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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 115
October/November/December 2008

The Dark Knight: Batman Grounded:
Article by Jody Duncan
Director Christopher Nolan follows up his hugely successful Batman Begins with an even grittier take on the enduring comic book saga, as his Caped Crusader faces off against The Joker, portrayed with darkly comic and disturbing lunacy by Heath Ledger. Lending verisimilitude to Gotham locales were IMAX-resolution shots by Double Negative, Framestore and BUF Compagnie, under visual effects supervisor Nick Davis. Jaw-dropping effects and paraphernalia devised by special effects supervisor Chris Corbould and his team added to the film's gripping sense of reality.
Indiana Jones and the Kingdom of the Crystal Skull: Atomic Age Hero:
Article by Joe Fordham
Following a 20-year hiatus, director Steven Spielberg and producer George Lucas pick up the trail of cinema's most iconic adventurer in Indiana Jones and the Kingdom of the Crystal Skull, featuring Harrison Ford as the aging archeologist, who teams with a young accomplice to track a mysterious crystal skull in the jungles of South America. Special effects by Daniel Sudick, and practical props by Stan Winston Studio, paid homage to the pre-digital look of the franchise's earlier films, while visual effects supervisor Pablo Helman orchestrated digital effects by Industrial Light & Magic.
Hellboy II: The Golden Army: Paranormal Parade:
Article by David W. Marshall
In Hellboy II: The Golden Army, a sequel to the 2004 film based on the demonic hero, writer/director Guillermo Del Toro returns with all-new parade of paranormal characters. Joining him were Hellboy veterans Spectral Motion and Efectos Especiales DDT, who led the makeup and practical creature effects, while visual effects supervisor Mike Wassel, working with lead effects company Double Negative and a host of supporting vendors, added digital panache to the visual feast. Article by David W. Marshall.
Hancock: Overview: Carey Villegas & Ken Hahn on Hancock:
Article by Joe Fordham
Will Smith stars as an unlikable and reluctant superhero in serious need of an image makeover in Hancock, a clever twist on the genre. Sony Pictures Imageworks and a host of supporting vendors breathed life into director Peter Berg's vision of the offbeat hero's rough and tumble world.
Journey to the Center of the Earth 3D: Q&A with Eric Brevig:
Interview by Jody Duncan
Oscar-winning visual effects supervisor Eric Brevig shares insights and anecdotes about his directorial debut, Journey to the Center of the Earth 3D.

Issue 114
July/August/September 2008

Iron Man: The Man in the Iron Mask:
Article by Jody Duncan
In Iron Man, Robert Downey Jr. stars as weapons mogul Tony Stark, whose flying suit of armor serves as a life-support system after a near-fatal run-in with terrorists in Afghanistan. For its debut film, based on the iconic comic book character, Marvel Studios enlisted director Jon Favreau to bring an air of fun and originality to the proceedings, aided by Stan Winston Studio's elaborate practical suits, and eye-popping visuals by Industrial Light & Magic, The Orphanage and a host of other vendors working under the guidance of visual effects supervisor John Nelson.
The Chronicles of Narnia: Prince Caspian: Lost World:
Article by Joe Fordham
In The Chronicles of Narnia: Prince Caspian, the second in C. S. Lewis' classic novel series to receive a big-screen adaptation, returning director Andrew Adamson offers up a darker tale in which the Pevensie children join forces with an exiled prince in his bid to rescue Narnia from a power-hungry usurper. Orchestrated by Dean Wright and Wendy Rogers, visual effects created at The Moving Picture Company, Framestore and Weta Digital invested the Narnian universe with all-new fantasy characters and environments, while practical creature effects by KNB EFX Group, and miniatures by Weta Workshop, provided a gritty realism.
Speed Racer: Formula for a Universe:
Article by Joe Fordham
The Wachowski Brothers reunite with their Matrix series collaborators -- visual effects supervisors John Gaeta and Dan Glass -- for Speed Racer, adapted from a colorful Japanese anime cartoon series about an elite group of auto racers. The effects-laden film, shot mostly against greenscreen, captured the anime feel through highly stylized animation and compositing techniques, executed by Digital Domain, BUF Compagnie, Sony Pictures Imageworks, CafeFX and nearly a dozen additional supporting vendors.
Get Smart: Overview: Joe Bauer on Get Smart:
Article by Jody Duncan
Director Peter Segal teams with visual effects supervisor Joe Bauer and special effects supervisor Michael Lantieri to pay homage to the popular 1960s-era TV spy spoof about a bumbling agent and his female sidekick.
The Incredible Hulk: Overview: Kurt Williams on The Incredible Hulk:
Article by Estelle Shay
Marvel Studios and director Louis Leterrier conjure up a fresh cinematic approach and an all-new, more sympathetic Hulk for the latest incarnation of the comic book character, with help from creature designer Aaron Sims and a team of vendors led by visual effects supervisor Kurt Williams.

Issue 113
April/May/June 2008

10,000 B.C.: The First Hero: Director Roland Emmerich resurrects the prehistoric world -- populated with mammoths, saber-tooth tigers and giant terror birds -- in 10,000 B.C. Visual effects supervisor Karen Goulekas engaged Tatopoulos Studios to supply early creature designs, which were later refined and translated into photoreal CG beasts by The Moving Picture Company and Double Negative. Additional contributors included The Senate, Machine FX and a production-side visual effects team. An expansive miniature environment for the film's climax was provided by Magicon. Article by Jody Duncan.
The Spiderwick Chronicles: Fierce Creatures: A young girl and her twin brothers tangle with magical fairy folk who invade their rural New England home in The Spiderwick Chronicles, adapted from the popular childrens' fantasy books by Tony DiTerlizzi and Holly Black. Director Mark Waters called upon Tippett Studio to develop creature concepts, ranging from goblins, trolls and ogres to a tiny brownie guardian of the Spiderwick Estate. The extensive creature animation assignment was shared by Tippett and Industrial Light & Magic. Article by Joe Fordham.
Cloverfield: Ground Zero: In Cloverfield, New Yorkers flee for their lives as a colossal beast of unknown origin destroys the city. Conceived by J.J. Abrams and directed by Matt Reeves, the film put a new spin on the rampaging-monster genre by having all of the action filtered through the shaky lens of a bystander's handheld camcorder. Visual effects supervisors Kevin Blank, Eric Leven and Michael Ellis teamed with special effects coordinator David Waine to oversee the guerrilla-style shoot, while Tippett Studio and Double Negative handled environmental and creature effects. Article by Joe Fordham.
Charlie Wilson's War: Mike Nichols' War: Based on a true story, Charlie Wilson's War recounts the remarkable tale of how a playboy congressman, aided by a wealthy socialite and a renegade CIA agent, waged a secret war against the Soviet Union, leading to its defeat in Afghanistan, and ultimately to its collapse. Working under director Mike Nichols, veteran visual effects supervisor Richard Edlund and a team at Whodoo EFX contributed shots designed to establish the time period, extend location settings and simulate combat action. Article by Jody Duncan.
OVERVIEWS Chas Jarrett on Sweeney Todd: Tim Burton adapts the popular Steven Sondheim stage musical to the big screen in a moodier and more intimate retelling of the macabre tale, enlisting the aid of visual effects supervisor Chas Jarrett and a team at The Moving Picture Company to re-create a squalid Victorian England.
Joel Hynek and Keven Elam on Jumper: In the science fiction adventure Jumper, a teenager discovers the ability to teleport himself instantly to any locale. Jump effects and action sequences spanning the globe necessitated a major visual effects effort involving more than a dozen vendors led by visual effects supervisors Joel Hynek and Kevin Elam.
Greg and Colin Strause on Alien Vs. Predator: Requiem: Brothers Colin and Greg Strause, founders of the visual effects company Hydraulx, discuss the highlights of their career in visual effects, culminating in their recent gig as directors of their first full-length feature film, Alien Vs. Predator: Requiem.

Issue 112
January/February/March 2008

The Golden Compass New Line Cinema returns to large-scale fantasy filmmaking with The Golden Compass, written and directed by Chris Weitz and based on the first book in Philip Pullman's His Dark Materials trilogy. Visual effects supervisor Michael L. Fink orchestrated the work of nine companies in creating the film's rich array of magical characters and exotic locales, with lead vendors Rhythm & Hues and Cinesite responsible for the film's signature CG effect - shape-shifting, talking spirit animals known as 'd?mons.' Article by Joe Fordham.
I Am Legend: In I Am Legend, based on a novella by Richard Matheson, a viral plague has transformed the inhabitants of Manhattan into bloodthirsty, carnivorous and preternaturally strong creatures, leaving a lone survivor to fend for himself. Visual effects supervisor Janek Sirrs engaged Sony Pictures Imageworks to handle the effects, which included digitally generating the hordes of infected creatures and creating a post-apocalyptic look for location photography shot in New York. Article by Jody Duncan.
Beowulf: Director Robert Zemeckis re-teams with visual effects supervisor Jerome Chen and Sony Pictures Imageworks to bring the ancient epic tale, Beowulf, to the big screen as an all-CG feature. Expanding on and further refining the groundbreaking performance capture developed for The Polar Express, Chen and his team reached new heights of realism in the creation of the film's synthetic humans, while breathing new life into its fabled beasts, exotic environments and dynamic battle action. Article by Jody Duncan.
OVERVIEWS
Enchanted: 2D characters from an animated fairytale are magically transported to the real world of modern-day New York in the Walt Disney fantasy Enchanted, directed by Kevin Lima, with visual effects by Tippett Studio.
The Mist: For The Mist, adapted from a Stephen King novella, director Frank Darabont and visual effects supervisor Everett Burrell combined full-scale animatronic puppets, maquettes and makeup effects provided by KNB EFX with CG creatures created by CafeFX.
Q&A: Dennis Berardi: Visual effects supervisor Dennis Berardi discusses the work of Toronto-based effects company Mr. X, and the state of the burgeoning visual effects industry in Canada.

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