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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.

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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 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 83
October/November/December 2000

X-Men: The X-Men Cometh: Plagued by budget and time constraints, plus a burgeoning effects slate, visual effects supervisor Michael L. Fink overcame the odds on X-Men, a fantasy based on the enduring Marvel comic books. To handle the film's array of mutant characters -- all exhibiting singular mental or physical powers that distinguish them from ordinary humans -- Fink divided the work among some nine visual effects companies, assigning each a particular character or type of effect. Other key contributors were physical effects coordinator Colin Chilvers and makeup effects supervisor Gordon Smith. Article by Kevin H. Martin
Hollow Man: Disappearing Act : To depict the invisible protagonist at the heart of Hollow Man, veteran director Paul Verhoeven engaged Sony Pictures Imageworks and senior visual effects supervisor Scott Anderson to pull out all the stops, duplicating actor Kevin Bacon's physiology and live performance with a digital replica capable of revealing the character's anatomy from the inside out. Also assuming a sizable share of the workload was Tippett Studio, under visual effects supervisor Craig Hayes. Rounding out the effort were practical effects by Stan Parks and makeup by Amalgamated Dynamics Incorporated. Article by Estelle Shay
The Cell: Mindscape Architects
The Patriot: Picking His Battles
What Lies Beneath: Hitchcock Homage

Issue 82
July/August/September 2000

Dinosaur: Engendered Species: The feature animation division of Walt Disney Studios created an all-new digital facility to support its first computer generated film, Dinosaur, about an orphaned iguanodon whose gentle ways come in conflict with his species' baser instincts. Contributing to the movie's novel look were deftly orchestrated visual effects that blended CG characters with digitally processed live-action backgrounds.
The Perfect Storm: Perfecting the Storm: A real-life tragedy recounted in the book The Perfect Storm provided the basis for director Wolfgang Petersen's movie of the same name, about a swordfishing boat lost at sea during a storm of unprecedented ferocity. Raising the bar on CG water effects, Industrial Light & Magic produced the digitally engineered tempest, designed to work in concert with large-scale stage effects by John Frazier.
Chicken Run: Poultry in Motion: Aardman Animations, of Wallace and Gromit renown, graduated to feature status with Chicken Run, a sendup of The Great Escape, in which a farm's resident chickens hatch a desperate plan to escape being turned into pot pies. Though the comedy employed Aardman's signature stop-motion puppeteering, it also benefited from a range of digital contributions by Computer Film Company.
Gladiator: A Cut Above
U-571: Hostile Waters
Battlefield Earth: Battle Fatigue

Issue 81
April/May/June 2000

Mission to Mars: Mission Accomplished : For Mission to Mars, a science fiction film from director Brian De Palma, visual effects teams at Dream Quest Images, Industrial Light & Magic and Tippett Studio used motion control miniatures and a wide range of digital effects to lend dazzling verisimilitude to the cinematic depiction of NASA's first manned mission to the red planet - and the staggering revelations that follow. article by Kevin H. Martin
End of Days: Days of Fire and Brimstone: Capitalizing on Y2K doomsday predictions, End of Days dramatizes the biblically prophesied return of Satan to earth on the eve of the millennium. Working with director Peter Hyams, visual effects supervisor Eric Durst oversaw the efforts of several effects companies to manifest the devil in his true form and dramatize his epic struggle with the one man determined to thwart him. article by Kevin H. Martin
Galaxy Quest: Trekking into the Klaatu Nebula: In an affectionate sendup of the Star Trek franchise and its devoted following, Galaxy Quest tells the tale of a washed-up band of actors who give the performance of their lives in a real-life space adventure. As lead effects house on the Dean Parisot film, Industrial Light & Magic relied on miniature spaceships and computer generated creatures to enliven the proceedings. article by Jody Duncan & Estelle Shay
Bicentennial Man: In His Own Image.
Toy Story 2: Beyond Andy's Room.
Pitch Black: Chimera of the Night.

Issue 80
January/February/March 2000

A Look Back : With this issue, Cinefex is marking its twentieth year, an occasion that has prompted us to take a wholly subjective look back -- to reflect on how Cinefex came to be, how the effects industry has evolved since the magazine's inception, and to recall some of the highlights of the last two decades.
20 Questions: We asked a few of our friends in the business to help us celebrate our 20th anniversary by offering up their considered opinions as to the best effects sequences of the past 20 years. Also, in an unprecedented display of subjectivity, Cinefex editorial staff members picked their own personal favorites.
Stuart Little: All Things Great and Little: Under director Rob Minkoff and senior effects supervisor John Dykstra, animators at Sony Pictures Imageworks created a photoreal, if fanciful, computer generated mouse for Stuart Little that effectively carried the movie, while artists at Rhythm & Hues and Centropolis Effects supplied lip-sync to a supporting cast of talking cats. article by Kevin H. Martin
Sleepy Hollow: A Region of Shadows: For his horrific, yet stylish Sleepy Hollow, director Tim Burton created a post-colonial New York village in England and assigned effects teams at Industrial Light & Magic, The Computer Film Company and Kevin Yagher Productions to supply a murderous headless horseman and a gruesome array of decapitation victims. article by Mark Cotta Vaz
Fight Club: A World of Hurt: In Fight Club, director David Fincher concocted subtle visual effects to get inside the twisted mind of his film's narrator. With oversight from visual effects supervisor Kevin Tod Haug, teams at Digital Domain, Pixel Liberation Front, BUF, Image Savant, Blue Sky, Command Post/Toybox and Gray Matter contributed to the effort. article by Kevin H. Martin
Harryhausen & Tippett: The Motion in Our Minds: A one-on-one interview with stop-motion maestro Ray Harryhausen by Phil Tippett.

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