SGO, the high-end postproduction software and systems developer, announced that its Mistika toolkit has been chosen by TelevisiĆ³n EspaƱola (TVE), Spain’s national state-owned public-service television broadcaster, to enhance the channel’s 4K HDR productions. Mistika will be used by TVE’s postproduction team and its advanced tools and capabilities, including a facility-wide timeline, will support the network’s collaborative workflows.
Established in 1956, TVE is owned by the RTVE Corporation which has overall responsibility for Spain’s national public-service radio and television. TVE wanted to make sure it was at the forefront of 4K HDR TV production. The Mistika solution not only offers real-time playback in 4K, but a truly interactive solution that the operator can experience at all levels.
“TVE’s significant investment in Mistika will set the standard for future creativity among other channels in Spain,” commented Jose Luis Acha, regional sales manager. “Mistika will enable the broadcaster to combine disparate production operations into one easy workflow that can be dispersed among the team. We’re excited to be working with TVE to help the team create visually advanced 4K productions, but also support them in the move towards 8K and beyond.”
From Restoring To Hopefully Preserving Multi-Camera Categories At The Emmys
When Gary Baum, ASC won his fourth career Emmy Award earlier this month, it was especially gratifying in that the honor came in a category--Outstanding Cinematography for a Multi-Camera Half-Hour Series--that had been restored thanks in part to a grass-roots initiative among cinematographers to drum up entries. Last year the category fell by the wayside when not enough multi-camera entries materialized.
In his acceptance speech, Baum appealed to the Television Academy to keep multi-camera categories alive. He later noted to SHOOT that editors also got their multi-camera recognition back in the Emmy competition this year. Baum hopes that after resurrecting multi-camera categories in 2024, such recognition will be preserved for 2025 and beyond.
A major factor in the decline of multi-camera submissions in 2023 was the move of certain childrenās and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciencesā (NATAS) Emmy ceremony. For DPs this meant that multi-camera programs last year were reduced to vying for just one primetime nomination slot in the more general Outstanding Cinematography for a Series (Half-Hour) category. It turned out that this single slot was filled in ā23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this yearās competition and Baum won for another installment of How I Met Your Father--āOkay Fine, Itās A Hurricane,ā which turned out to be the series finale. Two of Baumās Emmy wins over the years have been for How I Met Your Father, and thereās a certain symmetry to them. His initial win for How I Met Your Father was for the pilot in 2022. So he won Emmys for the very first and last... Read More