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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 144
December 2015

The Martian An Abundant Solitude Article by Jody Duncan,
Director Ridley Scott helms 20th Century Fox's screen adaptation of The Martian, the bestselling novel by Andy Weir. In the story, astronaut Mark Watney (Matt Damon) is presumed dead by his crew and left stranded alone on the surface of Mars. Exhibiting extraordinary courage and ingenuity, Watney manages to stay alive on the hostile planet and, eventually, to resume contact with NASA, which — working with agencies around the world — launches an ambitious and high-risk mission to bring Watney home. Visual effects supervisor Richard Stammers oversaw the film's 1,100-shot visual effects assignment, which called upon the concerted efforts of MPC, Framestore, The Senate and others to create alien Red Planet environments, large-scale dust storms, various earthbound locations, and suspenseful, dynamic space shots. Special effects supervisor Neil Corbould orchestrated the film's practical, in-camera effects.
In the Heart of the Sea High Seas Drifter Article by Jody Duncan
Ron Howard directs this film, starring Chris Hemsworth, about the attack of the whaling ship Essex by a monstrously large and aggressive sperm whale that results in the loss of the ship and most of her crew. The true and tragic tale was the inspiration for Herman Melville's 19th century classic, Moby-Dick. The film's big whale and seafaring action were realized, in part, through visual effects supervised by Jody Johnson and delivered by Double Negative, while Rodeo FX extended art department sets representing 19th century Nantucket, Massachusetts. Special effects supervisor Mark Holt engineered gimbals to simulate a full-scale Essex set at sea, and also created in-camera storm effects, augmented to a raging squall by Scanline.
Crimson Peak A Monstrous Love Article by Joe Fordham
Filmmaker Guillermo del Toro brings his stylish take to a Gothic horror story, set in a crumbling mansion in Victorian northern England, where a young newlywed (Mia Wasikowska) discovers that her charming, sophisticated husband (Tom Hiddleston) and his cold-hearted sister (Jessica Chastain) are harboring supernatural secrets. Special effects supervisor Laird McMurray provided practical on-set effects, along with makeup effects supervisor David Marti and DDT Efectos Especiales. Visual effects supervisor Dennis Berardi and visual effects producer Jo Hughes supplied apparitions and otherworldly phenomena at Toronto visual effects studio, Mr. X.
Everest The Death Zone Article by Joe Fordham
Universal Pictures presents a gripping account of a mountain-climbing expedition that, in 1996, attempted to scale the world's tallest peak and instead met with tragedy and terror. Director Baltasar Kormákur retraced the ill-fated journey on locations in the Himalayas and the Dolomites, and studios in Rome and London. Makeup and hair designer Jan Sewell and special effects supervisor Richard Van Den Bergh assisted the production with visual effects supervisor Daði Einarsson, visual effects producer Roma O'Connor and artists at Reykjavík Visual Effects, Framestore, Important Looking Pirates, One of Us, Union Visual Effects, Milk VFX and Stereo D.

Issue 143
Fall 2015

Ant-Man
Microcosmos
Article by Joe Fordham
Disney and Marvel Studios introduce the latest character to the Marvel Comics Universe with biochemist Dr. Hank Pym (Michael Douglas), a former crimefighter who recruits cat burglar Scott Lang (Paul Rudd) to battle a rival weapons manufacturer in the development of a serum that can shrink a protagonist to ant size, imbuing microscopic combatants with super powers. Visual effects supervisor Jake Morrison and visual effects producer Diana Giorgiutti explored Lang's action-packed adventures in the microcosm along with artists at Double Negative, Method Studios, Luma Pictures, Industrial Light & Magic, Cinesite, Lola VFX and The Third Floor.

Terminator Genisys
Wrinkles in Time
Article by Jody Duncan
Alan Taylor directs the fifth entry in the Terminator franchise launched by James Cameron in 1984. In the new film, an alternate timeline reunites characters Sarah Connor (Emilia Clarke), her son John Conner (Jason Clarke) and Kyle Reese (Jai Courtney). At the heart of the action/adventure are dueling Terminators, including the aging T-800 (Arnold Schwarzenegger) from the first two Terminator films. Visual effects supervisor Janek Sirrs oversaw approximately 1,200 visual effects shots generated at Double Negative, MPC, Lola VFX, One of Us, and Method Studios. Special effects supervisor Mark Hawker provided on-set effects, while Legacy Effects continued its long history with the franchise, building practical endoskeletons.

Mission: Impossible — Rogue Nation
Keeping it Real
Article by Jody Duncan
Tom Cruise returns as IMF agent Ethan Hunt in this fifth entry in the phenomenally successful run of Mission Impossible films, based on the '60s-era television series. In the film, written and directed by Christopher McQuarrie, the IMF team is targeted for destruction by an equally ingenious and well-trained 'Syndicate,' requiring its most audacious feats of espionage and daring to date — matched by stunts and effects orchestrated by stunt coordinator Wade Eastwood and special effects supervisor Dominic Tuohy. Double Negative generated visual effects, under the guidance and direction of visual effects supervisor David Vickery.

The Walk
Skywalker
Article by Joe Fordham
Sony Pictures and Columbia Tristar present filmmaker Robert Zemeckis' gripping dramatization of the true story of Philippe Petit (Joseph Gordon-Levitt), a French high-wire artist who in 1974 attempted to walk a steel cable strung between the Twin Towers of the World Trade Center. Visual effects supervisor Kevin Baillie and special effects supervisor Ryal Cosgrove provided enhancements to wire-walking environments, which Zemeckis and his production team conjured in IMAX 3D, assisted by visual effects artists at Atomic Fiction, Rodeo FX and UPP, and vertiginous stereographic conversions handled at Legend 3D.

Ant-Man

Issue 142
July/August/September 2015

Jurassic World

Issue 141
April/May/June 2015

Issue 140
January/February/March 2015

Interstellar: That Our Feet May Leave
Article by Jody Duncan
Christopher Nolan directs Matthew McConaughey, Anne Hathaway and Jessica Chastain in an adventure story about interstellar space travel. Co-written by Nolan and brother Jonathan, the film is a journey of discovery, realized in part through stunning visual effects images created by Double Negative. As he had with the Dark Knight Trilogy and other films, however, Nolan sought to capture as much action as possible in-camera, with on-set special effects orchestrated by Scott Fisher, and other practical effects by New Deal Studios.
Exodus: Gods and Kings: Gods and Kings
Article by Jody Duncan
Christian Bale, Sigourney Weaver and Aaron Paul star in director Ridley Scott's retelling of the biblical account of Moses leading the Israelites out of bondage in Egypt. Spain and Mexico stood in for Egypt throughout filming. Double Negative provided visual effects to imbue the film with a grandeur and epic scale befitting its source material, with additional effects support from MPC, The Senate, Method Studios and The Third Floor.
The Zero Theorem: Nowhere Man
Article by Joe Fordham
A neurotic computer genius (Christoph Waltz), employed by a vast futuristic company named Mancrom, attempts to find a mathematical formula that may lead to the meaning of life, but instead falls in love with a beautiful avatar (Mélanie Thierry) and slowly loses his mind. Filmmaker Terry Gilliam brings his idiosyncratic visual flair to create a nightmarish technological world and phantasmagoric landscapes working with production designer David Warren, special effects supervisor Nick Allder, and visual effects supervisors Felix Lepadatu, Jonah Loop and Fredrik Nord at LenscareFX, Haymaker, The Chimney Pot Group and Bold Turtle Productions.
Q&A: Tom Woodruff Jr. and Alec Gillis
Article by Joe Fordham
An in-depth look into the history and more recent adventures of special makeup effects designers and creature creators Tom Woodruff Jr. and Alec Gillis, co-founders of Amalgamated Dynamics, Incorporated. Woodruff and Gillis discuss their backgrounds in the burgeoning 1980s creature effects industry, early assignments at Stan Winston Studio, and their creative partnership that has spanned 25 years, encompassing Death Becomes Her, Starship Troopers, Tremors, multiple Alien films, and more recently Fire City: The Interpreter of Signs and Harbinger Down — a pair of independent monster movies, wrought with passion and 'crowdfunded' resources, that mark Woodruff's and Gillis' feature directing debuts.

Interstellar

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