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January 2000 |
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(outside U.S. - add $5.00 each for postage) |
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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.
Retrospective
by Jody Duncan
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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.
Edited by Don Shay and Jody Duncan |
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 |
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 |
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 |
| A one-on-one interview
with stop-motion maestro Ray
Harryhausen by Phil
Tippett.
Article by Mark Cotta Vaz |
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