THE NEW CINEMA STANDARD A NEW WORLD OF COLORS

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1 INFORMATION KIT THE NEW CINEMA STANDARD A NEW WORLD OF COLORS 2017 YMAGIS GROUP ALL RIGHTS RESERVED

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3 1 THE GENESIS OF THE ECLAIRCOLOR PROCESS ECLAIRCOLOR MOVIES & CINEMAS THE ECLAIRCOLOR TECHNOLOGY THE ADVANTAGES OF ECLAIRCOLOR 11 5 The EclairCOLOR Vision 13 6 Interviews with Executives ABOUT CINEMANEXT AND ECLAIR 19 3

4 1 THE GENESIS OF THE ECLAIRCOLOR PROCESS, THE NEW CINEMA STANDARD After two years of research, Ymagis Group, the European specialist in digital technologies for the film industry, is unveiling an innovation set to revolutionise film projection: EclairColor. This new digital HDR color technology is able to achieve image projection of unprecedented quality. It is like a stereoscopic film without 3D glasses. "Belle et Sébastien 2: L aventure continue" Production: Gaumont, Epithète Films/Radar Films Director: Christian Duguay Jean Mizrahi Founder, Chairman & Chief Executive Officer, Ymagis Group 4

5 Brighter, sharper, with more depth of field, more density and more detail, the images produced with EclairColor technology have more contrast and greater fidelity, better reflecting the photography initially intended by the film s creative teams. MORE COLOR MORE CONTRAST MORE BRIGHTNESS MORE DEFINITION More EMOTIONS

6 LE FIGARO ÉCRIT ET RÉALISÉ PAR KLEBER MENDONÇA FILHO PRODUIT PAR ÉMILIE LESCLAUX SAÏD BEN SAÏD ET MICHEL MERKT AVEC MAEVE JINKINGS IRANDHIR SANTOS HUMBERTO CARRAO IMAGE PEDRO SOTERO FABRICIO TADEU MONTAGE EDUARDO SERRANO COSTUMES RITA AZEVEDO SON NICOLAS HALLET MIXAGE RICARDO CUTZ DÉCORS JULIANO DORNELLES & THALES JUNQUEIRA CASTING MARCELO CAETANO DIRECTEURS DE PRODUCTION TIAGO MELO & KIKA LATACHE PREMIÈRE ASSISTANTE MILENA TIMES COPRODUIT PAR WALTER SALLES PRODUCTEUR ASSOCIÉ CARLOS DIEGUES PRODUCTRICE EXÉCUTIVE DORA AMORIM UNE PRODUCTION CINEMASCÓPIO SBS FILMS GLOBOFILMES VIDEOFILMES AVEC LE SOUTIEN DE LEI DO AUDIOVISUEL ANCINE DU BNDES ET DU GOVERNO DO ESTADO SECRETARIA DE CULTURA FUNDARPE FUNCULTURA 2 ECLAIRCOLOR MOVIES & CINEMAS The result is striking. Right from the first frame, viewers are immediately struck by the considerably higher image quality. This revolutionary color procedure allows viewers to see heightened detail in the highlights, thus revitalising the cinema experience with the best possible image quality. Theatrical Releases in EclairColor (France) LE FILM QUI A FAIT DANSER, RIRE ET PLEURER LA CROISETTE SONIA BRAGA AQUARIUS UN FILM DE KLEBER MENDONÇA FILHO 2016 CINEMASCÓPIO SBS FILMS GLOBO FILMES VIDEO FILMES / COPYRIGHT PHOTO : 2016 VICTOR JUCÁ / CINEMASCÓPIO 6

7 37 SCREENS IN EUROPE France - 18 screens Paris, Champs-Elysées Paris, Pathé Wepler Paris, Le Saint Germain des Prés Paris, Espace Saint-Michel Paris, Filmothèque du Quartier Latin Paris, Studio 28 Paris, Les Films 13 Marseille, Les Varietés Vendenheim, Espace Culturel Le Bourget, Cinéma André Malraux Le Havre, Le Sirius Gaillon, Cin évasion Grand Forum Lille, Le Métropole Varennes/Seine, Cinéma Confluences Clermont-Ferrand, CinéJaude 2 screens 2 screens 2 screens Germany - 18 screens Nuremberg, CineCitta Multiplexkino Berlin, Titania Berlin, Eiszeit Kino Elmshorn, Cineplex Neumünster, Cineplex Schwerin, Capitol Bremerhaven, Passage Bochum, Union Stuttgart, Gloria 6 screens 5 screens Tunisia - Tunis, CinePalace 7

8 3 THE ECLAIRCOLOR TECHNOLOGY EclairColor is a new digital color technology that combines an innovative post-production process with the optimisation of select projection system technologies already available from CinemaNext. EclairColor offers a high-quality image with heightened contrast and a wider color range. The gradients are much more refined, closer to what can be seen with the human eye. EclairColor technology does not necessitate any changes during filming as the process only applies to the post-production and projection phases. EclairColor is a form of HDR. Currently, there is no specific standard for HDR. This is a subject on which professional associations such as the SMPTE, the DCI in the United States and France s CST (Commission Supérieure Technique de l Image et du Son) are working. Opting for EclairColor is like switching from stereo sound to 7.1. In post-production, each image is processed in EclairColor thanks to a standard software suite customised by Eclair s engineers to provide a wider color range. Colors are therefore more natural, particularly as seen in landscapes or on faces. As the remastering is carried out under the control of a film s director and director of photography, new details become visible while maintaining the filmmakers initial intent. The effects they sought to achieve through the choice of lenses and lighting during filming are more apparent with EclairColor technology, with the resulting onscreen images better reflecting the team s original vision. Christophe Lacroix Senior Vice President, Eclair 8

9 The EclairColor process is based on the Academy of Motion Picture Arts and Sciences ACES (Academy Color Encoding System) workflow. This means it can be applied to any grading tool currently in use. This revolutionary digital color solution results in image projection of unprecedented quality. EclairColor is accessible to all exhibitors. The EclairColor DCP* requires a projector able to produce a high contrast ratio such as the Sony Digital Cinema 4K SRX-R-515 or 510, and their double-stack models. The advantage of EclairColor equipment is that it can be used to project both EclairColor and standard content. The reverse, however, is not possible. *DCP - Digital Cinema Package - Collection of digital files used to store and provide films in digital format to movie theaters 9

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11 4 THE ADVANTAGES OF ECLAIRCOLOR EclairColor technology offers cinemas the opportunity to significantly improve their projection quality. Far from being elitist, this new technology, based on a range of projectors already in use in many cinemas, is accessible to all exhibitors. Right from the start, cinemas have been on the cutting edge of sound and image innovation, and they must remain an experience unlike any other. The significant advantages that EclairColor offers are clearly visible to all, which should greatly ease the adoption of this new technology by cinemas. Jean Mizrahi Founder, Chairman & Chief Executive Officer, Ymagis Group EclairColor projectors have been designed to offer flexibility to exhibitors, as they can be used to show 2K or 4K content in both the current standard DCI format and in EclairColor. Being fully compatible means exhibitors can run films in EclairColor format when available and continue to show all other standard content. Adaptable to all types of cinemas, from arthouse to the largest multiplexes, whatever the screen size, EclairColor significantly improves the projection quality of all films and thus brings a new dimension to the big screen viewing experience. 11

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13 5 THE ECLAIRCOLOR VISION Our goal for EclairColor is that it stand the test of time. While Ymagis Group has already equipped 37 auditoriums in France, Germany and Tunisia with Eclaircolor technology, the Group s ambitions do not stop there. Several exhibitors are poised to adopt EclairColor in the coming year, the aim being to build up a large network of auditoriums in order to stimulate the creation of content in EclairColor format. Our ultimate objective is for EclairColor to enter into everyday language, like Technicolor or IMAX, and become a recognized brand name that is synonymous with quality and technology. Cédric Lejeune VP, Technology & Innovation, Eclair The teams at CinemaNext, Ymagis Group s exhibitor services business unit which oversees the sale, installation and maintenance of projection equipment in cinemas, are working on the optimum configuration of the EclairColor auditorium. After the films Aquarius, Brice 3 and Iris and more recently La La Land, other directors and directors of photography have voiced their interest in this new technology which will enable them to fully express the emotions they wish to convey to the general public. Distributors are also impressed with this new procedure. 13

14 Interviews 6with Executives Jean Mizrahi Founder, Chairman & Chief Executive Officer, Ymagis Group Christophe Lacroix Senior Vice President, Eclair Till Cussmann Senior Vice President, CinemaNext Europe Cédric Lejeune VP, Technology & Innovation, Eclair Thierry Beaumel Director of image postproduction, Eclair Maxime Rigaud Managing Director, CinemaNext France Can you describe EclairColor in a few words? Jean Mizrahi: EclairColor is a new digital color technology that combines an innovative post-production process with the optimisation of select projection system technologies already available on the market. This means the image is remastered in post-production to obtain more color and contrast and therefore a more detailed end result. At the same time, EclairColor projectors are being installed in auditoriums to provide audiences with an enhanced experience. Can you tell us how the project began? Jean Mizrahi: We had been looking at HDR - High Dynamic Range - for several months. We noticed there was a pronounced shift toward HDR in both television and video. Technological advances have enabled television delivery systems to incorporate HDR. Companies such as Netflix and Amazon are trying to appeal to a clientele that has higher expectations when it comes to picture quality. Then other international players such as Canal+ entered the fray. When we saw that television was heading in this new direction, we looked more closely at the possibility of using HDR in a cinema setting, with an eye to creating a picture format that would enhance the cinematographic experience. Our goal was to introduce HDR to the film world without compromising the exceptional quality of the image which is the hallmark of cinematography. Last spring, after conducting numerous tests, we came up with a solution that appeared to be economically feasible. For a cost that is fairly close to what current technology can provide to movie theatres, we can offer a picture quality that is far superior as it is in HDR. Cédric Lejeune: We first started to work on EclairColor in 2015 with the aim of improving image quality. With Eclair s significant expertise in what is known as HDR, our teams already had an excellent grasp of the issues, and I myself had 10 years of expertise in color management when we began working on this project. By 14

15 May 2015, we had a working prototype. A dozen or so people worked on the core of the project, which required close collaboration between the teams at Eclair and CinemaNext. Jean Mizrahi: We also worked in close partnership with Sony Digital Cinema 4K, as Sony s projection technology appeared to us as the best suited to our approach. We conducted tests which led us to remaster a number of short films to assess the results. We first presented the technology at the CineEurope convention in Barcelona last June. It was the first time we had shown the result of our work to any third party. The industry feedback was so positive that we decided to step up the pace so we could bring it to the market in September. It took just 18 months from initial conception to the launch of EclairColor. What are the advantages for audiences in seeing a film in EclairColor? Cédric Lejeune: An EclairColor film features much more contrast. The resulting depth draws the viewer into the image. For example, in a normal auditorium with a standard projector, the difference between the lightest and the darkest points (white and black) is a ratio of approximately 1,500 to 1. With EclairColor that ratio is over 7,000 generally between 8,000 and 9,000. The color depth is therefore far greater. Jean Mizrahi: With EclairColor we achieve light that is closer to real light, the light the eye perceives in everyday life. When you compare EclairColor and current standard projection, it s as though a veil has been lifted from the image to restore real light. It is even more striking in scenes shot in the daylight. In an EclairColor film, you have much more subtle shades in both the dark and very light colors. Ultimately, this provides a far richer color and light spectrum with a greater sense of depth than in standard image projection. Till Cussmann: This is a first step towards improving projection quality in cinemas serving a much wider public and clientele than all other initiatives we ve seen to date, which were reserved for very select VIP auditoriums with extremely expensive equipment. EclairColor allows everyone the opportunity to enjoy a sharper, more contrasted image, exactly as can be seen today in the world of television. With EclairColor, we are now bringing this into theatres. Thierry Beaumel: The EclairColor process is a form of HDR. To project EclairColor mastered films we use a projector with a range of contrasts, or in other words a dynamic range, at least four times greater than a standard projector. This range produces much more luminous whites. Compared to standard projection, you can achieve roughly twice the luminosity. With whites that are twice as white, we also get blacks that are twice as black or even more. So, the result is more light, more contrast and visually more definition and color in all the highlights. To summarise, with EclairColor, you realise that all the images you have seen, practically from the outset, have a sort of white filter on them that limits the amount of information and color in the highlights. It s as though the white filter visible on all our cinema screens has suddenly been removed. Maxime Rigaud: EclairColor provides a very colorful, deep, contrasted image. For example, the blue of the ocean is exceptional. It s a blue the like of which has never been seen in the cinema before! All the vibrancy of the image is restored and the experience is incomparable. E E E 15

16 The EclairColor process can be used during grading or remastering. What is the difference? Cédric Lejeune: In short, the difference between the two is that one involves building and the other reworking. In remastering mode, you have to work with what has already been done, whereas in grading mode, it is a question of creation and reflecting more on the content, the director of photography s work and his or her intentions. The EclairColor workflow is designed such that graders can switch from one master to another on their consoles, allowing them to work on both versions at the same time (standard and EclairColor). The improvement in colorimetry is due in particular to the heightened contrast. We always respect the original intention of the film and work under the artistic control of the client. Thierry Beaumel: During the grading process we work directly from the camera files. We therefore have much more material to work with at this point. When the process is used at the remastering stage, the starting point is a film that has already been graded so we are dependent to some extent on what is left of the image. Regardless, however, the result remains spectacular. How does EclairColor work in the production chain? Thierry Beaumel: First and foremost, it brings a certain form of freedom. It opens up a world of possibilities from a grading standpoint. It is as though we had been grading in a 10m 2 room and have moved to a 100m 2 loft with EclairColor. We have more room to store our things, we are more comfortable and we have more breathing space. It is therefore easier to choose one color from among all the others when grading. There is better color separation, so our grading work can be more finely-tuned. There is a real improvement in the quality of the image experience. How long does it take to convert an EclairColor film? Thierry Beaumel: It takes a total of ten days from the time we receive the elements to when we deliver the DCP. This represents a week of grading in fact. And it really is a regrading process, not an automatic conversion using an algorithm. What are the benefits for exhibitors? Cédric Lejeune: EclairColor provides superior image quality that is apparent to all. The format involves very strict quality standards, which gives us excellent control of the projected image. Thanks to this constant monitoring system we can deliver on our promise to a film s director or director of photography that the film seen by the moviegoer will reflect what they originally intended. EclairColor guarantees that the artistic intent is respected. Till Cussmann: Without investing exorbitant sums, cinema exhibitors can offer their customers a visual experience that is much closer to reality and vastly different from what is currently seen on the big screen. The images are truer to life with more detail than a normal projection. It is a quality, immersive experience for viewers, who will feel closer to reality. Maxime Rigaud: For exhibitors, the goal is to provide their audiences with a higher quality image. As a result, viewers will feel totally immersed in the film. The EclairColor image provides more information, more color, more depth of field and is more vibrant. It is a very photographic, visual, cinema-quality image. Whatever the film, the audience will experience more intense emotions in the theatre. This has proved true for both arthouse films, such as Aquarius, and films aimed more at the general public such as Brice 3. The feeling is the same. 16

17 Will all cinemas therefore be equipped with EclairColor technology in the future? Jean Mizrahi: They will have an EclairColor-type format and, obviously, we would like EclairColor to be the market reference. Today it is the only format available to everyone, in that any cinema can purchase it for the price of a standard projector. It is financially feasible. So, a cinema that wishes to renew its equipment or a new build cinema today could switch to an EclairColor offer without any significant additional cost, allowing them to be early adopters of what we are convinced will be the future technology standard. Till Cussmann: There is no doubt that EclairColor will change the cinema experience. For me, though, the overall experience is not simply the result of an improved image. It is a combination of several elements, in particular sound, which is also becoming immersive today. Added to this is something of fundamental importance: comfortable seats as we spend one and a half to two hours sitting in the cinema. The auditorium of tomorrow is a complete experience. An experience that takes the viewer on a voyage while ensuring their comfort. Maxime Rigaud: I think EclairColor has great promise! It is a standard that will endure. I would even go so far as to say that I think it will serve as a catalyst for change in the industry. Technically it is such a striking, visible improvement that enthusiasm for it can only be strong. In my opinion, the technology will speed up the process of fitting out and replacing the equipment in certain cinemas. Is the cinema standard of tomorrow inevitably HDR? Jean Mizrahi: The future of cinema is HDR. There is no doubt about that because the television of today and tomorrow is HDR and once viewers are used to HDR, they will not accept anything less from the cinema experience. Christophe Lacroix: Our aim is to create a standard that will gradually become a universal standard. Beyond this, the auditorium of the future will be a sensory experience that is as close as possible to reality. It must offer audiences an image closer to reality, which means a wider color range and higher frame rate a rate of 60 frames per second, for example. So, you can equip all types of auditoriums, from arthouse cinemas to large multiplexes? Cédric Lejeune: Absolutely. You only need to look at the first two EclairColor films and equipped cinemas. On the one hand, we had the release of Aquarius, a Brazilian arthouse film screened in our first EclairColor cinema, the Etoile Saint-Germain-des-Prés in Paris. On the other hand, we had Brice 3 released in EclairColor at the Gaumont Champs-Elysées, our second EclairColorequipped cinema. The two couldn t be more different but that is what is fantastic. EclairColor can be used in all cinemas, all auditoriums and on all films. I believe we have taken a huge step forward with EclairColor. The HDR market is getting a considerable boost. ECLAIRCOLOR IS THE FUTURE OF CINEMA TODAY. 17

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19 ABOUT CINEMANEXT 7AND ECLAIR CinemaNext is the largest cinema exhibition services company in Europe, providing smart, comprehensive solutions across the board, from projection equipment, audio systems, central systems, cinema outfitting, content management, 3D glasses, TMS, digital signage, screens and seating to consulting services. Clients enjoy the highest level of reliability and lowest cost of ownership through our various services: design & project management, equipment sales and financing, installation, maintenance, customer service (NOC), online monitoring, content management, spares and consumables, service agreements and supply chain & logistics. 9,500 screens have been installed by our technicians to date. 7,000 screens in Europe currently avail of service contracts with our company. CinemaNext is headquartered at the Pôle Image in Liège (Belgium) and has regional offices and business representatives in 25 territories across Europe, Africa and Central Asia. CinemaNext is part of Ymagis Group, the European leader in advanced digital technology for the cinema industry. Founded in 1907 in the early days of cinema, Eclair is a historic, innovative and respected company in the motion picture and television industries. We offer smart solutions across Europe and North America to producers, movie and live events distributors, rights holders, cinema exhibitors, advertising agencies, broadcasters, video publishers and VOD/SVOD platforms. Eclair has become a leader in UHD 4K and HDR technologies for feature films, documentaries, TV movies and series. This new digital color technology is able to achieve image projection of unprecedented quality. Headquarted in Paris-Vanves (France), Eclair has 12 additional offices in the following cities: Berlin, Karlsruhe, Madrid, Barcelona, London, New York, Liège, Vicenza, Auxerre, Issy-Les Moulineaux, Strasbourg and Rabat. Eclair is part of Ymagis Group, the European leader in advanced digital technology for the cinema industry. 19

20 #eclaircolor Manel Carreras Jean Mizrahi jean.mizrahi@ymagis.com Till Cussmann till.cussmann@cinemanext.com 2017 YMAGIS GROUP ALL RIGHTS RESERVED