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CINEFEX
... The Journal Of Cinematic Illusions
Sci-Fi, Fantasy, Technical Bimonthly Magazine from Riverside ,United States
Ceased publication

- First and last issue: 1980-2021
Special effects
From 1980, it explains the way special effects are made.
Only covers 2-3 films in 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 (dead link)

Last updated:
6 October 2021
(see 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 and all covers have been found.

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 2021 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 2021 All

Issue 75
1998

Armageddon: Journey to Armageddon: For Armageddon, about roughneck oil drillers sent on a heroic mission into space to save earth from a killer asteroid, director Michael Bay and producer Jerry Bruckheimer needed near-nonstop visual effects to support the action. To meet the demand, the production formed an in-house effects unit, Vfx, overseen by visual effects supervisor Pat McClung, and engaged Dream Quest Images, under fellow supervisor Richard Hoover. Also making sizable contributions were Blue Sky |VIFX, Digital Domain, Cinesite and Computer Film Company. Article by Mark Cotta Vaz.
Small Soldiers: A Small Soldiers Story: For the high-concept DreamWorks project Small Soldiers, centering on toy action figures implanted with high-tech military computer chips that allow them to take on a life of their own, director Joe Dante worked closely with Stan Winston Studio, which designed the Commando Elite and Gorgonite characters and then built them in puppet form for use on set, and Industrial Light and Magic, which duplicated the combative toys in digital form and computer-animated them for scenes requiring complex action. Article by Jody Duncan.
From the Earth to the Moon: Shooting the Moon.
Blade: Going For the Jugular.
Dr. Dolittle: Animals With Attitude.
The Truman Show: The Unreal World.

Issue 74
1998

Godzilla: The Sound and the Fury: As a follow-up to their Independence Day phenomenon, director Roland Emmerich and producer Dean Devlin opted to reinvent a classic Japanese film franchise with Godzilla. Under visual effects supervisor Volker Engel, the newly-formed Centropolis Effects created a twenty-story-tall digital Godzilla, supported by practical creature effects from Patrick Tatopoulos designs, plus extensive physical effects, both large and small, by Clay Pinney and Joseph Viskocil. Article by Kevin H. Martin.
The X-Files Movie: Hide It in Shadow, Hide It in Light: After a five-season run, the television sensation The X-Files leaped to the big screen in a feature film produced by X-Files creator Chris Carter and directed by series regular Rob Bowman. In addition to makeup and creature effects by Amalgamated Dynamics Incorporated, the motion picture featured an abundance of postproduction work - supplied principally by Light Matters and Blue Sky |VIFX - overseen by visual effects supervisor Mat Beck. Article by Jody Duncan.
Deep Impact: The Angry Rock.
Lost in Space: Lost in London.
Deep Rising: Horror on the High Seas.
Sphere: Spherical Magic.
Dark City: Masters of the Dark.

Issue 73
1998

Starship Troopers: Bug Bytes: To bring their ambitious adaptation of Robert A. Heinlein's classic Starship Troopers to the screen, director Paul Verhoeven and producer Jon Davison turned to animation maestro Phil Tippett for swarms of insect warriors, to Sony Pictures Imageworks for epic-scale space battles, and to special effects coordinator John Richardson for on-set pyrotechnics. Others recruited to support the war effort included Amalgamated Dynamics, Industrial Light & Magic, Boss Film Studios, Banned From the Ranch, Compound Eye, Visual Concept Engineering and Kevin Yagher Productions. Article by Paul M. Sammon.
Alien Resurrection: Cloning Aliens: For Alien Resurrection, the latest offering in the Alien franchise, Ellen Ripley and the alien fetus within her are brought back from the dead in a film directed by Jean-Pierre Jeunet. Returning as alien purveyors were Tom Woodruff, Jr., and Alec Gillis of Amalgamated Dynamics Incorporated, whose animatronic and suit-based creatures were augmented by digital warriors created by Blue Sky Studios. Overseeing the visual effects - filmed in Los Angeles, but composited by Duboi in Paris - were effects supervisors Pitof and Erik Henry. Article by Bill Norton.
Flubber: Playing With Flubber.
Mouse Hunt: Of Mice and Men.
An American Werewolf in Paris: Werewolf Wizardry.
Event Horizon: Starship Hades Boss Film Studios: End of an Era.

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