CINEFEX
... The Journal Of Cinematic Illusions
Sci-Fi, Fantasy, Technical Bimonthly Magazine from Riverside ,United States


- First issue: 1980
Special effects
From 1980, it explains the way special effects are made.
Only covers 2-3 films in rolex Replica watch for sale every issue with many details and behind the scenes photos.
Publisher: Don Shay Editor: Jody Duncan
A quarterly publication. 112 colour A5 pages.
- Published by Cinefex
- Website: www.cinefex.com

Last updated:
2020-08-12

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Special thanks for this page goes to:
Scott Matheson
Garry Malvern

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There are 171 issues listed in the database

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CONTENTS: 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 All GALLERIES: 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 All

Issue 8
1981
Tronic Imagery: Tron signals the emergence of the Walt Disney organization from the black hole of formula filmmaking which has characterized the studio since the death of its founder. Combining state-of-the-art computer generated imagery with dazzling animation-enhanced live-action, the film creates an energy-charged parallel world of video games and electronic beings. Writer-director Steven Lisberger explains his concept for the film and traces the steps involved in seeing it through to fruition, while effects co-supervisors Richard Taylor and Harrison Ellenshaw reveal the technical aspects of the filic innovations employed. Providing additional details are conceptual artist Syd Mead, technical effects supervisor John Scheele, animation effects chief Lee Dyer, and nearly a dozen other technicians and artists. Article by Peter Sorensen
Silent Running: A rare journey into the humanistic side of science fiction, Silent Running was pieced together a decade ago by Douglas Trumbull and a team of dedicated technicians and designers, many of whom have since risen to prominence in the field of special effects. Trumbull details the evolution of the project and his involvement as writer-director and effects supervisor. Effects co-supervisors John Dykstra and Richard Yuricich explain the varied techniques involved in filming the space freighter Valley Forge. In addition, the transformation of a Navy aircraft carrier into a spaceship interior, the design and construction of the unique drone robots and mini-cars, and a variety of other production details are discussed at length by art director Wayne Smith, drone coordinators James Dow and Don Trumbull, and special designers Bill Short and Richard Alexander. Article by Pamela Duncan


Issue 7
1981
Willis O'Brien - Creator of the Impossible: It was mere chance that first led Willis O'Brien to consider the possibilities of producing cartoon-style animation with three-dimensional puppet figures. And while nearly seven decades have passed since his earliest attempts to imbue inanimate objects with a life of their own, the special effects form he introduced into the vocabulary of film has endured through the years relatively unscathed by the ravages of time. The Lost World, King Kong and Mighty Joe Young were all high water marks in the area of effects-oriented entertainment, and Willis O'Brien was at the heart of each. Though too many of his most ambitious projects - War Eagles, Gwangi, Valley of the Mist - were never to be realized at all, even his decidedly lesser efforts conveyed a sense of style and charm that was characteristically his own. But in counterpoint to his many triumphs, there is a darker side to the life and times of Willis O'Brien that carries with it an implied indictment of a user industry that fails to adequately recognize the strengths - and perhaps more importantly, the weaknesses - of some of its most gifted artists. On this, the eve of the twentieth anniversary of his death, Willis O'Brien's singular career is reexamined in detail, for he left behind him not only one of the great film classics of all time, but also a rich legacy of cinematic wonders and lasting inspiration. Article by Don Shay


Issue 6
1981
Computer Imaging - An Apple for the Dreamsmiths: It is unlikely that any technological breakthrough of the last decade will have as significant a long term impact on the way motion pictures look and are made than will the burgeoning field of computer generated imagery. From the earliest advances in the art and technique of computer animation to the current state of the art, a solid overview is presented on the past, present, and future of computer graphics, digital scene simulation and electronic compositing. Article by Peter Sorensen
Dragonslayer: When Hal Barwood and Matthew Robbins set out to make a sword and sorcery fantasy, they had no idea it would spawn the most significant innovation in dimensional animation since its inception. Industrial Light & Magic dragon masters Dennis Muren, Phil Tippett and Ken Ralston discuss the development and utilization of 'go-motion' animation, aided and abetted by dragon mover engineer Stuart Ziff, optical supervisor Bruce Nicholson, armature builder Tom St. Amand, miniature set builder Dave Carson, matte painting supervisor Alan Maley, makeup artist Chris Walas, and animation supervisor Sam Comstock. Non-ILM involvement is recounted by dragon designer David Bunnett, full sized prop maker Danny Lee, and VCE animation supervisor Peter Kuran. Article by S.S. Wilson
Raiders of the Lost Ark: The Wrath of God . . . and Other Illusions: One of the more effective recent uses of special effects to enhance rather than dominate a film was in the Lucas-Spielberg production of Raiders of the Lost Ark. Discussing the climactic holocaust sequence and other optical work in the film are Industrial Light & Magic effects supervisor Richard Edlund, effects art director Joe Johnston, animation supervisor Sam Comstock, optical supervisor Bruce Nicholson, special effects makeup artist Chris Walas, cloud manufacturer Gary Platek, matte painting supervisor Alan Maley, and matte cameraman Neil Krepela. Article by Don Shay


Issue 5
1981
Ray Harryhausen - Acting Without the Lumps: Ray Harryhausen is probably the only special effects artisan readily identified as the prime creative force behind the films with which he is associated. The enigmatic grandmaster of animation discusses with candor his formative years, his feelings about fantasy and filmmaking, and the highs and lows of a singular career which has spanned more than three decades. Article by Vic Cox
Clash of the (Foot-Tall) Titans: For his sixteenth feature film, Ray Harryhausen has returned once again to the world of classical mythology. For the first time, however, he did so in the company of two associate animators. Jim Danforth and Steven Archer. Together, the three discuss the origins of the projects and the many months of postproduction involved in bringing Harryhausen's most ambitous film undertaking to the screen. Article by Don Shay
Roy Arbogast: When grandiose special effects are required 'live' during main unit photography, the job is likely to fall to effects expert Roy Arbogast. Arbogast, a veteran of both Jaws films, Close Encounters of the Third Kind, Dracula and The Incredible Shrinking Woman, discusses the field of mechanical effects and his varied work in a wide range of contemporary features. Ariticle by Jordan Fox
Caveman - The Real Stars: Writer-director Carl Gottlieb's irreverent sendup of the prehistoric melodrama provided fertile ground for some decidely unique stop-motion work. Effects supervisors Jim Danforth and Dave Allen, animators Randall William Cook and Pete Kleinow, and optical technician Spencer Gill discuss the tempestuous production. Article by Scott Vanderbilt

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