“Mistika is a Massive Benefit to any Business”
Adam Scott, General Manager, Spectrum Films, Sydney, Australia
“It’s an exciting time in our industry. It’s about being more efficient with what you have, there are no longer boundaries – the bricks and mortar post facility model might change completely. That’s why Mistika’s flexibility fits in with this model perfectly.”
Adam Scott, GM, Spectrum Films
Studio purchases six finishing and grading systems as part of its multi-million dollar expansion.
“Mistika has everything we need in one beautiful box. It is not only the best grading software I have ever encountered, but it is also an impressive finishing suite with a myriad of capabilities…”
Sasha Franklin, CEO and Owner of Edit Studios
Edit Studios has installed a Mistika post production system and Mistika Assist Station at its newly-refurbished post production facility in Tel Aviv. The boutique post house specialises in long-form film and broadcast editing for cinema and television, boasting sixteen large edit suites with their own balconies, including the stylish new Mistika finishing suite. Mistika will anchor the firm’s stunning new Digital Intermediate theatre with 2K real-time resolution and 4K rendering of documentary and feature film projects. Edit Studios selected the Mistika system for its flexibility and ease with which it can be integrated into the facility’s file-based workflow.
Amit Gilboa, Technical Director and Post Production Supervisor at Edit Studios added that the facility’s grading theatre, with its ability to grade 2K media in real-time is unrivalled in the region and on par with the highest international standards . “I think what we’re looking to get from Mistika is the ability to support the whole process of movie post production, from tests and preparations through to dailies delivery and screenings, to rough cut screenings, VFX and grading, right down to DCP creation and all other deliveries. Our experience in managing the different aspects and collaborations of post production enables us to become the focal point of the full DI and film workflow.”
Jose Luis Acha, SGO’s Regional Sales Manager concludes, “I have just returned from visiting Edit Studios in Israel which hosts one of the most amazing state of the art Mistika suites I have ever seen. Edit Studios are made up of a savvy team of creative and technical professionals who take their work seriously, but also know how to enjoy their work creatively. They are enthusiastic and excited to work with Mistika technology because it delivers genuine results on challenging projects. They are an exceptional company and we are very pleased to include them in our ever-growing Mistika artists’ user-base.”
An exhaustive list of award-winning film and documentary titles include “Lebanon” by Samuel Maoz (Golden Lion Award, Venice 2010); “Footnote” by Joseph Cedar ( Oscar Nomination, Best Foreign Film 2012); “Fill the Void” by Rama Burshtein (European Cinematographer Award 2012); “Bethlehem” by Yuval Adler (Fedeora Award, Venice 2013); “Zero Motivation” by Talya Lavie (Best Narrative Feature – Tribeca 2014); “Children of the Sun” – Ran Tal – Best Documentary & Best Editing, Jerusalem Festival 2007; “Hitler’s Children” – Chanoch Zeevi – Audience Award, Boston 2012; “The Gatekeepers” – Dror More – Oscar Nomination, Best Documentary, 2012; “Life in Stills” – Tamar Tal – Best Documentary, Israeli Film Academy 2012; “The Law in these parts” – Ra’anan Alexandrowicz – Grand Jury Prize Sundance 2012 portfolio and many others.
ABOUT EDIT STUDIOS
Edit Studios was founded in 1993 by British-born editor Sasha Franklin, who spent many long days and nights in post production facilities all over the world, and decided that the time was right to establish his own independent facility in Israel, firmly placing the needs of the editor at the forefront. Films post produced at Edit Studios have reaped major awards at the key Film Festivals, namely Cannes, Berlin, Venice, Sundance, Toronto and Tribeca as well as an Oscar nomination for Best Foreign Film. The boutique post house exudes a warm welcoming “home away from home” atmosphere. Each of the 16 suites has a décor theme, which adds a quirky touch to the fun-loving but hard working culture that prevails in the studio. The themes cover “Time”, “The World”, covered in maps and souvenirs that clients have donated from their travels, “Lego” filled with children’s drawings, “Space”, “Comics”, “New York”, “Beatles”, “Night”, “Park”, “Island”, “Grandma’s sitting room”, “Toy” and many others. The themes bring a fun element, altering from time to time, according to what clients and friends bring to the company on their journeys. The American series ”Homeland” for example was originally an Israeli series made at Edit Studios.Edit Studios was also the first company in Israel to edit a feature film on a non-linear system. The team have in-depth knowledge and experience of film craft, having spent many years coordinating and traveling to Film Labs to complete projects, due to the fact that there has not been a Lab in Israel since the 1980’s.
SELECTED FEATURE FILMS INCLUDE:
“The Band’s Visit” – Eran Kolirin – Feature Winner at Montreal,2007
“Beaufort” – Joseph Cedar – Silver Bear, Berlin and Oscar Nomination, Best Foreign Film, 2007.
“Meduzot” – Etgar Keret & Shira Geffen – Camera d’Or at Cannes 2007
“Lebanon” – Samuel Maoz – Golden Lion Award, Venice 2010
“Footnote” -Joseph Cedar – Oscar Nomination, Best Foreign Film 2012
“Fill the Void” – Rama Burshtein – European Cinematographer Award 2012
“Bethlehem” – Yuval Adler – Fedeora Award, Venice 2013
“Zero Motivation” – Talya Lavie – Best Narrative Feature – Tribeca 2014
SELECTED DOCUMENTARIES INCLUDE:
“Children of the Sun” – Ran Tal – Best Documentary & Best Editing, Jerusalem Festival 2007
“Hitler’s Children” -Chanoch Zeevi – Audience Award, Boston 2012
“The Gatekeepers” – Dror More – Oscar Nomination, Best Documentary, 2012
“Life in Stills” – Tamar Tal -Best Documentary, Israeli Film Academy 2012
“The Flat” – Arnon Goldfinger -Best Editing Documentary, Tribeca 2012
“The Law in these parts” -Ra’anan Alexandrowicz- Grand Jury Prize Sundance 2012
Mistika’s Comprehensive Visual Creation Suite and Precision Panels on Display in Japan
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.
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
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.
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.”
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.”
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.”
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.
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
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
Booth #SL9021, 7 – 10 April, NAB 2014, Las Vegas Convention Centre, Nevada
SGO’s new strap line “Beautifully Creative Technology” sums-up the ethos behind the company’s avant-garde performance-leading development drive to provide creative artists with the most empowering facilities available. SGO will exhibit the latest additions to its range of extremely powerful Mistika post production systems and Mamba FX compositing software at the 2014 NAB Show. SGO’s technology will demonstrate how broadcasters and post facilities can transform their companies by accessing new markets and revolutionising creativity and efficiency in colour grading, finishing and compositing with Mistika and Mamba FX.
– Mistika post production system will support the stylish Precision Grading Panel, read more
– Mamba FX is now available on Linux and soon on MAC! read more
– Preview of the Mistika V8.2 Spatial Isolation Toolset, read more
Mistika Post – Powerfully Different
Designed to be different, SGO unveils its new Mistika range based on accelerated optimum performance levels, namely Mistika Post, Mistika Optima and Mistika Ultima in version 8.0. Radically crossing the boundaries between grading, compositing and editing for ultimate creative freedom in real time, Mistika seamlessly merges all post disciplines for broadcast and film. All projects, irrespective of size, can be completed on any Mistika system, with the fastest being Mistika Ultima, handling HFR capabilities, 4K and beyond, in real time. New features include a Spatial Isolation Toolset with the ability to allow grading selections or keying mattes to be derived from CGI object meta data. Other new key features in version 8.0 include 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. SGO will also showcase Mistika on other booths at NAB, with updated information soon to be made available on the SGO website.
Mistika Air – Intelligent Broadcasting
Mistika Air is a specific version of Mistika especially tailored for broadcasters of HD, Ultra HD and beyond. Mistika Air Ultra allows for even greater speed and throughput in a crowded multi-platform environment that caters for the delivery of high resolution programmes, which are swiftly becoming the standard. Mistika provides a viable and stress-tested solution which promotes seamless integration and high-end production tools for HD, Ultra HD and 8K productions. Mistika also boasts 4K HFR modes at 59p and 60p speeds for the UHD market, supported through the QuadSDI standard.
Mamba FX – Evolution Redefined
Mamba FX is SGO’s affordable and very powerful, open, node-based compositor introduced at NAB for the first time since its initial launch at IBC2013. It displays an intuitive node-based graphic interface delivering an integral visual effects suite with unlimited compositing layers and effects. Mamba FX can also be extended with OFX plug-ins or additional options from SGO. These options include DCP creation and access to SGO’s unbeatable stereo correction tools. Mamba FX is available to order online at www.sgo.es/shop including access to tutorials and forum support.
Miguel Angel Doncel, CEO of SGO says “What keeps SGO’s technology at the forefront of cutting-edge innovation is that we are continuously creating radically cool new solutions that transcend traditional film and broadcasting. We are not hesitant to embrace change in new ways in the best interests of the industry that we passionately serve.”
Geoff Mills, SGO’s Director of Global Sales & Operations adds “SGO is enjoying continued growth around the world as more and more people adopt our products. Customers are drawn to agile technology that gears them up for every potential encounter. SGO’s future-ready dependability and foresight enables customers to prepare for any project of any size, at any time, anywhere, right now and in the future.”
SGO appreciates the dedicated support of technology partners ATTO Tech, Bright Technologies, Canon, Dolby, Dot Hill, DVS, HP, NVIDIA and Tangent Devices at the show this year. Look out for further NAB announcements on SGO’s website as the event date draws closer.
Book your Mistika Demo at firstname.lastname@example.org and register for NAB at www.nabshow.com using Guest Pass Code: LV9255. Feel the difference at the SGO Booth – the SGO team looks forward to welcoming you to enjoy their technology.
NAB Show® is the world’s largest electronic media show covering filmed entertainment and the development, management and delivery of content across all mediums. With more than 93,000 Attendees from 156 countries and 1,550+ Exhibitors, NAB Show is the ultimate marketplace for digital media and entertainment.
Visit them at www.nabshow.com
Press Release Date: 28 February 2014, Madrid, Spain
Swedish Feature film Ömheten was conformed, graded and finished in Mistika by Colourist Sebastian Guest for DCP deliverables, at Europa Sound and Vision’s brand new picture facility in Stockholm. Ömheten also recently won The Guldbagge Award (Sweden’s equivalent of the Oscars) for Best Cinematography which was awarded to DoP Petrus Sjövik.
Mattias Segnestam, Chief Operating Officer at Europa Sound and Vision says “Europa Sound and Vision’s eminently comfortable and feature-rich suite hosted Ömheten as its very first feature-length project. We featured a 5m canvas, Barco projection (the same as in 90% of Sweden’s cinemas) and cinematic sound by JBL. The facility runs four Mistika systems, giving advantage both in terms of workflow efficiency and inherent redundancy.”
Colourist Sebastian Guest talks about his involvement in the film, “I worked on “Ömheten” with DoP Petrus Sjövik last year. The backdrop of the movie is the old northern mining town of Kiruna, part of which had to be relocated due to the now unstable terrain beneath. We followed the ‘day-to-day’ life experiences of a number of young people living there.” Sebastian adds further, “Visually, our goal throughout was to maintain a soft look that flattered the characters and nature, contrasting with the difficulties our characters faced, in a part of the country where conditions can be harsh and lives are in many ways defined by the mine and mining. It is very much a picture-driven feature (there is little dialogue). The soft look is particularly important for the moments of ‘tenderness’ (the literal translation of the movie’s title) which punctuate the feature.”
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