In Broadcast - January 2016 - 42


42

www.inbroadcast.com | Vol: 6 - Issue 1 | January 2016

InMedia

Spectrum Films
Rely On Mistika
Industry veteran Adam Scott likens SGO's Mistika system to a
Swiss Army Knife for post-production...

A

dam Scott is one of the industry's
leading professionals - at the top
of the ladder, sharp, discerning and
armed with an impressive portfolio.
His experience includes working
on high-profile network promos for
major presidential campaigns at
ABC TV in New York; part of a team,
building a fully-fledged DI department
from scratch, completely converting
a post-production lab from wet to dry
and working on several well-known
DI projects such as District 9 and The
Lovely Bones.
In his role as Director of Broadcast
Operations at Australia's Foxtel, not
only was he responsible for 200 staff,
two studios and 120 Avid suites, but
also successfully transformed the

entire corporation from video to digital
file-based.
Missing the creative side of things,
he was drawn back to post and joined
Sydney-based Spectrum Films last year
where he now works back in his native
Australia. By then, he was already
familiar with the Mistika system having
come it across it at the Las Vegas NAB
show.
Why SGO's Mistika?
It started when Spectrum Films
took on a major new feature project
that involved innovative complex
multi-formats.
They turned to the Mistika system,
introduced by SGO's Australasian
reseller Mojo Media Solutions.

Mistika finishing credits at Spectrum FilmsFilms

A Vital Role In Post
E

stablished for over 50 years,
Spectrum Films has played host to
international productions such as The
Railway Man, The Water Diviner, The
Matrix, The Great Gatsby, Wyrmwood:
Road of the Dead, Sacred Heart and
many other titles that also involved
Mistika, including a compelling
documentary that aired in 2015 called
Deadline Gallipoli: The Full Story.
The documentary illustrates how
Spectrum Films relied fully on
Mistika's open architecture, speed
and versatility. The entire project was
post-produced in Mistika including
the online, colour grading, titling and
deliverables.

Adam Scott talks about the vital
role Mistika played during the project,
"For this project, we didn't want to
copy all of the raw camera data to the
SAN storage which had been shot on
ARRI Alexa, as we wanted to get an
AAF round-trip between Mistika and
the AVID.
"We spoke to SGO's development
team who wrote a bespoke significant
software code for us to make this
possible and literally 'saved the day'. I
can honestly say Mistika is a lifesaver
and a massive benefit from a business
point of view. If we ever have an
issue, we know we can throw it at SGO
and they will resolve it fast. We are

Following an intense evaluation
period, Spectrum Films selected
Mistika to drive its expansion of highend colour grading, finishing, and
DI with a real-time 4K-capability,
including advanced DI grading, as well
as DCP tools enabling DCP creation
directly from camera raw, as well
as other media files directly off the
timeline.
Adam says Mistika filled a hole at the
post facility: "I liken Mistika to a Swiss
Army Knife - it's versatile enough to
handle any situation and gets perfect
results, which is just what's needed
in our line of business. It fulfilled the
broadcast space, and it was exactly
what we were looking for."
Adam adds: "As we looked in detail
at the completeness and overall
efficiencies the contender systems
could provide at that time, Mistika's
intelligent design and efficient use of
shared SAN storage made good sense.
We were already handling camera raw
files at over 6K resolution, so having
a system where everything can work
from just one shared copy of such
large files is a massive advantage to
our clients."
He continues: "You need to have
a versatile environment and work
surface, something that can do
something for the Web right through
to work for the likes of James Cameron
very impressed with their rapid pace
of development and their approach is
totally unique."
Inspired by Peter Weir's film
Gallipoli which served as a strong
reminder of the horrific accounts
of mass casualties, producer Sam
Worthington created the moving fourpart series and one-off documentary
with NBCU for Foxtel, which aired
earlier in the year.
The documentary delved behind the
scenes of the mini-series, placing key
events in context from the viewpoint
of young journalist Keith Murdoch,
despatched from Australia, the father
of media mogul Rupert Murdoch.
Spectrum Films also completed the
colour grade, DCP and other masters
using their Mistika system with multi-

Adam Scott, General Manager,
and Josh Pomeranz, Managing Director,
of Spectrum Films
Pictures courtesy of Spectrum Films

- and everything in between. Mistika
fulfils that perfectly. It is really great
to have a system that can do all the
post disciplines in one technology.
We rely on Mistika as it is much more
efficient and helps us meet the tight
time frames, budgets, demands, DCPs
and various formats from HD masters
to Pro Res masters all at various
resolutions."
Adam emphasises how experience
and know-how cannot be replicated in
the workflow business: "We are in the
solution-solving business, it's about
throughput and we need the expertise
- people like SGO understand. They are
the experts we turn to.
"The
days
of
manufacturers
dictating what the customer wants
is over, people now have a better
understanding
and
are
more
technology savvy at a deeper level
and this has recalibrated things.
To a degree the customer now tells
manufacturers what they want.
If companies don't truly listen to
what customers want, then they are
doomed. They have to change faster
than the world outside them and have
to listen carefully to customers' needs
in order to succeed. Everyone at SGO
gets it," Adam concludes.
camera formats (Red/Alexa/Sony) on
Wyrmwood: Road of the Dead.
The entire post-production process
of recent feature film Sacred Heart,
including the offline edit, sound
design and sound mix took place at
Spectrum Films using Mistika for
the online, colour grade, DCP and all
masters. It was filmed on Blackmagic
in 4K RAW and post-produced using
Mistika.

Yes, the doctor will see you now...
Wyrmwood: Road of the Dead


http://www.inbroadcast.com http://www.spectrumfilms.com.au/ http://www.sgo.es/mistika/

Table of Contents for the Digital Edition of In Broadcast - January 2016

In Broadcast - January 2016 - Intro
In Broadcast - January 2016 - Cover1
In Broadcast - January 2016 - Cover2
In Broadcast - January 2016 - 3
In Broadcast - January 2016 - 4
In Broadcast - January 2016 - 5
In Broadcast - January 2016 - 6
In Broadcast - January 2016 - 7
In Broadcast - January 2016 - 8
In Broadcast - January 2016 - 9
In Broadcast - January 2016 - 10
In Broadcast - January 2016 - 11
In Broadcast - January 2016 - 12
In Broadcast - January 2016 - 13
In Broadcast - January 2016 - 14
In Broadcast - January 2016 - 15
In Broadcast - January 2016 - 16
In Broadcast - January 2016 - 17
In Broadcast - January 2016 - 18
In Broadcast - January 2016 - 19
In Broadcast - January 2016 - 20
In Broadcast - January 2016 - 21
In Broadcast - January 2016 - 22
In Broadcast - January 2016 - 23
In Broadcast - January 2016 - 24
In Broadcast - January 2016 - 25
In Broadcast - January 2016 - 26
In Broadcast - January 2016 - 27
In Broadcast - January 2016 - 28
In Broadcast - January 2016 - 29
In Broadcast - January 2016 - 30
In Broadcast - January 2016 - 31
In Broadcast - January 2016 - 32
In Broadcast - January 2016 - 33
In Broadcast - January 2016 - 34
In Broadcast - January 2016 - 35
In Broadcast - January 2016 - 36
In Broadcast - January 2016 - 37
In Broadcast - January 2016 - 38
In Broadcast - January 2016 - 39
In Broadcast - January 2016 - 40
In Broadcast - January 2016 - 41
In Broadcast - January 2016 - 42
In Broadcast - January 2016 - 43
In Broadcast - January 2016 - 44
In Broadcast - January 2016 - 45
In Broadcast - January 2016 - 46
In Broadcast - January 2016 - 47
In Broadcast - January 2016 - 48
In Broadcast - January 2016 - 49
In Broadcast - January 2016 - 50
In Broadcast - January 2016 - 51
In Broadcast - January 2016 - 52
In Broadcast - January 2016 - 53
In Broadcast - January 2016 - 54
In Broadcast - January 2016 - 55
In Broadcast - January 2016 - 56
In Broadcast - January 2016 - 57
In Broadcast - January 2016 - 58
In Broadcast - January 2016 - 59
In Broadcast - January 2016 - 60
In Broadcast - January 2016 - 61
In Broadcast - January 2016 - 62
In Broadcast - January 2016 - 63
In Broadcast - January 2016 - 64
In Broadcast - January 2016 - S14
In Broadcast - January 2016 - S1
In Broadcast - January 2016 - S2
In Broadcast - January 2016 - S3
In Broadcast - January 2016 - S4
In Broadcast - January 2016 - S5
In Broadcast - January 2016 - S6
In Broadcast - January 2016 - S7
In Broadcast - January 2016 - S8
In Broadcast - January 2016 - S9
In Broadcast - January 2016 - S10
In Broadcast - January 2016 - S11
In Broadcast - January 2016 - S12
In Broadcast - January 2016 - S13
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