male speaker: it's my pleasureto introduce jean penicaut from lumiere technology whogoing to describe their work in advanced digitizationof fine art. jean penicaut: thank you. thank you for coming. my name is jean penicaut i amthe ceo of lumiere technology. we are originally a manufacturerof rgb and gis high definition scanningsystems. and we sell cameras with a resolution of 240 millionpixels and with a
geometry certification of 12microns for [unintelligible] format for digitizingarchives. that was our former business. and we have customers as thewestern michigan university, the french [unintelligible] authority. or for rgb we have the libraryof congress in washington, the washington state archives inolympia, and we deliver some machines in museums, and somenewspapers too, and
prestigious institutions asarchives of canada in ottawa, and the canton of genevein geneva. so we send now a service whichis totally different over a new technology with amultispectral scanner. we scan in public and privatecollections with the highest definition ever obtained before,240 million true pixels, an accuracy neverobtained, never, never before, with a special technique. digital public and privatecollections with the highest
resolution. so we come to museums and wescan with this jumbolux and jumbolite patented systemdigital artwork. this is the scan of is la viede picasso at the cleveland museum of art. and you see is white true raywho is passing 13 times of the canvas and we share the lightand the answer of the pigment from uv to infraredas its definition. so we obtain 13 files and thatgives us, by reconstruction
and resizing amazing images with1.6 gigabytes of data. and we obtained this onewith this definition. and because we have ameasurement and not just a representation, we have alsobehind this image, the knowledge of this imaged withinfrared with the same definition, and the staff ofart before the restoration, and the cracks, and the varnish,and the pigment, and the [unintelligible],et cetera. so this is the most powerfultool for studying
the history of art. so we can also browse thesekind of images online. so i want to show you now whatwe made with mona lisa. so we obtained with this camera13 pictures from uv to infrared sharing the lightall of the 14 nanometers. we have uv, it is invisible hereand you have the infrared here, which are alsoinvisible. and we reconstruct after thatthe images to give you the perfect color of the painting.
that gives you thisresolution. so that was the digital can ofmona lisa in the louvre two years ago we with a researchlaboratory of french museums. and so you have the ability tosee each detail and in each pixel you have the spectrum ofthe pigment of the bind and of the varnish usedby the painter. so it is an incredible toolfor knowledge, studying, reproduction, curating,and as you want. and it is a measurement so wecan follow the evolution for a
very long time off all thescreens and the printing process in papers, et cetera,to obtain perfect gamut. the gamut is a memory you havein your mind of the perception of the color. and we cover 97% of thegamut as rgb 55. rgb is just a representationbecause when you digitize something with rgb in photoshopafter that you adjust the digitization asyou feel at this time. with our measurement, neverwe correct, it's always a
scientific measure. and we can compare on samebasis paintings. so this is mona lisa as you cansee her actually behind the glass in the louvre. but also we have the knowledgeof this painting with all its restoration. and you can see by this infraredfalse-color process, totally automatically generatedwhen we construct the painting, you have theexact ability to see the
differences of the pigment. this here is azurite andhere is lapis lazuli. you can see with a very goodprecision all the cracks and all the restoration in violet. you can see also theunder drawing under the infrared here. she has moved her hand. and you can see also a cover,a [unintelligible] cover she has on her knee.
i'm sorry, i am unable, as acanadian explained to us, i am unable to tell you is thatshe was pregnant. i don't know, it's impossiblefor me to give you this information. but what can i do is give youanother information, very interesting, the truecolor of mona lisa. we have removed the varnish. and i will show you now how fromthis information we have removed the varnish totallyvirtually from the
painting like that. sorry, i have to find. so the pixels give us on theentire surface the pigments, the bind, and the varnish. and we have that on the entiresurface of the painting. so for this painting we have86 million pixels. and in each pixel we havecertain information which give you the exact spectrumdefinition of the painting and the varnish.
so we have decided to removevirtually the varnish by first an aging process with equivalentvarnish used by leonardo da vinci. so we aged it for 500hundred centuries by a special treatment. and we make, after that, thespectrum in each pixel. this is the blue one. and the spectrum of the varnishis a pink one, so we subtract the pink onefrom the yellow one.
mathematically, it's not exactlysimple, but we obtain the result of the yellow one andwe verify it with the pure pigment here on theblue light one. and the average of that givesyou this information from the original color to the virtualrestoration of mona lisa. so what is totally new is thatwe can make that for any paintings we have digitized. and this is the ultimatedigital capture system for fine art.
so the experts and actuallythe first report in a news magazine in france explained topeople that now we have the dna of any paintingwe digitize. so here you see we have 80million pixels of this information and each pixel hasthis curve and the curve gives you the exact measurementof a painting forever. so now we are coming tosee more paintings. this one is from john-jamesaudubon at the new york historical society.
so you can see all the detailsof the royal eagle of the watercolor as acquired fromjohn-james audubon and with very interesting details. and now here is the drawing,et cetera. so what is able now is wecan browse inside a painting and online. so i can show you more, thegreat egret from also the new york historical society. i can show you also the famouspink flamingos that every us
family has at home, i think. sorry? male speaker: that'sonly in florida. jean penicaut: but it'sinteresting that we have the true color and i have never seenin a shop the true color. and so you can seelots of details. i can show you now this onewho is [unintelligible] that give you lots ofinformation of the technique with the verdaccio.
so you can see with thisprecision how he put his stroke with pink and green. you can also lots ofdetails in this canvas, or it is a panel. there is a little guy here orsome ghosts here, boats here. and you have also wonderfulred and gold details very difficult to obtainby a simple rgb. we can see also thisinteresting georges de la tour.
and what we see from thispainting from the museum of cherbourg is that we discoveredwith our system some little, not mushrooms, buti think behind the bind and the varnish which was verydamaged for the painting. so that was very easy to find. male speaker: fungus,you mean? jean penicaut: fungus, yes. this is a [unintelligible] from a private collection.
we can see also more fromhere with details. this is a panel from mycollection, quattrocento period, so the sameage as mona lisa. and we can see the false color,so all the restoration and the state of this paintingand also the infrared in back and wide. but you know, false color givesyou more information because that gives youdiscrimination. i can show also how weunvarnish a painting.
so this is a panel froma dutch painter, his name is van delen. and you have the false colorinfrared will give you details of the correction of thepainting at the same time. and also we can simulate theunvarnished painting before restoration to just evaluate therestoration and the work you' have to make. but if you just see the underdrawing you see details from the original.
i can show you nowa fragonard. this fragnoard is in a familycollection in paris before to be donated to the louvre. and i have the infrared too. i love this painting becausei hit in front of i think a hundred times in my life andi've never seen as i see now with detail like here, thelittle nuance of red here and also the details on the hands. so this is the new wayfor studying art.
we can see more then. another one here ismarie-antoinette. this is an interesting pasteland the study of this pastel with the infrared gives youdetails of the original of this pastels and confirms thatfrom the uv and infrared you have a difference. and the difference reveals thatwas the first pastel ever made by ducreux at theaustrian court. and we know that the mother offin fact marie-antoinette
refused the first one becauseshe considered the first one too young. so it was not the idea of afiance that she wanted to give to the old king of france. so the infrared gives youthis is information. you compare it is notthe same portrait. so that gives you all theidentification of the painting, and we have also someinteresting discovery.
a guy came with this niceangelus by millet. he considered after a littlestudy, he was a plumber in the south of france, a lovingheart, as you and me. and he both that for,i think, $20 or $40. and in his mind, he said, it isa nice copy of millet, who has copied millet? and van gogh was on the toplist. so he sent a picture to the van gogh museum and, ofcourse, the van gogh museum answered no.
so he came to visit us and saidcould you please scan this nice painting because i amsure that perhaps we will discover something. so details of this paintinggive us some answers. here you have somethinglike millet. and if we have the first colorthat gives you d'apres millet. and the d'apres milletthe exact scripturation of van gogh. and we know that he made thispainting and later he
mentioned that he made it. so the guy now is coming to thevan gogh museum with the perfect file we made for him itwith his brother inside and with a nice copy, a printedcopy, and lots of information about the pigment definitionof the painting and of the varnish. so for expertise it isan incomparable tool. lots of nice thingsi can show you. this one too is supposedto be van gogh.
it was from van gogh's sisterjohanna's collection, but once an expert told the signaturewas not from van gogh. so this painting was sold for$100, i don't know where in the netherlands. and we scanned it and thedetails it's totally incredible here. this is a glaneuse, i don't knowthe name of a woman who was in the countryfor that, but you know, look at the detail.
also, we can scan just[unintelligible] or [unintelligible] this is a picasso. and you have uv and infraredwith the same knowledge. and i can show you more. a difficult littlepanel to see. it is a painting overanother painting. it's difficult just by your eyeand you can go inside this panel and you have thefalse-color, which reveals
that the portrait of the womanis over the little man. and the infrared will give youmore information for the under drawing and how he madethis painting. it is perhaps a picasso from thevery early period in the bateau-lavoir. and it is perhaps thesister of picasso. we can see this isamazing chagall. the most difficult for us is tocan red because to give you the nuances of red, that isthe main difficulty for
photographs. and so here you can see theamazing nuances that this prince of color whowas chagall made. and we have also behind that allthe infrared and all the study of the painting. and just to finish, this is anice renoir you can see at the musee de l'orangerie. and you have also thefalse-color that will give you lots of information.
another big one, renoir,where is it? so we are online too. so it is totally new because wecan share this information with everybody online,and that's the reason why i'm here. because now we can have thisis kind of visit of museums with the same acuity, and thesame accuracy, and the same definition. so the main difficulty for usis to come in museums for a
digitization. and we have now online from ourwebsite lumiere technology the ability to go and to browseexactly with the same definition as two minutesbefore on my computer. it's very easy. it is actually just forpc and with explorer. but inside this nice paintingyou have details as this signature inside thebody of the central detail of the painting.
so you can see and consultthat on our website. for us, the analogy with googleearth is evident. we use the same sensor tocapture the image from satellites. we have the same approach, theteam that we visited in purdue university, we invented themultispectral scan just to see the state of art of the growthand culture of corn paid and sponsored by kellogg's. so we made them and theywere totally amazed by
the result of this. and they made lots ofverifications and to say you are at the top off yourtechnology too in front of a canvas. i was, last week, in pasadena atthe 34th conference of the museum computer network. and i met around 40 museums. icame also to the getty and the studio department last mondaywith the top of the technique of digitization.
and what they saw andwhat you see now has changed their minds. now we have to come in museumsto digitize their entire collections, hanging and stored,on more or less a long period, it depends on the timeof the museum and the time of a museum is not our time hereon our business company. so the most difficult to take apainting, to unframe it, to put it on a roll, and to bringit in front of the scanner. so we want to install in museumsmultispectral rooms.
and in 20 to 40 minutes we willdigitize a painting and we have the equivalent time to reconstruct on our quad computers. and we deliver at the sametime this result on any luminance you want because thebeauty of that is that we have achieved the dreamof bill gates. we have now the abilities toput on your wall the exact color of a painting underany luminance you wish. if you want the luminance ofthe candlelight as leonardo
saw his painting in his roomor if you want to see that because you are [unintelligible]and you have trouble for red and green, wecan give you this information on the screen as we want. so the data is stored on oursever in the museums for studying with equivalence withour pigment databases because we made also lots of researchabout pigments, and also to be sure that the data will be keptsafely and with always the same scientific protocol.
so when we talk with museums,they all explain to us that they don't want to make as theydid with corbis five or six years ago. because corbis was founded bybill gates just in this goal to puts on the wallsmasterpieces of art. they want to keep the copyrightof the image and i understand, i agree with that. because the knowledge of thisimage we just have this knowledge, not the museum.
because we have the equivalence with the pigment databases. so what is important now isnot the image, but the knowledge of the image. and we can provide forcomparison study or producing, with the best quality,these images. and this data, nobody except uscan create value from it. what we want to do is to createworldwide databases of pigments of the digital palateof painters around the world,
by period, blue one, pink onefor picasso, et cetera. and we think we can make thatin less than three years. after that, we will have suchinformation that these next 20 years will not suffer to studythem with all the art departments in universities. yes? audience: surely, the copyrightson these things are old enough where they wouldbe expired by now. jean penicaut: i'll explainfor the copyrights after.
in fact, actually, we have nolegal statutes for the pixel and the knowledgeof the pixel. we know for the image but wedon't know behind the image. so it's empty, we have to createthis new paradigm for legacy and copyright. audience: but you are allowedto freely redistribute the pictures that you take? jean penicaut: we want to createa network with the museums to follow this knowledgeand to share this
knowledge with the museums. wehave in each painting the dna of the painting. we have the truth ofthe paintings. so we can make lots of profitsfrom this knowledge and partly from this image, but alsofrom something that doesn't exist now. identification, comparison,epublishing, poster, insurance, certification,ratings for sales, et cetera. we can create, first, apay-per-view, the perfect
pay-per-view system fordigital images as its to visit virtual exhibitionsafter an event around a [unintelligible] ora new painter. you have actually exhibitionsaround the world, three months in chicago, three months inlondon, three months in madrid, or in ottawa. and after that you just have adirty book with dirty colors to remember this amazingexhibition. imagine the second life of thisexhibition online with
this accuracy, pay-per-view, youjust have to pay and you can go in this amazing tizianoexhibition, da vinci exhibition, and we cancreate this memory. we can also from this virtualexhibition create lots of derived products, posters, etcetera, with [unintelligible] certification as the bestprinted posters and you can order that on the illuminanceyou want. it is an occasion to open thevalue of such exhibitions for people who can't travel and thistime and would appreciate
to visit it. instead of having 300 visitors,imagine the audience on the web in two or three yearfrom china, from africa, india, or here, america, forpeople who never will go to chicago or to paris tovisit an exhibition. such digitization should alsodecrease the insurance rates from shipping by a betterknowledge of the state of the paintings. i think the masterword for this
knowledge economy is sharing. we have to share, we have toshare, we have to share. and we can reinvent a new accessfor fine art and a new way for also sponsoringexhibition. and it's not here, i am in themecca of the profit by advertising. and it's not here, i haveto explain to you that. but imagine a visit of a museumwith all the paintings like that and with localadverts and publishing
adverts, et cetera. we can also change the mannerof patroning an exhibition. for google, it will be thefair manner to patron, i think, a new way for a digitalart and for the knowledge about fine art. given another impression thatyou are in europe and, i think, everywhere as a cultural predator sometimes, sorry. if you listen to just thereaction of the local chairman
of the french library, etcetera, you see that it's very difficult for them tounderstand, in fact, the amazing work you do. last week at the mcn conferenceyou had at station about google and thumbnailsissued from the museum's collection. what a pity to see suchdistinguished persons arguing on the intellectual propertyof a vignette just because they don't value the shareof [unintelligible]
expected from googleof such its age. so i have a dream, perhapswe can create together google art. in three years, to sponsor thedigitization of all the masterpieces for art in storageand on the walls of museums, i think it concerns 100museums and the budget of that could be around$35 to $40 million. it is the price of avery bad picasso. but, from that you couldencourage this innovating
vision of studying picturesof artworks. and it is a very profitable[unintelligible] at term around all derived products,which don't exist yet, but which will generate revenuesand income. if you think to apply the goldenrule in this matter, sharing, sharing, sharing, withall people, institutions, museums, estates involved inor by the diffusion of the image and the knowledgearound them. and it's the reason why all thislegacy problem will be
resolved because if you pay, ifyou share, you can make a large consensus of the diffusionof the image with lots of security systems,watermarked, et cetera. audience: you're talking aboutsharing it, but you're still going to charge peoplewho access it. jean penicaut: yes, but theincome will be shared. for high resolution, if you wantto use these images for a university, for a pitch, aconference, et cetera, you can pay $10 or $20 for that.
it is easy and also you canenter in this knowledge with lots of adverts aroundthe event or around this museum, et cetera. what is the value? i just want to open your mind ofsome new business possible. look, this is a fragonard. what is the value of the nuancesof this painting for a woman who wants to change thedecoration in her flat from this portrait of fragonard, theyellow for the chairs, the
gray for the carpet, thered for the curtains? by just giving to the paintmaker, the guy who the paint, the idea of the nuances andthe luminance she wishes, because in fact, she wants thisyellow, but in a dark room, without windows,without daylight. so she wants the same nuancewith a halogen lamp. she will obtain a perfectrestitution or her sensible perception of this artwork andshe can pay $50 for that and it is pure margin.
what is the value of the advertsaround this painting or this artist automaticallygenerated by amazon on printed fine arts or last minute whowants to propose a trip to a museum with lots of fragonard. what is the value of the newbooks, like getty books, i explained that to the getty. a nice cube as you can see inthe getty, you go inside this little cube and you have arelaxing massage armchair, an ice cream, and you can go insidethe painting, listening
to, because it is renoir, themusic of faure or ravel, and have lots of fun and enjoymentjust to see what you have seen in the reality. and you can pay for that $5. or you can have some moreadverts around this consultation. audience: disneylandand gettyland. jean penicaut: yeah, what isthe value of a digitization pay-per-view for the aredepartment of a library or a
university? last year i came to visit theart department of stanford and they explained to me that, forthem, just to pay $10,000 each year to have access to 18thcentury painting databanks with such resolution isnot wrong for them. they think it is interestingto pay for such access of such quality. what is the valueof movie-making? from this data we can make onemovie about fragonard with two
or three experts. every image from thismultispectral scan has a value, a certification,a usage to generate in common pleasure. so to build this amazing projectwe needs a strong partnership. the reason why i'm here is totell you that we can together make the best, largest, andrevolutionary research image portal for museums' collectionsabout ancient and
contemporary artists, tobecome the real leading basement of historyof art studies. once we will have digitized10,000 paintings, it will be very profitable. with your patronage, googleart, as louis vuitton made that for the big exhibitions inchicago and in paris, but here are on the web it would bevery easy and acceptable by the majority of museums. itwould be a perfect answer to those who claim against google,showing also your
ability to encourage andpatron art research. beyond images, to manage theknowledge of paintings of their history, two open theminds of people always constrained, actually, by poorreproductions so far from the reality, it is now, i think,in the digital age, a knowledge economy absolutelyunacceptable. the reason why i'm here also isto find investors, so it's the reason why i come in thevalley, who could easily understand the development ofour project from acquisition
to research, from diffusionto creation of value, from promotion of a norm as dolbyfor the sound, but here we have dolby for the color and wecan make the standard for printing and for research. we have the perfecttool for that. and we can also give the rulesfor the best definition for screens, for printing,and for choosing ink. we have, next year, orderedprint machines with 24 inkjet specification to obtain thebest printed and the best
gamut, the best definitionof colors of the reality. we have supplied the bestdigital capture system in the world of art. and for a long time, asmeasurement, we have supplied the smartest browser on pc formuseums to communicate, merging documents, mpeg,pictures, like that. you can put beside any paintinga video very easily. and so a curator canexplain a painting just beside the painting.
we can merge these documentswith mpegs, with links, with comments, sounds, et cetera,and adverts at the highest definition possible. and behind the painting givingyou the invisible and that is really impressive. and this knowledge, passionatepeople who love art, just to see behind the painting, how wasthe painting, et cetera. so we have proven our abilitiesand we have to deploy our service.
of course, we will new legalstatutes of the pixel to argue, copyrights arenow not sufficient. at the famous picture agencyvisited last year in seattle who told me-- corbis-- jean you changed ourbusiness forever. i answered, no, i go furtherin the unlimited way of digital knowledge ona scientific basis. it is time to share knowledgelaboratories and publications
letting ignorant, nice peoplediscovering at home, or on the fair market, wonderfulmasterpieces of art as i showed you two minutes before. each week we have requestsabout people and such paintings supposed to be a vangogh, or picasso, or chagall, always recused on littlepictures without any element of comparison just bymail to say, no. and you have seen the result. we don't want to be experts,we want to deliver the most
complete files to experts,increasing their expertise. it is time also online to buildthe bureau veritas for pictures of artwork. you know the bureau veritas hasall the ships around the world and the boats andthey have a central authority for that. and insurance companies willbe very interested by collecting this informationto, with all security and confidentiality processes,of course.
it is time to give to ourchildren and students the exact reason why renoir painted without dark and black. you don't have any dark in thispainting, only with blue. by letting our children discoverby themselves this new matter about impression,they will enjoy in its true dimensions, this incomparablemovement of art in art history. we can now study, as never,browsing inside the image and
enjoy with unique pleasure howthis painting was made, strokes, color palate of thepainter, et cetera, on site and online. i think after seeing this kindof painting online, you change your mind when youenter a museum. it is another way forunderstanding and your next visit to a museum will be moreenjoyable because you will also share this pleasurewith people around you. and i think if we succeed wewill have made something that
will further us and this is thereason why i'm happy to work in this company. what i know is thati will make it. i don't know with authoritiesor patrons, but i will make it. and i wish to create a strongpartnership, perhaps with you, i hope so, to create this googleart vision from europe, to new york, and here to buildsomething that will further us in the universal peacefuldomain, beyond all our
differences, art. so that was what i wanted totell you this morning. i'm sorry because it's not ingood english, because i am french and that's notall the time easy. but just a detail, this ismona lisa, and we have discovered just by our softwarethat here you have a minium drop. minium is an orange, modernpigment that you pout under the iron to avoidthe oxidation.
perhaps is was the guy who stolethis painting in 1911, he was a painter. and we think that taking thepainting in his house, he some minium on his coat, somethinglike that. so we have discovered that. it's passionate for people. mona lisa is like agoddess in japan. so imagine the day we will opena website with mona lisa, with the louvre, onpay-per-view.
we will have great success. all the experts involved in thismatter of mona lisa, art, et cetera, italians from firenze[unintelligible] are totally amazed by thismanner to study. so now, how can we change theworld of art together? that's my question. thank you. [applause]