World Première in Official Selection of the Berlin International Film Festival 2015
Wim Wenders’ production company Neue Road Movies entrusted online artist Christian Tröger and SGO’s Mistika at ARRI Mitte to complete the post production of “Every Thing Will Be Fine”.
The film celebrates its World Première in the Official Selection at the 65th Berlin International Film Festival this week. It was produced by Gian-Piero Ringel with DoP Benoît Debie, and director of stereography, Joséphine Derobe. Director Wim Wenders was also nominated for three Oscar© Awards for Buena Vista Social Club, PINA and The Salt of the Earth.
Christian Tröger is a key member of the creative team at ARRI Mitte’s state-of-the-art facility, in the heart of Berlin. He chose Mistika to perform the online, conform, depth grading, finishing and subtitling in the film. The solid relationship that exists between Neue Road Movies and the team at ARRI Mitte dates back to 2008, when they worked together on high-profile films such as Palermo Shooting, PINA, and most recently, all six episodes of Cathedrals of Culture.
“Mistika has established a successful track record which has made a lasting impression on our clients. The system played a central role in the post production of many complex film projects, and always served as the main hub for each department. Aware of how incredibly reliable and powerful the Mistika is from previous experience, it was great when Neue Road Movies approached us to do it all over again for “Every Thing Will Be Fine”, notes Christian.
“Mistika was an asset at every stage of the project. It handled the native camera formats and was involved in overcoming challenges throughout the entire post process for the 2K-S3D delivery.” Christian reflects. “Mistika’s efficiency and speed enabled the team at ARRI Mitte to expediently execute the depth-grade at the same time as the colour grade, in two separate suites and dedicated artists. This also had a unifying effect by including the DoP, Director and Stereographer into the post production process and enabling the completion of the project’s final stages to take place collaboratively.”
Synergy of A Perfect Timeline in a Mistika-Centred Workflow
Christian briefly describes the harmonious workflow process at ARRI Mitte and how it helped to bring about a productive outcome, “Our Mistika-driven workflow ensured that the online and conform always led to a perfect stereo timeline which only ever required touching-up colour grading-wise, for the final look. The shared pipeline also catered for the VFX department that required perfectly aligned images for precise tracking and roto-scoping tasks. It meant that right from the start, the colorist’s source files were adjusted and received directly from the Mistika timelines.”
Christian adds further, “Step-by-step, the final depth-graded version took form within a 2K-framed scope 16bit file. Mistika perfectly stereo-matched the left and right eye images that were made at earlier stages of the two symbiotic grading sessions. The synergy between the colour and depth grading suites are now part of the standard procedure at ARRI Mitte, owing to Mistika’s unique capabilities and polished toolset. We have a streamlined process in place here now which is a time-efficient way to work.”
The Finer Details in Clever Subtitling Techniques
During two weeks of grading, the subtitle versions were then prepared over various shifts in a dedicated Mistika timeline created by using the DCI XMLs. Oscar award-winning director Wim Wenders and stereographer Josephine Derobe were eager to present the subtitled version of the film to the festival in a more creative way. They wanted the subtitles to appear outside of the film’s frame. Although it is not a convenient design for distribution purposes, they knew it would work well for a première.
Christian explains how they designed it, “We conducted a few tests to set-up a scope picture inside a flat DCP, but with very low luminance and within the “letterbox” shape of the film frame itself.” He continues, “Darkening the images helped to eliminate “ghosting” and we kept the image as clean as when it had first originally been shot by the DoP. I then finished the scope and continued working with the finals in the prepared subtitle environment, which retained all the metadata, leading to a flat derivative with subs. We then spent an additional session concentrating fully on defining the detailed depth of each sub for the final stereoscopic version. This formed the foundation template from which all of the other language versions were to proceed from later on.”
Mistika’s Interactivity Made “On-Demand Screening” a Breeze
Another great advantage of having Mistika on board was that both the director and stereographer could quite comfortably focus on their own specific areas at their own convenience. Mistika’s immediacy, speed and real-time capacity, along with its batch render, played a crucial role in making this a reality.
“It literally took us a matter of minutes to combine their respective depth and colour grading work for prompt viewing on a big screen at our in-house theatre.” Christian reveals. “We called them “On-Demand Screening Sessions” and they were designed to be delivered on impulse and as often as the client required for their visual ease which Mistika smoothly facilitated.”
Christian expands, “It was a great opportunity for our clients to address and analyse various elements in the dedicated sessions, and always in regard of one another. They were able to see what a decision about contrasts in the colour-timing session would look like, for example, combined with a certain depth budget defined at the same time in the other suite. Another illustration was how the VFX and depth of a certain scene would come across with a different look, and so forth. This coefficient workflow was down to Mistika’s flexibility and would not have been possible if the software was not able to connect openly with our existing technology and communication modes that most modern post facilities like ours comes with.”
Stereographer Joséphine Derobe says, “As a stereographer, I have worked with a variety of companies in Europe that use Mistika. I believe in SGO’s remarkable technology and admire its accuracy, versatility and beautiful toolset, that provides me with a plethora of options to choose from in order to deliver a truly great picture with sheen, even after filming has taken place.”
Christian and the team at ARRI Mitte achieved exceptionally high quality results and met the tight deadlines and high-level demands with coordinated professionalism that an international feature film involves. Christian closes with the following statement, “As a Mistika operator, I have the confidence that I can deliver uncompromising image quality perfection of the highest standards to our clients – producers and creatives on all of our projects. I can therefore conclude by echoing this specific film title, that “Everything Was Absolutely Fine with Mistika at ARRI Mitte” and the production team was very pleased with the results.”
“Every Thing Will Be Fine” is based on a script written by Bjørn Olaf Johannessen, which portrays a traumatised writer’s life-changing struggle to make sense of what happened after accidentally running over and killing a child. It will be released in cinema theatres on 2nd April 2015.
SOME OF THE CREDITS INCLUDE
Post Production System and Technology – SGO’s Mistika
Post Production Facility – ARRI Mitte Berlin
Online Editor – Christian Troeger
Cast: James Franco, Charlotte Gainsbourg, Rachel McAdams, Marie-Josée Croze
Director: Wim Wenders
Script: Bjørn Olaf Johannessen
Producer: Gian-Piero Ringel
Director of Photography: Benoît Debie
Stereographer: Joséphine Derobe
Music: Alexandre Desplat
3D Producer: Erwin M. Schmidt
World Sales: HanWay Films
Release Date – 2 April 2015 distributed by Warner Bros.
ABOUT ARRI MITTE
Arri Film & TV Services Berlin GmbH, Auguststr. 48, 10119 Berlin , Phone +49 30 726267-150
Visit them at http://www.arrimitte.de/en/
ABOUT NEUE ROAD MOVIES
Berlin based independent production company NEUE ROAD MOVIES was established in 2008 by director/producer Wim Wenders and producer Gian-Piero Ringel. The company is dedicated to working with innovative directors and focuses on international co-productions with a crossover potential. The producers in the company are Wim Wenders and Gian-Piero Ringel. They are supported by Martina Hedwig, Bernadette Kamp and Christine Rennert.
Contact: Neue Road Movies GmbH, Saarbrücker Straße 24, D-10405 Berlin, fon: +49 30 8145293 50; fax: +49 30 8145293 75
Visit them at www.neueroadmovies.com
AArmadillo supplies Mistika Precision Panels for Expanding Grading Department.
WorleyWorks, LLC. has added a Mistika Precision Color Grading Panel from SGO to furnish its expanding grading department in response to demand for one-stop color and finishing services. With the support of SGO’s local partner, AArmadillo, it has stepped-up to industry-leading grading technology to deliver the best finish.
WorleyWorks became the first New York studio to invest in Mistika. Having recently added a second system earlier this year, they have now integrated Mistika and new panels into their workflow. The company’s two Mistika systems play a vital role, where one is used as the predominant client-facing “Hero” suite and the second for back-ups or on set purposes. WorleyWorks has created a niche in the feature film and commercials markets by working with some of the world’s most creative directors such as Sharmeen Obaid Chinoy and Ang Lee, where they produced one of the country’s first High Frame Rate-Stereo 3D-2K 60p workflows.
Jack Reynolds, WorleyWorks DI Colorist states, “The precision panel is the final piece of the puzzle for us, the real-time performance of Mistika has always been a massive asset when working against tight deadlines, when you combine this with the added tactile control and custom mapping features of the precision panel, you create an environment where creativity and efficiency can coexist. The more efficient our pipeline, the more time we have in the color session to create beautiful images and the happier our clients are on completion.”
CEO and Co-Founder Greg Worley expands, “SGO’s Mistika technology has always bucked the trend and delivers performance and functionality that other systems struggle to match. Although other manufacturers boast of competent tools, Mistika’s vast 2D and 3D feature-sets, in our view, far outshine the competition in helping us to post produce exquisite images.”
“WorleyWorks continues to lead NY post with their Mistika, they can now offer Extended Dynamic Range as a delivery format if required. The delivery of the Mistika Precision Panel will increase efficiencies within the suite, multiple palettes, effects and layers can be applied simultaneously and remain completely interactive during the session.” CEO Colin Ritchie of SGO’s North American Reseller Partner, AArmadillo says. “Greg is a great customer, he knows the Mistika team is focused on the tools that will keep WorleyWorks at the “bleeding edge” of this industry with unparalleled rendering speed and tools that deliver 99.9% of the creatives’ requests.”
Geoff Mills, SGO’s Director of Global Sales & Operations comments, “WorleyWorks’ appeal is their fresh approach to the complete post production service including adept color grading and creating unique looks. Mistika’s credibility and ability to work with 4K material in real time, from RAW camera footage is a real advantage. As a boutique business they felt it was important to have the most efficient grading functionality available in order to meet the various challenges. Mistika’s exciting future-proofing attributes are an important consideration to WorleyWorks and we are delighted to see their investment reap growth and success now and for many years ahead.”
Founded seven years ago by Greg and Minah Worley, WorleyWorks has an excellent reputation in New York for attracting high-end commercials and feature film work. The company provides bespoke services in 2D, HFR, Stereo 3D, and 4K post production, including DI color grading and compositing, high-speed lighting, for clientèle that include Paramount, Universal and Viacom.
ABOUT WORLEYWORKS, LLC.
A stones throw away from the Williamsburg Bridge, the Brooklyn facility boasts some of the most powerful and advanced technology available. The Company harnesses this power to offer unrivaled efficiency and an expansive creative toolset to ensure projects are cut/colored/delivered to the highest possible standard.
Servicing the Film/TV Markets in NYC and beyond, WorleyWorks’ team of creatives are dedicated to providing support at all stages of production, they supply equipment for production, workflow design, suites for editorial and complete Digital Intermediate services.
Whether it’s HD, 2K, 4K, 6K, 8K+ resolution, 16 bit half floating point, High Frame Rate, ACES, Stereo 3D, or all of the above, WorleyWorks offers a full range of services from acquisition all the way through to creation of the final DCP.
Visit them at www.worleyworks.com
Read the WorleyWorks Blog at www.worleyworks.com/blog/
For Further information, contact: email@example.com or call (646) 797-2941, (85 N 3rd St, Brooklyn, NY 11249)
ABOUT AARMADILLO, INC.
AArmadillo, Inc. offers post-production film / TV companies as well as manufacturers, a variety of services based on over 40 years combined expertise and skill-sets within the entertainment industry.
Visit them at www.aarmadillo.com
For further information, contact Colin Ritchie, AArmadillo, Cell: 310 871 8905; Fax 603 737 9766.
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.
Booth 8B 09, 21– 24 August 2013 – The China International Exhibition Centre (CIEC), Beijing
SGO presents its flagship product Mistika at China’s major broadcasting industry trade show, BIRTV again this year.
23-26 July 2013, Booth F27 – Sydney Exhibition Centre.
SGO’s Australasian Reseller Mojo Media Solutions will be showcasing Mistika’s impressive capabilities at their booth F27 at SMPTE – the premier event for the motion imaging and television engineering industries in the Australasian region.
12 – 13 June 2013, Walqa technology Park, Huesca, Spain
Miguel talks about all things Stereo 3D at TECSMEDIA this year
23 May 2013, Madrid, Spain – SGO’s CEO Miguel Angel Doncel has been invited to speak about the exciting topic of Stereo 3D post production at the second TECSMEDIA Conference hosted by the Aragon Technology Institute (ITA).