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

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Special thanks for this page goes to:
Scott Matheson
Garry Malvern

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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 127
October/November/December 2011
Captain America: The First Avenger
Soldier Blue
Article by Joe Fordham
In this spirited adaptation of Marvel Comics' World-War-II-era comic book, chronicling the transformation of a puny, but patriotic, army reject into a turbo-charged warrior tasked with thwarting the Nazis, director Joe Johnston brings to life period settings and retro high-tech gadgetry with the help of visual effects supervisor Christopher Townsend and more than a dozen vendors led by Double Negative, including Lola VFX, Matte World Digital, Luma Pictures, Framestore, Cinesite, Fuel VFX, Method Studios and The Senate VFX. Paul Corbould supervised special effects and David White guided makeup effects.
Cowboys & Aliens
Invasion of the Body Snatchers
Article by Jody Duncan
Director Jon Favreau blends two classic genres to create this clever sci-fi/western hybrid in which Old West gunslingers, ranchers and Indians join forces to battle aliens from another galaxy that have invaded their small town. Favreau teamed with Industrial Light & Magic and Legacy Effects - with an assist from The Embassy, Shade VFX, New Deal Studios, Fuel VFX and Kerner Optical - to create the film's terrifying aliens, alien ships and hardware, while Daniel Sudick oversaw on-set special effects.
Harry Potter and the Deathly Hallows: Part 2
Wizard War
Article by Joe Fordham
For the eighth and final film in the series, based on the best-selling childrens' books by J. K. Rowling, boy wizard Harry Potter makes a final stand against his lifelong nemesis, Lord Voldemort, with the help of his many friends at Hogwarts School of Witchcraft and Wizardry. To depict the epic battle, returning director David Yates re-teamed with special effects supervisor John Richardson, makeup effects supervisor Nick Dudman and visual effects supervisor Tim Burke, assisted by an army of effects artisans that encompassed thirteen visual effects vendors and seven facilities involved in stereoscopic conversion.
Anonymous
This Realm, This England
Article by Jody Duncan
Best known for his sci-fi/disaster films, director Roland Emmerich shuns cinematic pyrotechnics in favor of Elizabethan-era political intrigue and character-driven drama in Anonymous. To capture the film's Shakespearean-era settings, Emmerich relied on extensive use of greenscreens and cutting-edge digital technology, calling upon visual effects supervisors Marc Weigert and Volker Engel of Uncharted Territory - his filmmaking collaborators for more than two decades - to provide the photorealistic computer generated environments.


Issue 126
July/August/September 2011
X-Men: First Class
First Class Effects
Article by Jody Duncan
In this franchise 'reboot,' exploring the genesis of X-Men's warring mutant factions, director Matthew Vaughn and visual effects designer John Dykstra devised shots illustrating the super-powers of both new and returning characters, aided by a visual effects contingent comprised of MPC, Cinesite, Weta Digital, Rhythm & Hues, Luma Pictures, Digital Domain and The Senate. Complementing the visual effects were mutant makeups provided by Amalgamated Dynamics Incorporated, makeup artist David Elsey and Spectral Motion.
Thor
God of Thunder
Article by Joe Fordham
Director Kenneth Branagh brings the hammer-wielding Norse deity to life in this action-packed tale based on the popular Marvel Comics series. Under supervisor Wesley Sewell, seven vendors handled the visual effects work, including Whiskytree, BUF Compagnie and Digital Domain, which devised the film's mythic realms, and Luma Pictures, which focused on earthbound effects. Special effects were overseen by Daniel Sudick, while Legacy Effects handled special makeup effects.
Priest
Holy Warriors
Article by Jody Duncan
To depict the stark, alternate-reality world of Priest - the setting for this post-apocalyptic tale about a centuries-long war between man and vampires - director Scott Charles Stewart called upon visual effects supervisor Jonathan Rothbart to oversee the creation of vampires and environments in some 800 shots, divided among an array of effect facilities including Svengali FX, Tippett Studio, The Senate, Spin VFX and Zoic Studios. KNB EFX Group contributed vampire creature suits, makeup effects and dummies.
Source Code
Reality Deconstructed
Article by Joe Fordham
Following his directorial debut with Moon, filmmaker Duncan Jones returns with Source Code, a techno-thriller about a covert operation's use of immersive virtual reality to investigate a terrorist explosion onboard a Chicago commuter train. Special effects supervisor Ryal Cosgrove, makeup effects supervisor Adrien Morot and visual effects supervisor Louis Morin furnished reality-bending effects, with the help of Modus FX, Rodeo FX, MPC, Oblique FX, Fly Studio and Mr. X.


Issue 125
April/May/June 2011
Battle: Los Angeles
Aliens in the City of Angels
Article by Jody Duncan
In Battle: Los Angeles, a documentary-style action film that follows a squad of Marines defending the city of Los Angeles from invading hordes of extraterrestrials, director Jonathan Liebesman presents a gritty view of modern warfare, aided by visual effects supervisor Everett Burrell and an international complement of vendors that included Cinesite, Hydraulx, Luma Pictures, The Embassy, Matte World Digital, Spin VFX and Soho VFX. Makeup effects supervisor Joel Harlow and his crew contributed practical aliens.
Rango
The Good, the Bad and the Dusty
Article by Jody Duncan
Industrial Light & Magic and director Gore Verbinski, joined forces to make their computer-animated feature debut with Rango, a comical tale about a hapless chameleon-turned-hero stranded in a harsh desert environment, who ends up taking a stand against bandits to save a small western town. Verbinski called upon veteran visual effects supervisors John Knoll and Tim Alexander to head the ambitious project, and engaged celebrated concept artist Mark 'Crash' McCreery - in his first credit as production designer - to oversee the film's distinctly un-animated look.
Black Swan
Metamorphosis
Article by Joe Fordham
Director Darren Aronofsky charts the descent into madness of a young prima ballerina, who succumbs to backstage pressures and rivalries during a production of Swan Lake in Black Swan. Using surreal and disturbing imagery to create the manifestations of Nina's hallucinatory decline, Aronofsky called upon frequent collaborator Dan Schrecker to oversee visual effects, and Mike Marino at Prosthetic Renaissance to handle makeup effects. LOOK Effects provided visual effects for the film.
Sucker Punch
Nightmares and Dreamscapes
Article by Jody Duncan
To realize filmmaker Zack Snyder's exotic fantasy Sucker Punch, about a young woman wrongfully incarcerated in a mental asylum who escapes into a succession of alternate realities, production designer Rick Carter and visual effects supervisor John DesJardin brought to life settings both real and imagined, with the help of key vendors Animal Logic, The Moving Picture Company, Pixomondo and Prime Focus. Also assisting in the creation of creatures and effects were special effects supervisor Joel Whist and prosthetic artists at Quantum Creation.


Issue 124
January/February/March 2011
TRON: Legacy
Legacy System
Article by Jody Duncan
For TRON: Legacy, the long-overdue sequel to the 1982 cult favorite, TRON, about a computer programmer who becomes trapped within a videogame's virtual realms, director Joseph Kosinski and visual effects supervisor Eric Barba took advantage of sophisticated digital and stereoscopic imaging techniques to give the film its modern spin. Teams at Digital Domain, Mr. X, Ollin Studio, Prime Focus and Whiskytree generated the spectacular visuals of the sequel's computer gaming world, while Quantum Creation built specialty costumes featuring cutting-edge lighting technology.
Harry Potter and the Deathly Hallows: Part 1
The Last Enemy
Article by Joe Fordham
In this first of a two-part climax, adapted from the seventh and final volume of J.K. Rowling's hugely popular children's book series, wizard Harry Potter and his two best friends roam beyond the walls of Hogwarts in search of the scattered fragments of the evil Lord Voldemort's soul. Returning director David Yates reunited with visual effects supervisor Tim Burke, special effects supervisor John Richardson and makeup effects supervisor Nick Dudman to bring the newest and darkest film in the franchise to fruition. Lending a hand were series veterans Double Negative, The Moving Picture Company, Framestore, Cinesite, Rising Sun Pictures and Baseblack.
The Chronicles of Narnia: The Voyage of the Dawn Treader
Sea Quest
Article by Joe Fordham
Director Michael Apted took the helm of the third film based on the C.S. Lewis' fantasy novels, as the narrative picks up with the Pevensie children joining King Caspian and a band of mythological creatures on a sea voyage to save Narnia. Makeup effects artists at KNB EFX Group and special effects supervisor Brian Cox collaborated with visual effects supervisor Angus Bickerton and teams at The Moving Picture Company, Framestore, Cinesite, The Mill and The Senate to create an array of all-new creatures, fantasy environments and nautical settings.
Hereafter
Visions of the Hereafter
Article by Jody Duncan
To realize an intense and breathtaking simulation of a massive tsunami that destroys an ocean-front resort town in the opening of Hereafter, director Clint Eastwood relied on the expertise of visual effects supervisor Michael Owens, and the work of artists at Scanline, led by visual effects supervisors Stephan Trojansky and Bryan Grill. The effects teams also provided artful glimpses into the afterlife, the exploration of which is the unifying theme of the film's interwoven storylines.

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