SGO Celebrates Tel Aviv's Edit Studios' Award-winning Projects


Baba Joon named Best Film at the recent “Ofir” Awards, Israeli version of the Oscars

Last Updated: January 15, 2016 1:52 am GMT
(Tel Aviv, Israel--January 15, 2016) Tel Aviv-based Edit Studios used Mistika's colour-finishing capabilities to grade Baba Joon, named best film at the most recent “Ofir Awards”, the Israeli version of the Academy Awards. Baba Joon is a feature-length directorial debut by screenwriter director Yuval Delshad, an Israeli and himself, the son of Iranian immigrants. Baba Joon was the first feature on Edit Studio's Mistika that was shot using Red.

Baba Joon means “papa” as a term of endearment expressing respect for the father of the family in a traditional Iranian home. The film portrays the human struggle many face when having to choose between tradition and personal freedom, dealing with the challenges that the generational gap can cause. View the official trailer of the Baba Joon movie here

Working on numerous high-profile and award-winning projects again this year, Edit Studios invested in a Mistika system and Mistika Assist Station to host its stunning Digital Intermediate theatre with 2K real-time resolution and 4K rendering of documentary and feature film projects just over a year ago. Edit Studios selected the Mistika system for its flexibility and ease with which it can be integrated into the facility’s file-based workflow.

Edit Studios' Chief Grader / Colourist Yoav Raz says, “Mistika Artist Alvaro Barrasa, who did most of the grading in the movie, had an array of amazing techniques to skillfully handle the noise that the camera produced in some of the shots. I was working on the Mistika Assist station at the same time that he worked on the main Mistika system here, and he would create duplicates for me to then de-noise. I was amazed with the capabilities of Mistika's optical flow de-noise effects and with its ability to create Alpha on some parts of the image, and then be able to de-noise only those sections, and to also then be able use some of the paint effects to isolate the de-noise from other areas of the image. The Mistika system’s ability to re-conform those shots back to Alvaro's main timeline so quickly and efficiently impressed me.”

Mistika Colourist Alvaro Barrasa remarks, “The images came beautifully filmed. We wanted to give different looks depending on the various moods of the characters while always being aware of the Mid-East climate, at the same time. The light in that area of the world is usually quite bright and flat so it requires a bit of creativity, especially with regards to the wide panoramic shots. The idea was to get as much depth and richness on each frame as possible.”

Alvaro explains further, “Although Baba Joon was filmed using Red Epic -- which provides great texture on the image -- it tends to also generate some noise when you strongly treat the image, especially in the darker areas. Fortunately, Mistika enables you to easily create your own compositions and make what other systems simply can't achieve. Mistika allowed us to produce a stunning filmic look to the picture and control everything, including the DCP, right up until the screening.”

Technical Director and Post Production Supervisor at Edit Studios Amit Gilboa talks us through the process at Edit Studios and how using Mistika on the project was an advantage, Baba Joon was one of our first projects using Mistika, yet the integration was amazingly fast. Working with the director on his debut film, just realizing the options in his possession, we were able to re-conform Alvaro's very complex stacks numerous times to new cuts and versions without losing a beat. This project really taught us a a great deal on how to organise and structure our projects.”

Founder of Edit Studios Sasha Franklin concludes, “Well done especially to Alvaro and also to Yoav who both used the Mistika system on the Baba Joon project, we were thrilled with the results and for another all round successful year at Edit Studios. Having the Mistika technology on board, we can reflect back on a productive year in 2015 and look forward to this new year of adventures ahead, which will be just as exciting, if not more so, with Mistika at our studios.”

SGO's Regional Sales Manager, Jose Luis Acha states, “On behalf of myself and the team at SGO, we congratulate Edit Studios on a highly successful 2015. We are very proud of them and their incredible achievements. We look forward to seeing what else is up their creative sleeve for this new year ahead using Mistika. They are an amazing team, reaping well-deserved awards along the way.”

Baba Joon was also screened at the Toronto International Film Festival 2015. The film was produced with the support of The Rabinovich Foundation for the Arts- Cinema Project with the participation of the Leon Recanati Foundation, Gesher Multicultural Film Fund, Cultural administration Israel ministry of culture and sport, The Israel film council, Y&S Nazarian Family Foundation and Ima Foundation, Israel Fund for Film Production and United King Films.

Other feature films post produced at Edit Studios that have not yet been released include 'Awakening', 'Harmonia', 'Exodus To Shanghai', 'Everything Is Broken Up And Dances' and 'Home Port'. Other impressive high profile award-winning projects Edit Studios have worked on over the past year which deserve a mention include:

'Tikkun' by Avishai Sivan was graded by Yoav Raz which won awards for Best Israeli Feature Film, Best Script, Best Cinematography and Best Actor at the Jerusalem Film Festival, as well as the Silver Leopard (Special Jury Prize) and Special Mention for the cinematography by Shai Goldman at Locarno. It has also been screened in dozens of film festivals. Filmed in colour using Red, with the idea of making the final film in black and white, Yoav comments, “We received very useful tips and tricks from Mistika Colourist and Specialist Sam Sheppard on behalf of SGO. He kindly introduced the channel effects to me and some other methods of isolating colours and dealing with the Red log footage. The remarkable process of isolating or manipulating channels using Mistika was so easy, and it really gave this film the unique and special look that it has. We also worked with the special FX artist on some shots and scenes with a convenient and time-effective round-trip between Mistika and the special FX suite.”


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