... 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:

Last updated:

Recent updates

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

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 135
October/November/December 2013

Issue 134
July/August/September 2013

Issue 133
April/May/June 2013
Oz: The Great and Powerful: Tempests and Teapots
Article by Jody Duncan
In this prequel to The Wizard of Oz, a conman's illusionist powers are put to the test when he is magically transported to the enchanted Emerald City, and runs afoul of three witches. Director Sam Raimi shot the film entirely on sound stages with help from special effects supervisor John Frazier, while visual effects supervisor Scott Stokdyk brought magical realms to life with the aid of Sony Pictures Imageworks, Luma Pictures, Evil Eye and Digiscope.
Jack the Giant Slayer: Giant Steps
Article by Joe Fordham
Director Bryan Singer rejuvenates an ancient English folktale in this film about a medieval farmboy who unwittingly causes a gargantuan beanstalk to grow up into the clouds, unleashing a fearsome race of giants who inhabit a vast floating island in the sky. Visual effects supervisor Hoyt Yeatman worked with Digital Domain to realize the giants with state-of-the-art performance capture, and with MPC, Rodeo FX, Soho VFX and Hatch to create fantasy environments and other effects.
Skyfall: Old Dog, New Tricks
Article by Joe Fordham
James Bond returns for his 23rd screen adventure in this high-octane caper involving a sinister cyber-terrorist with a grudge against the international spy community. Director Sam Mendes energized the film with a bold blend of full-scale practical effects engineered by special effects supervisor Chris Corbould, along with miniature and digital effects provided by visual effects supervisor Steven Begg and a host of vendors that included MPC, Cinesite, Double Negative, Framestore, Peerless Camera Company and others.
Les Misérables: At the Barricade
Article by Jody Duncan
A beloved stage musical is given new life on the big screen in this film adaptation of Victor Hugo’s classic novel Les Misérables. Director Tom Hooper imbued the film with a gritty realism rarely exhibited in the musical genre, calling upon artists at Double Negative, The Mill and Utopia VFX to expand the scope of the production by digitally extending stage sets to authentically replicate 18th-century Parisian street scenes and other period settings.

Issue 132
January/February/March 2013
The Hobbit: An Unexpected Journey
There and Back Again
Article by Jody Duncan
In this first installment in a planned three-part prequel, director Peter Jackson takes us back to J.R.R. Tolkien's Middle-earth and a young Bilbo Baggins, who joins up with 13 dwarves in a quest to reclaim stolen treasure from the dragon Smaug. As he did in Lord of the Rings, Jackson collaborated closely with his effects teams at Weta Digital and Weta Workshop, with the latter providing dwarf designs and prosthetics, while the former offered up extensive digital environments for the film’s many fantasy settings, as well as dwarf scale effects and a state-of-the-art Gollum that benefitted from improvements in on-set performance capture and other technological advances in animation.
Cloud Atlas
Causes and Consequences
Article by Barbara Robertson
Adapted by filmmakers Lana and Andy Wachowski and Tom Tykwer from a from a sprawling novel by David Mitchell, Cloud Atlas covers six intersecting stories, and spans continents and time periods as it follows the transformation of a single soul through many lifetimes. The film's sweeping storyline relied on prosthetic makeup effects by Jeremy Woodhead and Daniel Parker, as well as countless visual effects divided among fifteen vendors worldwide, led by visual effects supervisors Dan Glass and Stephane Ceretti, who provided everything from set extensions and enhancements to full CG environments for a futuristic metropolis.
Life of Pi
The Calculus of Pi
Article by Jody Duncan
Ang Lee directs the film adaptation of Yann Martel’s award-winning novel about an Indian boy, Pi Patel, who, as sole survivor of a shipwreck that takes the life of his entire family, finds himself adrift at sea for many months in a small lifeboat shared with a Bengal tiger. Visual effects supervisors Bill Westenhofer worked with animation experts at Rhythm & Hues to achieve an utterly convincing computer generated tiger, who progresses from healthy to emaciated, while Legacy Effects provided animatronics support. Other contributing vendors included MPC, Crazy Horse Effects, LOOK Effects, Christov Effects, Buf, Lola VFX and Halon Entertainment.
Beasts of the Southern Wild
Q&A: Ray Tintori
Interview by Janine Pourroy
In this in-depth Q&A, special effects unit director Ray Tintori sheds light on how the makers of this Cannes and Sundance Film Festival favorite, about a young child who fights to survive poverty and Mother Nature on a storm-threatened atoll, realized the film's principal effect — the mythical ‘aurochs’ beasts — on a shoestring budget, through the use of creative and quirky practical solutions.

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.