[Tig] Mistika info and experiences

Sam S camera.mule at gmail.com
Fri Sep 16 22:29:21 BST 2011


I should start this reply by pointing out that I work for SGO, the company
that makes Mistika. I respect The Tig's etiquette with regard to
dirty distributors using the forum for marketing though and have no
intention of doing so. I was hoping a colourist independent of SGO would
reply to this thread but, seeing as no one's stepped up I'll do so. I hope
that doesn't break the rules. I'll keep it as unbiased and brief as I can
but if you want a more independent overview I would recommend talking to
post houses like Norway's Hocus Focus, London's Onsight and New Zealand's
Park Road Post Production for their views.

I won't go into the colour toolset in depth as that would definitely be
considered marketing, but I will say that it is extensive and contains all
of the essentials. Owen is correct - *The Hobbit*'s* *on-line workflow is
being completed entirely on several Mistikas. As well as the creative grade
that also includes conform and stereo 3D colour matching and
geometric alignment from 5K Epic R3D files. Mistika's an 'all in one'
on-line system that includes colour, editing, compositing, stereo 3D and
deliverables. That includes DCP generation and encryption.

The user interface is actually rather straight forward. If Owen's
'scary-looking' comment comes from the public demos at IBC then that's my
fault. I was the fool giving the over-view demonstrations in the main
display area. I'm new to the company so the demos may not have been as slick
as they could have been. I'd only been using the system for less than a
month prior to arriving at IBC, though that really wasn't a problem at all I
found. I'm *really *not the most technical operator so if I can pick it up
in a couple of weeks anyone can. Mistika works off a linear node based
system. Seeing as Rogerio asked for a comparison I would say it's closest in
GUI layout to Baselight in that you essentially create 'stacks', although
that's a very crude way of describing it. They're entirely different
systems. Simply put though you start off with the base clip and then just
add nodes on top of that to create the desired effect. Very obvious.
Patrick's 'floating timeline' description is actually a very good one too.
The way I would describe it is as a 'desktop'. You can use areas around the
timeline for trying out effects without disturbing your main timeline, or
for creating multiple versions in sync with your master timeline. It also
has nesting, although it's called 'Groups' in Mistika.

Mistika works directly off a SAN  in most cases and can work in tandem with
multiple other Mistikas, or other systems like Nuke, if desired. You can
work natively off Phantom, RED, Arri RAW, etc. Or off DPX, EXR, etc, etc.
Lots of format support. Onsight in London has a nice workflow with Nukes
where the Nuke compositors just save to the SAN and that updates the Mistika
timeline for the colourist/operators.

Patrick's right about speed too. Real-time playback's very important on
Mistika, especially for colour. You can keep on adding colour nodes as much
as you like. It also means that, in most cases, you don't need to render the
timeline if you want to record out to tape.

Rogerio also asked about control surfaces - At present Mistika supports both
Tangent CP200 and the new Element panels.

I think adding anything else would risk breaking Tig rules so for any
questions, technical specs or to request a demo I'd just go to their website
at: http://www.sgomistika.com/. The info is all there. Again though, for
fear of being biased, I would obviously recommend talking
to independent operators as well. I'm happy to answer questions though if
anyone wants to talk to me off forum. I'm not a sales guy, I just drive the
kit and like talking to other post professionals.

I'll also point out that I know Pandora, Baselight, Pablo and a little
Nukoda as well and can think of great things to say about all of their
toolsets; each for different reasons. As colourist John Daro is fond of
saying, 'It's not the sword, it's the samurai.'

Hope that helps,
-Sam

ssheppard at sgo.es


On 16 September 2011 14:50, Patrick Morgan <patrick at bluegiraffe.tv> wrote:

> Sohonet http://www.sohonet.co.uk sponsors the TIG.
> Support from Nucoda www.imagesystems.tv
> ====
>
> It used to be Jaleo (ha-lay-oh) back when I was a boy ;-)
> Ran on SGI
> Spanish origin I believe
> Was very fast for the time - and already had the "Floating timeline"
> interface.
>
> Patrick
>
>
>
> On 16/09/2011 14:45, Owen Williams wrote:
>
>> Sohonet http://www.sohonet.co.uk sponsors the TIG.
>> Support from Nucoda www.imagesystems.tv
>> ====
>>
>> Actually if anyone knows anything about the history of this product I'd
>> like to hear it too.  I'd literally never heard of this product before
>> it was reported that The Hobbit is using it.  Based on the scary-looking
>> user interface, I get the sense that the product has been around for a
>> very long time, probably under different guises.
>>
>> Owen
>>
>> On Thu, 2011-09-15 at 22:57 -0300, Rogério Moraes wrote:
>>
>>  Anyone in here with experiences or knowledge about the Mistika as a
>>> colour
>>> grading solution (DI in special)?
>>>
>>
>> ______________________________**_________________
>> http://reels.colorist.org
>> http://tig.colorist.org/wiki3
>>
>
> ______________________________**_________________
> http://reels.colorist.org
> http://tig.colorist.org/wiki3
>


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