Identity FX had already invested in a Mistika system last year and decided to implement Mistika's advanced toolsets and mind-blowing speed for this project. “After evaluating multiple tools and a variety of potential solutions, it quickly became clear to us, Mistika was the only answer. We feel this would have been impossible without the Mistika system.” declared Leo Vezzali, Identity FX Co-Founder and Stereoscopic Supervisor. Ultimately, the team managed more than 20 Terabytes of material within Mistika, the equivalent of nine 2K feature films, all executed over a twelve-week period.

David expanded further: “It was during Conan, in 2011, after evaluating the 3D market trends for more than a year, we realised that the future of Stereo 3D lay in more of a hybrid approach than strictly conversion alone, and, as such, our studio lacked a critical component - a stereo capable finishing system.”

David continued: “Identity FX purchased a Mistika system back in October of 2011 to solve this problem. We have since executed half a dozen projects on our system, including stereo optimisation for 20th Century Fox's Prometheus, and another soon to be released major feature film for Sony Pictures.”

“Examining the CP Jumpman Experience, within the context of the Mistika workflow that was employed to manage the project to fruition, is where the real magic begins.” enthused Leo. Mistika's technical pass approach enabled the Identity FX team to quickly eliminate brightness disparities between the cameras, and optimise the green screen for extractions, using its RGB Correction function. The R3D parameter tool also allowed for the camera’s metadata to be ingested and debayered at the highest quality possible. The warp and de-noise tools in Mistika came in handy for controlling lens distortion and noise, especially in the blue channel. The time warp feature in Mistika gave Identity FX the ability to refine the performance line-up, across the multiple takes.

Leo elaborated: “Mistika allowed us to read-in R3D files at full resolution, in 5K without transcoding and therefore saving us a huge amount of time.” In addition, Mistika's infinite timeline feature made it easy for the team to line-up all seventeen cameras vertically in order to synchronise the performances layer by layer and therefore eliminate any fear of drift for our compositing department.