Mistika to be used on new Feature Film Torrente 5
Madrid, Spain, 20th January 2014 – One of Spain’s most prominent and established post production companies, Free Your Mind, has invested in another Mistika DI and Finishing 2K System. The purchase of a second Mistika system indicates their move to further reinforce the company’s current infrastructure to maximise on commercial and film production strengths. Equally at home at Free Your Mind making short-form commercials or long-form series, Mistika provides the most complete and extensive range of features that their skilled creatives need and enjoy making the most of. The Mistika systems are already an asset and help free-up creative time for compositors, colourists and digital artists.
José Luis Acha, SGO’s Regional Sales Manager comments, “This is a very exciting time for Free Your Mind as they recognise that Mistika is the perfect system for them in a competitive sector and a vital component to help accelerate their growth strategy. With Mistika’s world-leading technology and advanced toolsets at their finger tips, they are sending out a clear message that they are a company that thinks ahead. SGO is proud to continue the warm relationship with Free Your Mind and supports them in all their creative and commercial decisions now, and in the future.”
Mistika’s unique capabilities include stunning colour grading toolsets, optical flow, RAW format and codec support, real-time performance, openness, speed, DCP creation, High Resolutions (UHD), unrivalled Stereo 3D and the ability to serve as a central hub for complex workflows.
Free Your Mind is associated with big brand name commercials, many of which have been directed by Alex de la Iglesia using Mistika, namely Vodafone Yu – Hugo Silva for sale, National Lottery, Gillette, Burger King, Verti, PlayStation Vita and many others. Feature films post produced using Mistika at Free Your Mind include Combustion directed by Daniel Carlparsoro for Zeta Audiovisual and Tres60 directed by Alex Ezkurdia for Bowfinger International. Other Spanish films using Mistika include La isla mínima and A night in old México.
About Free Your Mind
Free Your Mind is a motion graphics and post production house with 10 years of substantial experience behind them. The company has post produced over a dozen released films, along with several stunning commercials productions. The facility consists of many suites that offer services that cater for the entire post production process, from editing, compositing, colour grading through to sound and deliveries. The powerful new Mistika suites at Free Your Mind are available for real-time customer-attended sessions allowing for immediate professional client interaction.
Breathtaking 7-Screen Projection Work-of-Art
“Mistika’s ability to work from the RED files so well, and at such a high resolution, meant it was perfectly suited to this kind of project.”
Thomas Urbye, Colourist, THE LOOK
The seven-screen projection is made up of five films at 5K resolution with 30Tb of RED material conformed on The Look’s Mistika system. Colourist Thomas Urbye graded from the RAW RED files using Mistika’s advanced grading toolset, initially grading each screen, and then combining all seven into Mistika’s unique grouping mode for client review on The Look’s 4m projection screen. Complex visual effects were completed by The Look’s VFX partners Lexhag and imported into Mistika to maximise the dynamic range.
The films were shot in London, Dubai and Iceland on the RED EPIC and feature James Franco, Colin Salmon, Maggie Cheung, Ingvar Eggert Sigurğsson and Mercedes Cabral. A shorter single screen version of the work was shown in New York’s Time Square in December and at Metro Pictures Gallery. Further details about the project can be found here and here.
Artist / Director: Isaac Julien
Post facility: THE LOOK
Colourist: Thomas Urbye
Finishing: Jason Wallis
Editing: Adam Finch
Grading System: SGO Mistika
Mistika’s Award-Winning Grading and Workflow Technology plays a Crucial Role
Wellington, New Zealand, 13 January 2014 – SGO’s award-winning Mistika DI Colour Grading post systems form the core at Park Road Post Production and were utilised again in epic fantasy film The Hobbit: The Desolation of Smaug, a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), the second film in The Hobbit Trilogy directed by Peter Jackson.
Mistika’s involvement at Park Road included supporting on-set services and screening HFR digital dailies, all the way through to the DI online, stereoscopic work and stunning final grade for the film. The world-class facility boasts impressive purpose-built state-of-the-art DI theatres for both high-end 2D and stereoscopic finishing work, supported by Mistika 4K/Stereoscopic master systems combined with dedicated finishing suites with matching SGO technology and shared storage for speed and fluidity between their online editors and colourists.
Supervising Digital Colourist for The Hobbit: The Desolation of Smaug Trish Cahill worked with a team at Park Road alongside Lead DI Colourist Vickie-Lynn Roy, using Mistika’s world-leading colour grading toolsets to complement the second film’s darker and richer narrative as the company head through Middle-earth toward both Erebor and, of course, Smaug – the extraordinary creature brought to life by Benedict Cumberbatch and the VFX geniuses of Weta Digital.
“At Park Road we are inspired by filmmakers who share our constant desire to push storytelling tools forward. That motivation allows us to deliver world-leading results for our clients which never let technology take the lead, but which give us compelling colour grading tools with which to achieve a director’s vision. The Mistika is simply a great asset creatively and technically, and is at the core of our work on this incredible production.”
Trish further explains the DI process using Mistika and how she put her creativity to work behind the head-spinning action scenes and help enhance the picture-book beauty in The Hobbit: The Desolation of Smaug.
“Park Road choose tools which are not only scalable and technically deep, but have truly focussed on using those tools as enablers for creative expression. With the Mistika we were able to work interactively with the production, at High Frame Rate, taking the unique looks developed for the second film and extending them in the final grade sessions to focus on visual narrative. The best thing about great tools is they enable us to work with filmmakers to bring the world they imagined to life.”
Vickie-Lynn expands explaining some of the technical intricacies behind the scenes, “Beyond the look development undertaken prior to the final online sessions, such as the variable ‘lens’ effects built entirely in the Mistika, we were able to effortlessly fold in highly technical requirements for specific shots – such as deep mattes, themselves mathematically driving complex grade and stereo effects – all on the same platform, and all the time running critical stereo work in parallel with the ongoing look refinement, as the team headed towards the final delivery.”
Lead Stereographer Meetal Gokul explains “The interaction of grade and stereo is so often underestimated, so at Park Road we work in parallel – with any screening format, 2D or 3D, available for review at any time. The stereo toolset in the Mistika was definitely used to its fullest for the second film in the Trilogy, and as always my team’s focus is on an incredible 3D experience which drives the story forward. This film is amazing, and the Mistika continues to provide exactly the right platform to service productions of any scale.”
Head of Technology at Park Road Phil Oatley confirms “We rely on the capability of SGO’s Mistika when creating stunning content for all our clients. Once again, on a ground-breaking production of this magnitude, Mistika has provided a proven and reliable architecture that was both flexible and robust, giving us the immense speed we required. It is a huge advantage to work on one unified platform, and the Mistika combines immense power with remarkable versatility.”
It took Park Road Post Production, together with SGO, years of research, development, testing and refinement to create the unique workflow for The Hobbit Trilogy. The Hobbit: An Unexpected Journey realised a new technical and aesthetic standard. Workflow Architect Anthony Pratt played a pivotal role in developing Park Road Digital Cinema, VFX and 3D workflows and is part of the lead team that designed the world’s first HFR-3D workflow. “The pipeline we have built around SGO’s tools is seamless both for the client and for our team. The core of our entire pipeline was enabled by the dedication, support and innovation of the team at SGO, and use of the Mistika as our primary platform. We were delighted to put it to work again on The Hobbit: The Desolation of Smaug.” Tony adds, “Mistika has not only energised our team, and replaced the previous ‘heavy-iron’ infrastructure at Park Road, but is the absolute heart of servicing large-scale productions and with timeliness previously impossible to achieve.”
Park Road, with technology partner SGO, also won the industry’s prestigious IBC2013 Innovation Awards for their pioneering work building the World’s First HFR-3D post workflow. The 2013 IBC International Honour for Excellence was also presented to Sir Peter Jackson. In addition, SGO received the coveted International 3D Society’s 3D Technology Lumière Award for its Mistika finishing and colour grading system and for advancements in Stereo 3D and Ultra HD technology, a highly complimentary recognition alongside Park Road’s receipt of a Lumière Award recognizing their HFR Pipeline.
SGO’s Director of Global Sales and Operations Geoff Mills affirms “We are very proud that Mistika continues to play an integral role at companies of such a high calibre such as Park Road, in yet another exceptional feature film delivery as part of The Hobbit Trilogy. The team at Park Road continue to stretch the boundaries of film production and SGO eagerly supports them with current and future project work.”
CEO of SGO Miguel Angel Doncel asserts “Park Road’s highly creative and brilliant technical teams rely on advanced technology that grows with them. The loyal relationship that exists between our two companies, and which we cherish, has grown stronger than ever, and is a significant testament to our shared commitment to quality and innovation to remain on the very edge of new filmmaking technologies now and in the future.”
The second film in The Hobbit Trilogy follows the Hobbit Bilbo Baggins (Martin Freeman), the Wizard Gandalf (Ian McKellen) and 13 Dwarves, led by Thorin Oakenshield (Richard Armitage), as they continue their journey to reclaim the Dwarf Kingdom of Erebor. Along the way they encounter the skin-changer Beorn, giant Spiders of Mirkwood, Wood-elves led by Legolas (Orlando Bloom), Tauriel (Evangeline Lilly), and King Thranduil (Lee Pace), and a mysterious Man named Bard (Luke Evans), who smuggles them into Lake-town. Finally reaching the Lonely Mountain, they face their greatest danger – the Dragon Smaug (Benedict Cumberbatch).
The Hobbit: The Desolation of Smaug topped the worldwide box office, crossing the $500 million mark in its first two weeks of release. The film began releasing in markets as of 11 December 2013, and is currently showing in cinemas in HFR 3D, IMAX 3D and 2D. Visit the official movie website at www.thehobbit.net/
ABOUT PARK ROAD POST PRODUCTION
A premier post production facility located in Wellington, New Zealand. Developed by filmmakers for filmmakers, Park Road offers a relaxing and inspiring environment for filmmakers to realise their vision. Park Road was established as a one-stop shop with world-class integrated picture and sound departments all under one roof. Park Road is uniquely placed to supply all post services for a feature from on-set support, rushes, stereoscopic alignment, digital intermediate, foley and sound mixing through to the final completion of all film and digital deliverables for distribution. Visit them at: www.parkroad.co.nz
ABOUT THE HOBBIT: THE DESOLATION OF SMAUG
From Academy Award®-winning filmmaker Peter Jackson comes The Hobbit: The Desolation of Smaug, the second in a trilogy of films adapting the enduringly popular masterpiece The Hobbit, by J.R.R. Tolkien. The screenplay for The Hobbit: The Desolation of Smaug is by Fran Walsh & Philippa Boyens & Peter Jackson & Guillermo del Toro based on the novel by J.R.R. Tolkien. Jackson also produced the film, together with Carolynne Cunningham, Zane Weiner and Fran Walsh. The executive producers are Alan Horn, Toby Emmerich, Ken Kamins and Carolyn Blackwood, with Philippa Boyens and Eileen Moran serving as co-producers.
“The Hobbit: The Desolation of Smaug” is a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), with New Line managing production. Warner Bros. Pictures is handling worldwide theatrical distribution, with select international territories as well as all international television distribution being handled by MGM. www.thehobbit.net
“Mistika was the only viable choice. SGO’s technology offered a coherent all-in-one piece of kit with fast turnaround of the kind of high quality stereo finishing that was required on every shot of the show.
Mistika gave us the power to achieve advanced stereo refinements that just weren’t an option on any other system.
Mistika’s advanced stereo toolset proved so capable that we actually ended up downgrading a number of challenging shots out of VFX and into the Mistika where we could make improvements more quickly, saving time and allowing us to keep the VFX budget down.”
David Wigram, Stereo 3D Consultant, Doctor Who 50th Anniversary Episode
Mistika’s involvement included the conform, online and stereo 3D finishing work. Every frame of the iconic Doctor Who show went through Mistika, prior to the delivery of both the 2D and Stereoscopic 3D versions.
DOCTOR WHO ONE-OFF SPECIAL MAKES GUINNESS WORLD RECORDS
Part of British popular culture, Doctor Who has influenced generations of television professionals, many of whom grew up watching the series. Starring Matt Smith, David Tennant and Jenna Coleman with Billie Piper and John Hurt, the 75 minute BBC Cymru Wales produced anniversary episode was seen on BBC One and was also broadcast on three BBC channels and shown in cinemas across the country, and top of the box-office draw of the night. The one-off special was the most requested programme ever on BBC iPlayer in 24 hours with 1.27 million requests, beating the Olympic opening ceremony, and is also the most tweeted drama ever.
The programme is listed in the Guinness World Records as the longest-running science fiction television show in the world, the “most successful” science fiction series of all time and now for the largest ever simulcast of a TV drama with its 50th anniversary special, airing in 94 countries and also shown in 834 cinemas around the world.
DOCTOR WHO IS WORLD’S FIRST MAJOR TV DRAMA FILMED IN NATIVE STEREO 3D
The Doctor Who 50th Anniversary episode was the world’s first major television drama to be filmed in native Stereo 3D (S3D) providing a natural and vivid experience for the viewer. Steven Moffat and the Doctor Who producers wanted to give audiences a memorable experience for the show’s 50th birthday, by choosing to bring their ambitious story to life in the immersive S3D genre for maximum impact.
THE VFX TEAM DELIVERED GROUND-BREAKING RESULTS
Following the enthusiastic lead of Producer Marcus Wilson, the Doctor Who team broke new ground both in terms of affordability, and in freeing the director from limitations normally associated with 3D. The team which included Lead Stereographer Adam Sculthorp and Stereo 3D Consultant David Wigram successfully delivered an excellent 3D programme that can be appreciated on the big screen as well as at home on TV.
David Wigram emphasises Mistika’s reliable capabilities from the outset, “During the testing phase, it was determined that one of the VFX teams had a gamma inconsistency somewhere in their pipeline when working directly with the ARRI ALEXA camera originals, so we used Mistika to take everything into high bit-depth DPX so that they were successfully able to round-trip without error.”
Director Nick Hurran and Steven Moffat, filmed the feature-length project in S3D. “The show was originated at 1080p 25 on the Alexa, with some high speed sequences shot at 4K on RED Epics.” Adam confirmed. Director of Photography Neville Kidd tested various combinations of lenses before selecting ARRI Ultra Primes. Consistency was maintained with the regular Doctor Who production, which was always filmed using ARRI’s cameras, choosing the AlexaM light weight hand-held camera for this episode.
David explains further, “The tools driven by optical flow in Mistika also helped us out of a particularly tricky issue with a rolling shutter that caused very slight temporal artefacts. It occurred at the camera stage and fortunately was noted fairly early on in the shoot, and Mistika came to the rescue of solving a large number of non-traditional stereo refinements. In other situations these would have been upgraded to full VFX shots, but the optical flow tools in Mistika clamped down on the eye-to-eye differences with just a couple of simple clicks, and left us with a comfortable viewing experience.”
MISTIKA’S STEREO FINISHING TOOLS SET EACH SHOT IN S3D SPACE
Supported by long-standing Post Supervisor Nerys Davies, David Wigram set up a picture workflow that allowed each VFX supplier to keep their internal data-flow the same. Unlike 2D productions, every shot in S3D needed to go through a special online Stereo 3D finishing process to make sure it was comfortable to view, before the creative depth-grade which sets each shot in S3D space. The industry-leading Mistika was used for the conform, online and Stereo 3D “fixes” in post giving complete control over the stereo image and was achieved by David using the Mistika suite based at The Look in London’s Soho.
CEO and award-winning Colourist at The Look, Thomas Urbye states “We were thrilled to provide our Mistika based Stereoscopic facilities for consultant David Wigram to use for such an important and well loved show.”
David Wigram expands “When creating a picture workflow we looked at other options for the stereo finishing stage, including combinations of different manufacturer’s offerings, but Mistika was the only viable choice.” David continued “SGO’s technology offered a coherent all-in-one piece of kit with fast turnaround of the kind of high quality stereo finishing that was required on every shot of the show. Over and above that, Mistika gave us the power to achieve advanced stereo refinements that just weren’t an option on any other system.”
David added further “Mistika’s advanced stereo toolset proved so capable that we actually ended up downgrading a number of challenging shots out of VFX and into the Mistika where we could make improvements more quickly, saving time and allowing us to keep the VFX budget down.”
Special effects can prove challenging with S3D productions and David Wigram also provided assistance and feedback throughout the VFX process, from shot design to compositing in Mistika, making sure the 3D was the best it could be. Director Nick Hurran tested with Real SFX to get the right combination of explosives and shooting style to get the most out of the 3D. Millennium FX adjusted their creature effects and prosthetics to minimise issues associated with stereoscopic shiny surfaces. The visual effects were spread across a number of companies, with Jellyfish working on the hero Zygon transformation, Bluebolt providing the Digital Matte Paintings of the desert, and BBC Wales providing laser blasts, holograms and flying composites. The BAFTA Award-winning team at Milk did the majority of work including full CG shots of Dalek ships and aerial attack runs over Arcadia, as well as all the key 3D painting effects, and the challenging portal composites.
David concludes “At key emotional points in the episode we were offered extreme close-ups of the Doctors, and the shots came to us with significant differences in the sharpness between the left and right eyes. The most common stereo improvement technique in this type of scenario is to perform a 2D to 3D conversion with the sharper eye, but in Mistika we were able to bring back the sharpness in the soft eye selectively across the frame. This gave us a pair of images matched in sharpness and clarity that, nonetheless, maintained the unique glistening quality characteristic of a native stereo image, something that couldn’t have been achieved through conversion techniques, thanks to Mistika.”
ABOUT DOCTOR WHO
Doctor Who is a British science-fiction television programme produced by the BBC. It follows the adventures of a Time Lord time-travelling humanoid alien known as The Doctor. He explores the universe in a TARDIS, a sentient time-travelling space ship, appearing as a blue British police box, a common sight in 1960’s Britain when the series first aired. The Doctor faces enemies while trying to save civilisations and help every day people. Further information about the special Doctor Who 50th Anniversary episode can be found here and here.
SOME KEY POST CREDITS INCLUDE:
Executive Producers Steven Moffat and Faith Penhale
Producer Marcus Wilson
Lead Stereographer Adam Sculthorp
Post Supervisor Nerys Davies
Stereo 3D Consultant David Wigram using Mistika at The Look in Soho, London owned by Thomas Urbye
Post Production System for online, conform, and Stereo 3D refinements – SGO’s Mistika
17 & 18 January 2014 @ Event Lounge, Bd. Général Wahislaan 16F, 1030 Brussels
Brussels-based Studio l’Equipe, one of Belgium’s leading post production facilities will be demonstrating Mistika’s award-winning Ultra HD capabilities at the Event Lounge at Action 14.Mistika was Studio l’Equipe’s answer to the versatile tool they were looking for, that could go well beyond colour grading.
Visit Studio l’Equipe at Action 14 and find out how Mistika meets the demands of a rapidly changing and highly competitive film and broadcast market.
Philippe Bosman, Studio l’Equipe’s CEO stated recently – “We have literally acquired one of the best colour grading systems around from SGO – the Mistika …The past 5 years have brought a significant change in the industry, with increasingly advanced high-end digital cameras, and the challenges that come with them, which include file capture and colour space formats. Digital projection has also taken over from 35mm at tremendous speed, bringing new exciting developments such as 48 or 60 frames per second and 4K technology, where Mistika leads in this area.”
Mistika offers total support for many cameras including those from Sony, Canon, ARRI and RED with highly paralleled codecs making a significant difference in speed compared to other systems – critical when working at 4K in broadcasting. Mistika also comes with the most complete 4K video-board (4K QuadHDMI / 4K QuadDVI, 4K QuadSDI option both 1.5Gbit and 3G, single connector 4K connection over HDMI 1.4, 4K HFR). Mistika also now boasts a new feature as announced at IBC2013 for the UHD market, delivering new 4K HFR modes at 59p and 60p speeds, supported through the QuadSDI standard.
Marking its 50th anniversary last year, Studio l’Equipe, with two sites in Belgium and one in France, is the only full service post production studio in Belgium to offer comprehensive post production facilities at a single site. The company’s various departments consist of state-of-the-art film, rushes and digital labs offering editing, colour grading, sound, subtitling and screening services.
Films and documentaries currently being post produced using Mistika at Studio l’Equipe include Welcome to Fukushima, Le Prix du Pain, Algerian feature Titi, Chez Nous, C’est 3, Dutch feature Zwarte Zee and shortfilm titled Eliot. The company has worked on many other feature film projects with titles that include Number Station, A Perdre la Raison; Little Black Spiders; Sammy 2 3D and Maddened by his Absence.
Visit Studio l’Equipe at www.studio-equipe.be/
To find out more about Action 14, visit http://m.cmotion.eu/shop/upcoming-trade-shows#action14
To find out more about the venue, visit http://www.eventlounge.be/facilities/lounge-bar-area/
WorleyWorks, LLC. is ahead of the Game Investing in New York’s very first Mistika
Already Hard at Work in a City that Never Sleeps
Brooklyn, New York, 7 January 2014 – WorleyWorks, LLC., a dynamic 2D/3D post stereoscopic production and motion capture studio has become the first East Coast company to invest in a Mistika 4K Post Production Solution from SGO’s official North American reseller partner AArmadillo. The Mistika system will be integrated into the facility providing world-class 2D and stereoscopic 3D grading, finishing and delivery. Founded by Greg and Minah Worley, WorleyWorks, LLC. provides a host of boutique services in 2D and High Frame Rate Stereo 3D production, 4K post production including DI colour grading and compositing, high-speed lighting, green screen (Composite Component’s Digital Green), and motion capture for high-profile clients that include Paramount, MTV, Viacom and many more.
“We chose Mistika because it is the most intuitive system in the industry and forms the next step-up in our expansion by enabling us to support and reinforce complex 3D 4K productions as well as exciting 2D post projects. SGO attracted our attention as a company rapidly innovating and changing their field which appealed to us, as well as their high level of support on offer. Having a Mistika on board certainly helps to validate our offerings as it is such a well-respected and powerful system,” says Greg Worley Co-Founder and CEO of WorleyWorks, LLC. Expanding further he adds “We started by building stereoscopic 3D systems utilising Stereolab’s PURE Stereo 3D analyser with live analysis and rig correction, enabling the use of zoom lenses and fast initial alignment after changing prime lenses. This was then followed by the addition of matched Cooke primes, global shutter f55s, and Aladin MK2 motorisation on Stereotec Light Weight rigs. Although, WorleyWorks, LLC.’s speciality is 3D we also deliver a wonderful 2D post experience which Mistika’s versatility will also fully support and enhance tremendously well. So, we are absolutely thrilled to now have Mistika’s award-winning technology to join the ranks at WorleyWorks, LLC.”
SGO’s Director of Global Sales and Operations, Geoff Mills confirms “SGO received further recognition last year by winning the prestigious Lumière Award for its Mistika finishing and colour grading system, and for advancements in Stereo 3D and Ultra HD technology, and specifically, due to its impact and innovation in the market. This is testament to the fact that Mistika’s advanced toolsets in both 2D and S3D, are of the highest standard, and are setting new performance and flexibility benchmarks in the entertainment industry today. They play an integral role in professional facilities of WorleyWorks, LLC.’s calibre and in their growth and ongoing expansion. We are absolutely delighted to welcome WorleyWorks, LLC. as an important member of the growing SGO Mistika community and look forward to a long-standing relationship with them.”
Recent high-profile projects using Mistika include The Hobbit: The Desolation of Smaug, Justin and the Knights of Valour, Star Trek into Darkness, The Great Gatsby, Stalingrad and many others in 2D and 3D for film and television.
About WorleyWorks, LLC.
With a passion to share their expertise and help their clients achieve their dreams, WorleyWorks, LLC.’s stereo department offers a vertically integrated 2D and High Frame Rate Stereoscopic 3D experience with the highest quality 3D production equipment available on the market today with award-winning 3D Mirror Rigs by Stereotec, real-time 3D analyzer PURE by StereoLabs, high-speed specialized lighting rentals appropriate for their camera systems and high-end post production services using SGO’s Mistika. Their motion capture stage is based on a 24 camera PhaseSpace system providing real time pre-visualization and high quality robust marker tracking. Visit them at www.worleyworks.com
Contact: firstname.lastname@example.org or call (646) 797-2941.
“I was impressed with how the Spanish Mistika technology which we have embraced at KANDOR Graphics enhanced Justin and the Knights of Valour in Stereo 3D. It is great to see passionate companies like SGO contribute to innovation in our industry in such a significant way.”
Manuel Sicilia, Company Partner & Chief Creative Officer of KANDOR Graphics & Director & Author of Justin and the Knights of Valour
ARRI also chose Mistika to Finish Engaging 4K Feature Film “Run Boy Run”
Berlin, Germany, 18 October 2013 – Strategically placed in the centre of the trendy Mitte area of Berlin, brand new post production house ARRI Mitte has emerged and has invested in a Mistika 4K DI post production system from SGO’s German Reseller creative tools, to service its high-end commercial and feature film projects. ARRI Mitte is the second facility related to the established parent company ARRI Film and TV Services Berlin GmbH and works on feature films by leading directors and with blue-chip clients for big brand names for ad campaigns for the likes of McDonald’s, VW, Nikon, Fiat, Mobile.de, SKY, Danone Activia, Vodafone, Schweppes, BMW, Toshiba, Goretex, Sony Ericsson, Lipton Ice Tea and many others.
SGO Mistika’s Unique workflow helped to produce world’s first HFR Stereo 3D in The Hobbit Trilogy
IBC2013, Amsterdam, 20th September 2013 – SGO is thrilled to announce that Park Road Post Production won an IBC2013 Innovation Award for their pioneering work on The Hobbit: An Unexpected Journey, a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM) – the world’s first High Frame Rate Stereoscopic 3D feature film – directed by Peter Jackson. Arguably one of the most significant developments in the last 80 years of cinema, Park Road – with technology partner SGO – spearheaded innovation throughout the acquisition and post production pipeline that provides new creative opportunities to all filmmakers, and a new exciting experience for film audiences.
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