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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There are 171 issues listed in the database

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Covers found: 171
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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 68
1996
Mars Attacks!: Martial Art: In Mars Attacks!, director Tim Burton's lampoon of the alien invasion genre, hordes of flying saucers and big-headed Martians wreak havoc on earth's inhabitants. Forsaking motion control spaceships and stop-motion creatures in favor of an all-digital approach, Industrial Light & Magic and the newly established Warner Digital Studio shared responsibility for the visual effects. Article by Mark Cotta Vaz.
T23D: Battle Beyond Three Dimensions: Conceived by Landmark Entertainment as a thrill-packed continuation of the Terminator saga, Terminator 2: Battle Across Time - Universal Studio's newest theme park extravaganza - redefines 3-D and special venue entertainment. Terminator 2 director James Cameron and the film's original cast teamed with effects powerhouse Digital Domain to bring the groundbreaking project to fruition. Article by Estelle Shay.
Daylight: Burned Out and Blown Out.
Michael Westmore: Behind the Masks.
The Ghost and the Darkness: Bad Cats in a Bad Place.
The City of Lost Children: Magic With a French Touch.
The Associate: Gender Benders.
The Island of Dr. Moreau: Moreau's Menagerie.


Issue 67
1996
Independence Day: Fireworks: To supply the staggering volume of effects required for Independence Day, director Roland Emmerich and producer Dean Devlin chose not to engage a major effects facility, electing instead to build an in-house miniatures and pyrotechnic unit, coupled with an independent digital effects unit, dedicated solely to the production. Article by Tim Prokop.
Mission: Impossible : Cruising the Digital Backlot The action finale of Mission: Impossible - created by Industrial Light & Magic - entailed placing a computer generated train and helicopter into digitally altered or created backgrounds, enhanced with elaborate miniature work and pyrotechnics. Article by Mark Cotta Vaz.
Multiplicity: Split Personalities: For Multiplicity - a comedy about a man who hopes to find time for himself by undergoing a cloning procedure - director Harold Ramis engaged Boss Film Studios to produce four distinct versions of actor Michael Keaton, all of whom had to interact verbally and physically during the course of the film. Article by Janine Pourroy.
The Nutty Professor: Pleasingly Klump.
Escape from L.A.: Hasta La Buena Vista.
The Arrival: Temperatures Rising.
The Frighteners: The Thrill of the Haunt.
Hercules: Solving Mythical Dilemmas.
The Adventures of Pinocchio: Puppetmasters.
Nike Commercial: Eyes on the Ball.


Issue 66
1996
Dragonheart: Heart and Soul: Producer Rafaella de Laurentiis had to wait five years for effects technology to catch up with the demands of her dream project. But with perseverance, director Rob Cohen and cutting-edge digital effects by Industrial Light & Magic, Dragonheart and its uniquely expressive talking dragon at last came wholly to life. Article by Jody Duncan.
Twister: Riders on the Storm: Director Jan De Bont realized that a dead-on depiction of tornadoes and the destruction they wreak was essential to Twister, his suspense thriller about daredevil storm-chasers. Enlisted to produce the integrated effects were physical effects supervisor John Frazier and the digital team at Industrial Light & Magic. Article by Jonathan Luskin.
James and the Giant Peach: A Giant Peach in the Big Apple: To bring James and the Giant Peach, the classic Roald Dahl children's story, to the the screen through the medium of puppet animation, director Henry Selick orchestrated a massive two-year stop-motion effort augmented with digital contributions by Sony Pictures Imageworks and Buena Vista Visual Effects. Article by Mark Cotta Vaz.
Aftershocks: Return of the Worms.
Flipper: Dolphin Doubles.
Sgt. Bilko: Techno-Tank Trickery.
White Squall: Stormy Weather.
Gulliver's Travels: A Brobdingnagian Endeavor.
Michael Fink: From Fine Arts to Filmmaking.


Issue 65
1996
After the Rebellion: Industrial Light & Magic, then and now - two decades in the evolution of a technological titan. Article by Mark Cotta Vaz .
20 Years of Industrial Light & Magic: Established by George Lucas to insure himself first-rate effects for his own productions, Industrial Light & Magic has grown into a service organization that has supplied visual alchemy for every major studio and many of the world's top filmmakers. Survey by Jody Duncan.
30 Minutes With the Godfather of Digital Cinema No one has done more to change the face of visual effects than George Lucas. In an exclusive interview, he discusses ILM and its contributions to the field - and drops a few hints of what to expect in the Star Wars special editions and the long-awaited prequels. Interview by Don Shay.
War Stories: Twenty years ago, a group of young artists and technicians took over a vacant warehouse - and soon took over an industry. More than a dozen of the original Star Wars team members reminisce about making one of the most influential films of all time. Article by Kevin H. Martin.
Dennis Muren - Playing It Unsafe: Though he now has eight Academy Awards - more than anyone else alive - Dennis Muren is down-to-earth in his insistence that the work is all that matters to him. A look back at his humble beginnings and celebrated achievements. Article by Don Shay.

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