... 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:

Recent updates

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
See The listing

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 60
The Mask: From Zero To Hero: An ancient artifact - aided by Cannom Creations makeup and effects from Industrial Light & Magic and Dream Quest Images - turned actor Jim Carrey into a manic cartoon in The Mask. Article by Jody Duncan
Mary Shelley's Frankenstein: Haunting Creation: With creature makeups by Daniel Parker and effects by Richard Conway and Computer Film Company, director Kenneth Branagh captured the essence of Mary Shelley's Frankenstein. Article by Mark Cotta Vaz
Forrest Gump: Making Gump Happen: To recreate some pivotal moments in recent American history, Forrest Gump director Robert Zemeckis enlisted Industrial Light & Magic to provide the subtlest of digital illusions. Article by Janine Pourroy
Video Beat: Piloting to Earth 2, Attack of the 80-Foot Stones, Casting Another Spell.
Quick Cuts: Time Passages, Shadow World, The Return of the Vampire
Commercial Spot: Cola Bears, Light and Liberty, Byte-Size Cookies.

Issue 59
True Lies: Mayhem Over Miami: In his latest cinematic extravaganza,True Lies, writer-director James Cameron spiced his trademark action with comedy in depicting a few days in the harried life of Harry Tasker - a secret agent whose super-secretiveness extends even to his wife and family. Assigned to deliver the lion's share of visual effects for the film was Digital Domain - a startup company formed by Cameron and associates - which produced more than a hundred traditional and digital effects shots. Providing major and minor support were a number of other companies including Pacific Data Images and Boss Film Studios. Article by Don Shay
Special Venues: Moon Shots
Quick Cuts: Terminal Effects, Maximum Speed.
Video Beat: Alien Nation Revisited
Company Files: Animal Makers, Makeup & Effects Laboratories.
Commercial Spot: 'They Keep Going and Going . . .'
Closeup: Adding Teeth to Wolf
Profile: Randal M. Dutra

Issue 58
The Flintstones: The Making of a Rockbuster: The Flintstones - a live-action ode to the cartoon series - was a lighthearted romp through Bedrock. Underlying its sight gags, however, was a serious filmmaking effort that required animatronic puppets from Jim Henson's Creature Shop, large-scale physical effects by Michael Lantieri, as well as computer graphics and complex image processing by Industrial Light & Magic. Article by Jody Duncan
The Hudsucker Proxy: The Rise and Fall of Norville Barnes: Filmmakers Joel and Ethan Coen are not typically associated with visual effects extravaganzas. But with The Hudsucker Proxy, they jumped headlong into extensive miniature sets, digital composingand outrageous mechanical rigs. Joining the fray were Micheal McAlister, Stetson Visual Services, Peter Chesney, Mark Sullivan and Computer Film Company. Article by W.C. Odien
Quick Cuts: Crime and Banishment, Visionary Visuals, Making the Crow Fly, Midair Morphing, A Lady in Disguise.
Video Beat: Viper Sheds Its Skin
Commercial Spot: Kong Reenergized.
Profile: Kevin Yagher.

Issue 57
Attack of the 50 Foot Woman: The Making of a 50 Foot Woman: From its humorously derivative opening logo to its campy postscript, the Home Box Office remake of Attack of the 50 Foot Woman was clearly an ode to old-style moviemaking. On a scant made-for-television budget, visual effects supervisor Gene Warren and his Fantasy II team members made mountains out of molehills with forced perspective miniatures, split-screen trickery and other vintage effects. Article by Tim Prokop
Demolition Man: Fire and Ice: On-set effects such as large-scale pyrotechnics, frozen human replicas and robotic action props were just part of the Demolition Man story. Racing against time, with a schedule that was essentially only eight weeks long, visual effects supervisor Micheal McAlister delivered the complex cinematic illusions required for the film by tapping a wealth of talent from eight different houses. Article by Jody Duncan
Video Beat: Toasting Babylon 5, Order Out of Xaos, McCartney Takes Wing.
Special Venues: Deep Earth, Dark Ride
Quick Cuts: Digital Effects
Commercial Spot: Chevy Hulk
Laserdisc Revolution: Coppola's Kane

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