process for Digital Motion Imaging. SGO also hosted Stream TV Networks, Inc.’s revolutionary Ultra-D™ glasses-free 3D technology marking the first time their auto-stereoscopic screens have been shown at NAB. Stunning footage of Mistika-related projects including the jaw-dropping Stalingrad 3D film trailer and David Attenborough’s Natural History Museum Alive 3D stunned passers-by.
News following on from NAB is that Mistika is to support Dolby® Vision™ technology. Working in close collaboration with Dolby, the capabilities are available in Mistika from version 8.2, previewed at NAB and due for release shortly after IBC. Mistika has inherently supported HDR workflows, and perfectly placed for its customers to enjoy this exciting advancement.
“NAB creates dynamic access to global markets and it’s a great sphere of energy where we meet interesting new people and provide them with the very latest technological breakthroughs to fully support their creativity.” SGO’s Director of Global Sales and Operations Geoff Mills said.
SGO will be exhibiting at Broadcast Asia 17 – 20 June at Booth 5K6-06 in the Spanish Pavilion.
Follow SGO @SGOMistika for the latest updates and news.
2 May 2014, Madrid, Spain
The Precision Grading Panel for SGO Mistika has proven to be a big hit at the National Association of Broadcaster’s Convention (NAB) in Las Vegas this April. Within hours of the show opening, pioneering London facilities company ONSIGHT placed an order for two Precision Panels to help drive their state-of-the-art Mistika grading and finishing suites in 4K, 3D and HD. They will be installed at the company’s stunning new WC2 premises by St Martins Lane, which also includes 4K projection.
The Precision Panel from Digital Vision provides a high-end grading control surface to match Mistika’s market-leading post production features.
Simon Craddock, CEO of ONSIGHT said, “With our dedication to new techniques, the ONSIGHT team quickly recognised that the Precision Panels will complement our existing Mistika offering and the skills of our creatives. Mistika clearly continues to advance its toolset and offer reliability, further cementing our long-term partnership with SGO.”
Geoff Mills, Director of SGO’s Global Sales and Operations confirmed, “Mistika already plays a major role in ONSIGHT’s entire production pipeline. Their decision to order the Precision Panels to enhance their high-end Mistika suites is an indication of their commitment to SGO, as they expand and continue to provide cutting-edge post production services for their clients.”
ONSIGHT’s recent credits include Peter Gabriel’s Back to Front in 4K (for Done and Dusted/Real World/Eagle Rock Entertainment) and BAFTA-nominated David Attenborough’s Natural History Museum Alive 3D (for Colossus Productions). One of the team’s current projects is Walking With Dinosaurs (for BBC Earth).
ONSIGHT is a pioneering facilities company, providing production and post production services for film and television. With 25 years’ experience, the team has developed a unique end-to-end solution, comprising the latest in cameras and equipment rental through to full post production. From Shepperton Studios, the camera division supplies bespoke packages, involving digital cameras, lenses, accessories and guidance. While the award-winning post department, based in London, provides digital film, TV, Giant Screen and editing solutions, fully supported. The ONSIGHT team helps clients design, execute and ultimately, create stunning content for any screen in HD, 3D, 4K and beyond.
Visit them at www.onsight.co.uk
Press Release Date: 30 April 2014, London, UK