Up next is a conversation with Cédric Lejeune on the topic of color consistency in post-production workflows. This is a big topic, and it would be easy to drill down into a dozen different niches. Instead, I gave Cédric an opportunity to talk about the issues and opportunities for small post-production companies to focus on color calibration, color correction, and color grading to increase the value of their work and be more competitive.
Cédric’s company is Workflowers, and he specializes in digital cinema and video workflows, infrastructures, and colour science.
In 2006 Cédric started Workflowers to develop consulting and training services, accompany film labs in the transition to digital, and help post-production 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 has made him an expert of cloud technologies for media. He also develops CPGP plugins for color grading systems that are used by major studios such as Efilm, Technicolor, Cinepostproduction.
Cédric Lejeune is a member of the CST, and has a lecture at Université de Valenciennes about technologies and network infrastructures for content creation. He’s an Autodesk Certified Instructor on Lustre, member of the DKU (Discreet Knowledge Unit), and a color science instructor at the International Colorist Academy.
Many thanks for his time as he was preparing for a trip to Singapore to lead a session with Cine-tal on color workflows at Broadcast Asia, sponsored by Dolby. Wish I could attend.
1. What was your original inspiration for focusing on color science and its relationship to higher production values in storytelling?
2. I know you have a seminar planned at the Broadcast Asia conference in Singapore on June 21. Why are these topics important to teach, and who should be interested?
3. What are the key issues today that need attention in post-production workflow?
4. Let’s talk about trends in the display, cinema, and post-production industry from your perspective, starting with: color calibration, greater variety of display technologies, and how to bring better color consistency across all displays versus only the reference monitor.
7. Are wider color gamuts coming for commercial displays like, say, with 4k?
8. What do you think the evolution of 4k is going to look like in the next 12 months? Who should be focusing on 4k now?
9. Will ACES (Academy Color Encoding System) get broader use? Why and when?
What to learn more about display callibration? Visit SpectraCal.