Current Issue
March 2015

Christine Bunish
Christine Bunish began in publishing with an international newsmagazine group. She moved to Broadcast Management/Engineering where she helped launch World Broadcast News and later served as a writer and research director at Millimeter. She has been a freelance writer for Post Magazine for over 20 years.
Authored Articles
The Evolution of the Digital Intermediate
Published: May 21, 2012

It may be time for digital intermediates to have a name change. Initially coined to describe a digital approach to a film process (i.e., the digital intermediate between film scanning and film print recording), it has arguably come to mean something different today.
2D to 3D Conversion
Published: May 15, 2012

Much to the delight of producers — and to audiences on the receiving end of stereo 3D content — options for high-quality 2D-to-3D conversion have increased in the last few years. A number of facilities in the U.S. and Canada offer 3D conversion services, often in conjunction with international vendor partners for a sun-never-sets approach to workflow efficiencies. Proprietary software is paired with off-the-shelf solutions to optimize pipelines and reduce costs for content of all types. 
On-Set Post
Published: April 24, 2012

Post production today is no longer a discrete process practiced off-set after production has wrapped. Instead, post often begins on-set with a workflow designed to enhance creativity while production is still underway and speed and facilitate many post processes that run parallel to productio
2012 Storage Supplement
Published: March 8, 2012

Data, data everywhere: Finding the right storage to fit your workflow is critical.
Test Spots
Published: February 21, 2012

Test commercials have come a long way from the days when animation stands were used to shoot storyboards and the resulting quick-turnaround animatics were presented to focus groups to determine which concepts would best grab viewers’ attention as full-fledged spots.
Today, test commercials are created in an array of sophisticated styles and executions, although multiple concepts still duke it out to see which will emerge with a shot at full-up production.
Getting lost in 'Hugo'
Published: December 2, 2011

LOS ANGELES — To bring Brian Selznick’s unique illustrated novel “The Invention of Hugo Cabret” to the screen, director Martin Scorsese teamed with top names in VFX to ensure that stereo 3D was used to maximum effect to create the world of Hugo, an orphan who lives behind the walls of a Paris train station in the 1930s.
DPs & Colorists
Published: September 6, 2011

Technicolor colorist Sam Daley believes that colorists are a “secret weapon” for DPs working “behind the scenes and in the dark.” He calls a colorist “a conduit for the cinematographer. If a cinematographer had the time and the technology I have at my disposal he’d do the color himself. Instead, I’m here to ensure that the images are presented in the way the cinematographer envisioned. And I occasionally get to be their collaborator.”
VFX for Films
Published: July 13, 2011

It’s the season for superheros and the supernatural, as the new crop of summer features comes to a multiplex near you. Visual effects studios, whose modelers, animators and compositors have been toiling on these films for some time, join eager audiences nationwide in seeing how their efforts play on the big screen.
ILM takes on 'Cowboys & Aliens'
Published: July 13, 2011

SAN FRANCISCO — An alien invasion of the Old West. “From the VFX side it doesn’t get any better than a mash-up of the two genres,” says VFX supervisor/2nd unit director Roger Guyett of San Francisco’s Industrial Light & Magic (ILM), the lead VFX studio for Cowboys & Aliens.
Studio Management Software
Published: June 28, 2011

The downturn in the economy has meant boom times for developers of facility management software designed to help companies of all sizes operate more efficiently.
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