Hey is was my pleasure.
Ha! You are putting me on the spot here ?. I guess I really need to use Boutique in a real project to see what I miss.
My main field of work is VFX, so the first thing that comes to mind is Mistika’s integration in a VFX pipeline where the timeline need to be fed with a constant stream of VFX versions. I know that a customized pipeline can be built around the system taking advance of the fact that Mistika file management is text based, but I haven’t seen any related documentation or tutorial on this regard. Maybe I missed it, but things like shot naming, versioning and manual or automatic update of VFX shot is something that I would look forward to see.
Regarding compositing capabilities... Its pretty good. But my opinion may be bias here, since I use Nuke and other dedicated tools every day on really heavy VFX work. I see Mistika’s VFX options more as a tool set to address relatively simple tasks like retouching, rig removal and simple to medium complexity comp work. That being said, Its a really nice set of tools and I am sure in the right hands can be taken to really high levels.
I see Mistika mainly as a grading tool... in addition to conforming and finishing... so other areas I will be paying attention on upcoming releases are Color and Grade Management.
Knowing what Lustre/Flame, Resolve and Baselight can do on this regard, I miss the possibility of setting certain rules for color space/gamma conversions as preparation for grading. It is definitely possible to do this in Mistika by layering the proper tools, but it could be more centralized at the clip/media browser/project settings level. This could also be expanded with the use of media metadata to automate at least some part of this process.
One other benefit I see in having a color management pipeline is that you could make some color tools aware of the incoming space and gamma and react accordingly to some adjustments. For example, saturation adjustments could be applied differently depending on what color space you have as input. Tonal ranges is also another thing that can be automatically adjusted by knowing what gamma is coming in.
On the short time I got to try the Gang tools, I found its approach to grade propagation may be a bit simplistic. It works as a nice way of copying grades and effects parameters, but its name could be a bit deceiving, specially knowing other software use “Gang” to describe synchronized adjustments. Maybe I’m just talking about the option to automatically Propagate the grade changes across the Gang group. The fact that grade clips can be stretched across multiple segments in the timeline already addresses what in other software needs to be done as a shared or sequence grade.
None of these points will really stop me from using Mistika... specially knowing that SGO is actively working on smoothing out the user experience and improving the existing toolset. Its open timeline and layer/effect scope paradigm its a really fun experience.
Anyway, thank you again the opportunity.