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

Recent updates


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

COVERS FOUND & MISSING
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Highslide JS Listing is complete.
There are 171 issues listed in the database

Info from the Cover Gallery
Covers found: 171
Covers missing: None
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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 52
1992
Honey, I Shrunk the Kids: Blowing Up Baby: When Disney was making Honey, I Shrunk the Kids, its own in-house effects facility lacked both the equipment and the personnel to take on the assignment. Three years later, Honey, I Blew Up the Kid would mark the reemergence of Buena Vista Visual Effects. Providing support were eleven other effects companies, including CIS-Hollywood and Sony High Definition in their feature film debuts. Article by Jody Duncan
Death Becomes Her: Life Neverlasting: Among the effects challenges of Robert Zemeckis' black comedy, Death Becomes Her, were the unlikely depictions of Goldie Hawn as a two-hundred-fifty-pound blimp and Meryl Streep with a twisted-around head. The effects teams at Industrial Light & Magic and Amalgamated Dynamics Incorporated joined with makeup artists Dick Smith and Kevin Haney to realize the comically horrific tale. Article by Kevin H. Martin
Commercial Spot: Simian Simulation, Elevator to the Stars
Quick Cuts: Video Hell, Panic on Liberty Island
Profile: Alan Munro
Video Beat: Morphing to the Madness
Laser Revolution: The Lost World Revisited
Effects Scene: Therapy in Pen-and-Ink


Issue 51
1992
Batman Returns: A Knight at the Zoo: For three years after the record-breaking success of Batman, legions of batfans eagerly awaited the return of their Dark Kinght. With BatmanReturns, director Tim Burton - in his inimitably macabre style - was to once again bring the Batman legend to the screen. Like the first film,which had been a monumental production mounted in England,Batman Returns would demand the all-out efforts of a veritable army of filmmaking and effects personnel. For the sequel, the filmmakers would remain on American soil, shooting the live-action on some of the biggest soundstages in Hollywood - with no fewer than eight effects facilities joining the fray. Visual effects supervisor MichaelFink oversaw the complex effects assignment, which included everything from Gotham City miniatures to animatronic penguin puppets to computer generated bats. Key contributors to the project were to come from the celebrated ranks of Boss Film Studios, Matte World, StetsonVisual Services, The Chandler Group, Video Image Associates, StanWinston Studio, 4-Ward Productions and CG Special Effects. Article by Mark Cotta Vaz
Effects Scene: Technology and Magic
Profile: Katherine Kean
Quick Cuts: Dating the Babe
Commercial Spot: Dodge Blocks
Video Beat: Short Intruders
Laser Revolution: The Eighth Wonder


Issue 50
1992
Alien 3: Zealots and Xenomorphs: In the footsteps of Ridley Scott and James Cameron, novice director David Fincher set about to put his own personal stamp on the third installment in the Alien saga. Contributing to t he Alien 3 effects effort were creature creators Tom Woodruff, Jr. and Alec Gillis, physical effects experts George Gibbs and Al Di Sarro, and visual effects veteran Richard Edlund and his Boss Film Studios. Article by Bill Norton
The Lawnmower Man: Cyberworld: Intent upon exploring the cinematic possibilities of 'virtual reality', director Brett Leonard and producer Gimel Everett scripted and obtained independent financing for The Lawnmower Man. To infuse their film with a big-budget computer graphics look - without the big budget - they engaged digital effects teams at Angel Studios and Xaos Incorporated to realize the virtual environments. Article by Peter Sorensen
A Message from the Publisher
Effects Scene: 64th Academy Awards
Video Beat: Morphing to the Music
Profile: Joseph Viskocil
Commercial Spot: Widebody Whales, Reflections of the Dead
Laser Revolution: Laserdisc Manifesto
Index: Cinefex 1-50


Issue 49
1992
Hook: Return to Neverland: For director Steven Spielberg, Hook fulfilled a seven-year recurring dream to bring the classic story of Peter Pan to the screen for modern audiences. Accompanying the eternal boy - now a grown-up attorney who has lost touch with his youth - back to Neverland were Spielberg regulars including physical effects provider Michael Lantieri and the visual effects artists of Industrial Light & Magic. Surrounded by an army of designers and technicians, Spielberg mounted a $70 million epic destined to be remembered as the most lavish studio production in recent history. Article by Mark Cotta Vaz
Naked Lunch: Borrowed Flesh: As a youth in his native Toronto, David Cronenberg devoured with relish the iconoclastic prose of beat generation author William S. Burroughs. Thirty years later, he was to write and direct a screen adaptation of Burroughs' most celebrated novel, Naked Lunch. Having populated his bizarre script with a variety of never-before-seen creatures - from emaciated mugwumps to talking insect-typewriters - Cronenberg engaged the effects artisans of Chris Walas Incorporated to breathe life into some of his film's most important characters. Article by Jody Duncan
Star Trek VI: The Undiscoverd Country: Letting Slip the Dogs of War: A cataclysmic disaster prompts an unprecedented offering of peace from the Klingon empire. Thematically and time-wise, Star Trek VI: The Undiscovered Country echoed the coincident collapse of the Soviet Union and the demise of series creator Gene Roddenberry. In this atmosphere of significant finality, director Nicholas Meyer - veteran of two previous Star Trek features - marshaled the forces of Industrial Light & Magic and makeup supervisor Michael J. Mills to help realize on film the last mission of Captain James T. Kirk and the crew of the starship Enterprise. Article by Kevin H. Martin

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