... 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:

Last updated:

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

Info from the Database
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 56
The Nightmare Before Christmas: Animation in the Third Dimension: Ever since his days as an animator at Walt Disney Studios, Tim Burton had nurtured the idea forThe Nightmare Before Christmas, a dark and uniquely personal fairy tale that has at last come to the screen as a fully stop-motion-animated feature film. Article by Mark Cotta Vaz
Last Action Hero: Pandora's Paintbox: Although Last Action Hero failed to live up to its pre-release hype, its massive effects workload and tight schedule did inspire some behind-the-scenes heroics by artisans at R/Greenberg Associates, Sony Pictures Imageworks and other effects companies. Article by Bill Norton
RoboCop 3: RoboCop Redux: After two years of financial entanglement, Orion Pictures has released RoboCop 3, the latest installment in its popular franchise. Laboring to bring a more fully-evolved RoboCop to the screen was an effects team that included Rob Bottin and Phil Tippett. Article by Phil Carpenter
Quick Cuts: Digital Soul Searching, Feline Fabrication, That Other T-rex.
Commercial Spot: Track Sold Separately.
Profile: Pete Romano.
Video Beat: Making Movie Magic
Laserdisc Revolution: From the Disney Archives

Issue 55
Jurassic Park: The Beauty in the Beasts: An unusually prolonged preproduction period paid off both artistically and commercially when Steven Spielberg's much-anticipated Jurassic Park opened this summer to a dinosaur-crazed public. The creation of its amazingly lifelike dinosaurs was an odyssey into moviemaking magic led by Dennis Muren, Stan Winston, Phil Tippett and Michael Lantieri. Effects techniques as old as the movies themselves were infused with new life and direction, while newer approaches were pushed to unexpected heights. The result - a quantum leap in aggregate technologies - would establish an altogether new set of standards for a venerable old genre. Article by Jody Duncan
Video Beat: Deep Space Wormholes
Quick Cuts: Under Heavy Cetacean, Once More into the Abyss, Hail to the Impostor, A Crash in the Andes.
Company File: Pixar
Portfolio: Jurassic Park Denizens
Commercial Spot: Evolutionary Auto
Effects Scene: In the Digital Domain, Cinematic Archaeology
Laserdisc Revolution: Jurassic Reality

Issue 54
Cliffhanger: Effects in the Vertical Realm: Centering on a team of expert mountain climbers and set atop the rugged peaks of the Colorado Rockies,Cliffhanger was a dizzying adventure in filmmaking for director Renny Harlinand his production crew. Key providers of the film's 'over-the-edge' illusions were special effects veteran John Richardson and visual effects supervisors Neil Krepela and John Bruno of Boss Film. Article by Debra Kaufman
Toys: Toy Wars: Known for poignant, richly-drawn slice-of-life films such as Diner and Avalon, director Barry Levinson took a more fanciful turn with Toys, an anti-war parable starring Robin Williams. Helping Levinson to explore Toys'bizarre world were production designer Ferdinando Scarfiotti, effects coordinator Clayton Pinney and a full roster of mechanical and visual effects artisans. Article by Mark Cotta Vaz
Quick Cuts: Unfriendly Skies
Commercial Spot: Thoroughbred Animation, What's Up, Nike?
Video Beat: Deep Space Miniatures, Chronicling Young Indy
Effects Scene: The Perigee of Apogee
Profile: Peter Kuran
Laserdisc Revolution: Tall Tales and Epic Lore

Issue 53
Bram Stoker's Dracula: Heart of Darkness: In undertaking his film adaptation of Dracula, director Francis Ford Coppola was determined to remain faithful to the original Bram Stoker novel while still leaving himself adequate freedom to examine it through his own sensibilities. Rejecting high-tech effects, he opted to employ old-time cinema illusions supervised by his son, Roman Coppola, with a host of providers includingMichael Lantieri,Cannom Creations, Matte World,4-Ward Productions, Fantasy II, Colossal Pictures, Visual Concept Engineering and Available Light. Article by Janine Pourroy
A Close Encounter with Steven Spielberg: Once upon a time, a watershed motion picture challenged the long-entrenched Hollywood notion that unidentified flying objects and the forces behind them must be inherently evil. Choosing instead to speculate upon exraterrestrial visitation as a benign phenomenon, writer director Steven Spielberg fashioned a classic tale of everyday people swept up in extraordinary events. On the occasion of its fifteenth anniversary, Spielberg reflects upon Close Encounters of the Third Kind - its concept, its casting, its effects. Interview by Don Shay
Quick Cuts: Muppetized Dickens
Commercial Spot: True Colors, Sci-Fi Pest Control
Effects Scene: Full Moon Rising
Profile: Doug Beswick
Laser Revolution: Harryhausen Cornucopia

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