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Cinefex № 1

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Cinefex № 1 was the inaugural issue of Cinefex, a magazine dedicated to cinematic special effects, published in March 1980. This seminal issue featured in-depth articles on two landmark science fiction films: Star Trek: The Motion Picture and Alien. Established by Don Shay as editor and publisher, Cinefex billed itself as "the journal of cinematic illusions" and set a high standard for detailed behind-the-scenes reporting on visual effects in film. The first issue included comprehensive coverage of the production challenges, technical innovations, and creative processes involved in bringing these two iconic films to life. {{Pullquote "I wanted it to happen so fast you could never really see it, like a snake when it attacks. I wanted great violence; and I wanted it totally, absolutely lethal. That's the whole reality of a creature like that." — Ridley Scott on the alien attack scene}} {{Pullquote "It was an uphill battle all the way—twenty-four hours a day, seven days a week. Hundred-hour workweeks were not uncommon. Near the end of production, Trumbull admitted to not having had a day off in four months—nor had many of his key personnel." — Regarding the intense schedule to complete Star Trek's effects}}

Table of Contents

Cinefex № 1 contained the following major articles:

Editorial Team and Contributors

The inaugural issue was brought to life by a small but dedicated team:

The photography was credited to Virgil Mirano for the Star Trek special effects unit, and Bob Penn for the Alien production unit. Additional acknowledgments were given to Charles Lippincott and Pat Miller.

Cover and Featured Content

The front cover featured an image described as "Breaking the light barrier in Star Trek: The Motion Picture," while the back cover showcased "The final confrontation from Alien." The magazine was published in a large format that allowed for detailed examination of visual effects work, with numerous behind-the-scenes photographs documenting the production process.

"Into the V'ger Maw with Douglas Trumbull"

This extensive interview with Douglas Trumbull, conducted by Don Shay, details Trumbull's involvement in salvaging the troubled production of Star Trek: The Motion Picture. The article reveals that Trumbull initially declined involvement with the project but was later brought in with only nine months remaining before the film's premiere, after the original effects unit (Robert Abel and Associates) was dismissed. Key points covered in the interview include:

"Creating an Alien Ambience"

The second major article, written by Don Shay, explores the creation of the groundbreaking film Alien, with particular focus on the design and execution of the alien creature and environments. The article includes insights from numerous key contributors including:

Photography and Artwork

The magazine contains numerous production photographs from both featured films, including:

Commercial Aspects

The magazine was priced at a subscription rate of four issues for $12, with foreign subscriptions payable in U.S. funds only. Dealer rates were available upon request. It was printed by R.B. Graphics in Riverside, California, with typesetting by Creative Concepts, also in Riverside.

Reception and Impact

Cinefex № 1 helped establish a new standard for in-depth coverage of visual effects in cinema. The magazine arrived at a pivotal moment in film history, just as the special effects industry was undergoing a revolutionary transformation following the success of films like Star Wars and Close Encounters of the Third Kind.

Cultural and Historical Significance

Cinefex № 1 represented one of the first serious, in-depth publications dedicated to the art and craft of special effects in film. Its detailed technical explanations and behind-the-scenes perspectives provided unprecedented insight into the rapidly evolving field of visual effects during a transformative period in cinema history. The magazine's focus on two significant science fiction films of the era—Star Trek: The Motion Picture and Alien—captured a moment when visual effects were becoming increasingly sophisticated and central to mainstream filmmaking.