Releases

Is there a fast way to add a mask to OFX, I know I can create a matte and link it to a external key into the OFX node. I would be super happy if I could instantly use the the Shapes Tab to create a mask on that node and lessen the OFX effect on that spot. (so I don't have to add extra nodes to the layer stack) This would make my workflow somewhat quicker.

I am trying to figure out the best practice for transforming a TV Commercial graded for 709 broadcast to online specs sRGB 2.2 I end up with a different result if I compare the sRGB version on a sRGB corrected display vs the Rec709 version on a Rec709 display. If I use the Unicolor to make the transform see image for settings. sRGB Version Rec709 Version The rec709 version is super close on the sRGB display to the version of the Rec709 Display. While if I make a export from a rec709 grade on Resolve I always need to apply a Color Transformation node to transform the gamma to make it look the same. D…

So a regular scenario I encounter while working on grades for commercial / digital content for an agency: Step 1: You grade a few select clips for review of color direction. Step 2: Client provides feedback, additional changes are made, this repeats a few times Step 3: Client decides that they liked the 2nd version more than 3 or 4 after all. Step 4: Everything gets graded with the 2nd version of color How do you manage all these different grading versions so you can easily go back to a previous version and apply it, or use it as the base for a new version? In Resolve I would duplicate the entire timeline and save it as Revision X. Also, on every cli…

I must be missing something obvious, but can't find it in the manual or the tutorials. Is there a way to place the playhead at the mouse cursor? I see a large variety of shuttle commands to place the playhead, as well as setting playhead at specific TC. But when I click with the cursor it sets a cursor at the location, doesn't move the playhead. And any variation of Cmd/Shift/Opt doesn't seem to work either. Thanks, Jan

Is there any hack (or future feature) to flip the time space/visual editor arrangement? For the most part I use Mistika in single monitor mode, since I have my primary monitor centered and the second one at an angle to the side. That's impractical with the visual editor being on the secondary display. Luckily the switch between time space and visual editor is pretty fast, so going back and forth is not too bad, and if you setup your stacks right you don't have to switch too often. But there are times where it would be nice to work with both monitors. But I would need the visual editor on the left and time space on the right. An additional checkbox in mConfig cou…

Since I am migrating to Mistika I am testing all best practice stuff. For a lot of projects I have to do one Master 'Color Grade' of a TV Commercial and a lot of cutdowns for social media. So what I like to do is having one 16-9 Master in 1920x1080 and next to it the same commercial in portrait reframed to 9-16 in 1080x1920. Right now if I resize and reframe I have problems defining a 1080x1920 setup with corresponding export setting. Is there a SGO insight about this I have missed? ?

Right now I am setting up a Tangent Element Panel, which feels super useful in Mistika. From the documentation I read that for the best setup I need two more Bt Panels. My question is if I also get a second Kb panel can I also map this panel? Or with how many panels can I expand en keep on mapping? ( so I can build my own custom Arc ? )

This must be a super simple, but I cant find it anywhere. I like to 'add Layer' in the 'ColorGrade' interface with a shortcut, but cant find it. Also I would be nice if after adding a layer with a shortcut that I can name it directly to keep an easy view.

Couldn't quite decode this from the UI and doc, so hoping there are some community answers ? I'm working on project where we are round-tripping from Premiere. I get camera source files and an XML to conform. I then need to render out individual clips with handles that can be put back into Premiere. I've seen that Mistika can render out individual clips (segments) and can attach handles. But can it also generate a new XML for those for the re-conform in Premiere or elsewhere? When rendering out individual clips the obvious issue is that there may be multiple timeline instances of the same source file. So keeping the original source filename causes conflicts…

I have quite a problematic bug which makes it hard to work with Mistika Boutique 8.10 System tested: iMac 2017 |8gb AMD 580 | MacOs 10.14.6 When I ty to edit a value on the left side of the interface, it is scaling the interface with a strobe affect. (flickering from normal to small size, see screenshot) Did a whole clean install of MacOs and Mistika Boutique, unfortunallly the problem is still there.

Maybe someone on the forum can help me out with the Playback Cache function of Mistika. Is there a in depth tutorial online about this function? Right now if I 'Select Cache On' I get the cache Icon on a node, noting happens afterward. If I select 'Render Current in the Foreground' I get the error message . "Unable to open Xfs file for writing". Any Idea's?

Apologies for the rash of topics/questions. In the middle of new project and still filling in some knowledge gaps with Misitika. On this project I have to do some skin cleanup with the clone brush. Nothing major and not worth going to another app with. Everything works great using the Vector Paint node, making a quick track, then applying the clone brush, selecting each stroke and copying the track (still wish I could apply the same track to multiple shapes). But the issue I ran into this time is that on two longer clips the face turns sideways, so I really only need to apply the clone brush to segments of the clip. In the tracker window I can select a range of frame…

I was wondering if there is an equivalent to Resolve's A/C mode and/or Avid's source/target in Symphony. Essentially a way of speeding up grading of multiple clips from the same source media file. We often see this in dialog scenes and or tutorials where there is a lot of cutting back and forth between two camera angles resulting in multiple clips from the same source file. One way of doing it in Mistika is to go to the Storyboard and create gangs for each camera angle, then solo that gang and propagate the color grade. That works fine, but it's a time consuming to setup the gangs. I think the equivalent to A/C mode would be if the story board had a sort fe…

Not sure what the correct answer is, but something to mull over... Yesterday I was working some quick cleanup on a clip, and ended up banging my head against the proverbial wall for 30min. I couldn't get the clone brush (or the paint brush) to do anything I wanted. The strokes showed up when selected, but there were no results. I could add shapes without issue. I was almost suspecting there was a bug maybe in the latest version, went back to tutorials to check that I wasn't missing anything. In the end it turns out I had recently changed the tip sensitivity of my pen to being a bit firmer. Between that and the standard pressure curve in the Mistika paint tool th…

Conforms from an NLE are always a mixed bag. We wish they would be painless and 100% accurate, but they rarely are. One interesting technique that exists in Resolve is called Pre-Conformed EDLs. You export the timeline from the NLE as a render, and you export an EDL of the timeline. In Resolve it's imported as a pre-conformed EDL (separate function) and instead of linking to the original media, it uses the single render from the NLE and replicates all the cuts as they existed. Of course the relationship to the original media is lost, but everything is in individual clips with cross fades, etc. and can be colored. Such a function doesn't exist in Mistika. But in …

How do you add a garbage matte in Boutique? I tried with shapes in the green screen node, and that seemed to disable the chromakey itself; without the shape, the backdrop is gone, with the shape, the backdrop is visible. What am I missing?

In VR you can remove the last keyframe and the animated status of a parameter (usually several at a time) while maintaining the current values. I can't see any way to do this in Boutique. Resetting values to their defaults is a nightmare I do not want, Is there a way to make parameters no longer animated and maintain their current value?

Just curious if 32GB of system RAM is appropriate for 4K color grading in Mistika Boutique. In the system configuration guide, 16 GB is specified for HD work and 64 is specified for 4K, but there is no mention of 32GB. My system has 32GB of RAM, 2x 1080 Ti GPUs, and a 1950X Threadripper CPU. I was just wondering if I was limiting my performance by not upgrading to 64GB of RAM as per your configuration guide.

I can't figure out how to properly import 1:1 ratio top/bottom 3d footage! Please help. We've got the workflow from mistika VR, but what if we already have a stereo 4k image (top bottom) that we want to grade and remove a rig? thank you in advance!

Hello, I only made this topic as the browser wouldnt let me create a post in "Rig Presets" where this belongs. I have a massive 360 job here in Switzerland where we have a 10 gopro Hero 7 Black rig ( with an additional 2 more on top and bottom but they will be seperately stitched as they will playback on the floor and ceiling of a big immersion theatre) called the NS VR360 and I really need a preset for this that gives me a 360 pano look (we will add the sky and water below seperately as mentioned) and cant find one or dont know which existing preset in Mistika would work, can anyone help???

Does Mistika have the option of saving a stack as a 3D LUT to be used as a look in other software? Workflow example: Import footage, grade to a look, export footage as EXR clip to go into other software, export 3D LUT of look, go to other software load EXR and LUT to do additional processing, save changes as EXR sequence, import EXR sequence back into Mistika. Use case: if more extensive skin work has to be done than is efficient with the Mistika paint node, I often taken EXR sequences to SilhouetteFX. I was just working on the details of how to bring ACES graded footage out of Resolve into Silhouette that way. But it relies on the ability to save a grade as a 3…

One thing that I've been a bit disappointed by in Mistika is speed. I'm using 8K Redcode at 1/16, which plays smoothly in Resolve on the same machine, and plays adequately in Mistika… but once I add audio, the performance tanks hard, which isn't good. And the audio I added is just a single stereo clip at 48 KHz, nothing all that large.

I set up one Sapphire transition (whiplash) between two clips, and used the "key in" and "key out" buttons to set the start and end transition amounts. That really didn't work; epic fail -- the transition amount didn't change at all throughout the transition. I switched to using autokey, and though I had to go back and forth an extra time since I couldn't find a way to get the start keyframe to work, I got that transition to work as I wanted to. So I went to another transition point where I wanted to use a Sapphire blur transition. Absolute fail; using autokey it insists on setting the transition amount to a constant, refusing to give me any transition animation. …

[RELEASE] Mistika Boutique 8.10 is now available! Hi everyone! The latest version of Mistika Boutique is now available offering its users upgraded HDR workflows, expanded hardware and RAW formats support, exciting new features and many other enhancements and stability improvements made throughout the software. As usual, all the upgrades added to Mistika Boutique are available to all active users at no extra cost as a part of SGO Loyalty Rewards Program. In this video, you'll find explained in more detail what is new in this version New Features: The latest ARRI, Sony, Canon and RED SDK supported. Improvements: The FX Filte…

I'm using the Vector Paint/Clone tool to remove some skin blemishes. Works quite well, including the tracking if there is a small number of blemishes, and can save the trip through VFX software. One question: I have one blemish where the person's hand is moving in front of it part of the clip (occlusion). So I used the clone brush, tracked the blemish and copied the track which applies the clone to every frame. What's the best way of suppressing the clone brush for select frames? In my case the clip has 46 frames, and I want the clone be seen in frame 9-46, but not 0-8. I tried selectively removing these keyframes, without luck. Looks like the opacity can only b…