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
SGO’s Development Team Honored for Mistika Innovation and Impact in the Industry
Hollywood, 5 September 2013 – Spanish developer SGO receives the prestigious International 3D Society’s 3D Technology Lumiere Award for its Mistika finishing and color grading system for advancements in Stereo 3D and Ultra HD technology. The Lumiere Technology Awards are voted by a professional awards committee via balloting where the judges recommended SGO’s Mistika for the top tier award, specifically due to its impact and innovation in the marketplace. SGO will be honored at a ceremony in Hollywood which takes place on the 18th September, where Geoff Mills, Director of SGO Global Sales and Operations, will receive the Award on behalf of the pioneering technology team.
Mistika powers up with NVIDIA to increase interactivity and HFR support
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Sandeep Gupte, senior director of Product Marketing for the Quadro professional graphics business at NVIDIA
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