Abstract: Introducing new technologies in the cinema means more time for the mastering at a time when there is no time, more QC and more versions to carry over to the theater screen. Is it possible to emulate the feeling of a projector on a LED screen for QC? Do we have the same problem as with 3D and have to check all content on all technologies? Can we put the HDR, EDR and SDR versions in the same DCP? Should we just forget about the DCP? This presentation will present some answers to these questions.
Speaker: Cédric Lejeune, VP of Technology, EclairColor
Bio: Cedric started in 2000 as a visual effects assistant on Discreet Smoke, working on TribalX, a complex full CG/MoCap production for children and setting the network infrastructure in the small post-production facility.
In 2000 he becomes application engineer for Post-Logic and supports a wide range of products: animation, infrastructure, effects, colour grading. He was in charge of the implementation of the first industrial digital intermediate pipeline at Éclair Laboratoires in 2002 and different DI setups in Paris (Mikrosimage, Duboi, Sylicone) and Madrid Film Lab (Technicolor).
In 2006 he starts his first company, Workflowers, to develop consulting and training services, accompanying film labs in the transition to digital and helping post-production to step into the cinema world. He specializes in digital cinema and video workflows, infrastructures and colour science. His work on online collaborative environment and content management tools have made him an expert of cloud technologies for media. Workflowers’ image processing tools are used by major studios in the world.
In 2015 he joins Ymagis www.ymagis.com to supervise the technology for postproduction and mastering labs in the group (New York, London, Liège, Berlin, Barcelona, Paris). The integration of Eclair Laboratoires extends the delivery of content to broadcasters and OTT, and gives an opportunity to develop a century old brand as a innovative one. He managed the technology and innovation team to create more efficient and global media workflows.
Having relocated to the United States in September 2018, he’s now focusing on the EclairColor project (www.eclaircolor.com) that brings better images to the cinemas.