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
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 64
1995
Jumanji: The Game Board Jungle: For Jumanji - in which jungle animals emerge from a magical board game to wreak havoc on a small town - director Joe Johnston enlisted Industrial Light & Magic and Amalgamated Dynamics to provide computer generated and animatronic effects. Article by Janine Pourroy
Toy Story: Toys Will Be Toys: A landmark collaboration between Walt Disney Studios and Pixar has produced Toy Story - the first fully computer animated feature-length film - a comic confluence of artistry and high technology directed by John Lasseter. Article by Rita Street
Waterworld: On the Water Front: Production design and physical effects merged to create the vast floating sets and ships needed for Waterworld. Voluminous visual effects - overseen by Micheal J. McAlister - kept more than a dozen effects companies swimming. Article by Jeff Odien
Broken Arrow: Stealth Effects
Gordon Smith: Seeking Silicone Solutions
Money Train: Training Film
Babe: From the Mouth of Babe
Casino: The Lights of Las Vegas
Three Wishes: Making Wishes Come True
Cutthroat Island: Getting Away With Murder
Operation Dumbo Drop: Pachyderms and Parachutes


Issue 63
1995
Apollo 13: Launching Apollo 13: Total verisimilitude was the prime directive for visual effects supervisor Rob Legato and his team at Digital Domain, and for special effects coordinator Matt Sweeney, when they signed on with director Ron Howard to bring Apollo 13 to the screen. Article by Jody Duncan
Batman Forever: Forever and a Knight: With director Joel Schumacher at the helm, big changes were in store for Gotham and its denizens in Batman Forever. Visual effects supervisor John Dykstra enlisted more than a dozen compaines to complete the gargantuan effects assignment. Article by Mark Cotta Vaz
Quick Cuts: The Ghost and Mr. Muren, Cowboys and Indians, An Endangering Species, Capturing an Alien Species, Bonnie and Clyde.
Special Venues: MGM's Grand EFX
Commercial Spot: Bear Necessitites, This Frog's For You, Batteries Included
Effects Scene: The Last Hurrah
Video Beat: Soldiers of Fortune


Issue 62
1995
Congo: Gorilla Warfare: When Frank Marshall and Kathleen Kennedy set out to film Congo, they turned to Stan Winston Studio for one of the story's main characters, as well as its principal villains. Then, for groundbreaking earthquake and volcano effects, they enlisted Industrial Light & Magic and physical effects supervisor Michael Lantieri. Article by Jody Duncan
Judge Dredd: Dredd World: Effects crews on both sides of the Atlantic helped to bring Judge Dredd to the screen. Working the live-action in England were physical effects supervisor Joss Williams and makeup designer Nick Dudman. And providing the miniature and digital work stateside were Mass.Illusion and Kleiser-Walczak Construction Company. Article by Mark Cotta Vaz
Dick Smith - 50 Years in Makeup: Dick Smith won his first job in makeup during the golden age of live television. Essentially untrained, but with boundless enthusiasm and drive, he quickly mastered his craft and branched into motion pictures. In half a century of achievement, he has contributed countless technological and aesthetic advances to the field. Tribute by Don Shay
Quick Cuts: Sub Plots, Cinematic Cyberspace, Thirty Seconds Over Zaire
Profile: Jeff Matakovich
Video Beat: Cannom Creations


Issue 61
1995
Interview With the Vampire: Immortal Images: In development for nearly two decades, Interview With the Vampire at last reached the big screen under the guidance of director Neil Jordan, with makeup and animatronics by Stan Winston Studio and visual effects by Digital Domain. Article by Estelle Shay
Star Trek Generations: Kirk Out: Star Trek Generations decisively passed command of the feature-film Enterprise from Captain James T. Kirk to Captain Jean-Luc Picard. Reprising as principal effects provider was Industrial Light & Magic, with an assist from Santa Barbara Studios. Article by Kevin H. Martin
Stargate: Through the Stargate: For his upstart epic, Stargate, director Roland Emmerich assembled adiversely talented effects team from the ranks of Kleiser-Walczak Construction Company, Kit West Productions, Patrick Tatopoulos, Available Light and Cinema Research Corporation. Article by Mark Cotta Vaz
Quick Cuts: A New Twist on Tornadoes, Clause and Effects, Santa's Helpers, Animal House, Wood Works
Special Venues: Inside the Luxor Pyramid
Effects Scene: From Tatooine to Endor

All magazine covers are copyrighted by their publishers. No rights are given or implied. They are presented here for their historical significance and the edification of magazine fans and collectors, everywhere.