by: O'QUINN STUDIOS, INC, 475 Park Avenue South New York, N.Y, 10016 Publishers: Norman Jacobs/Kerry O'Quinn Founder of CINEMAGIC and Editorial Consultant: ‘Don Dohler Editor-in-Chief: David Hutchison Design Director: Robert P, Ericksen Designer Susan Stevens Editor: ‘Bob Woods Editorial Contributors: Ted R. Rae John Cosentino ‘James Caldwell Art Staff: Laura OBrien Robert Sefcik Associate Publisher: Ira Friedman, Assistant Publisher: "Rita Eisenstein ‘Abouttnecover:Orelthenatertinn ernie Ralgueottsioystaigpocehiyea free taste athe harem 55 amnge Saletan carerahordneaeto gre Roane {Decent nce The intern yet Go arn ve ane bp ha vo peta TERERAGI pablned eanesy my aU ‘Subtos inc. isron esse ners Rote rng inerrant ve Cox | ie Gani 1979 fy Cam subs, ING, ge seed Reps egrosucten 8 ‘Sti heart Aven SON, Rew Yom, RysGole punedmusa Welcome _ ward-winning makeup artist Rick Baker once sent me a letter which Contained the following statement: “I really like CMEMAGIC. . wish it had been around when | was starting out!” Such e positive reaction didn't surprise me, nor have countess cries of delight from readers ‘who have immersed themselves in their first issue of CMEMAGaC, That's because ‘CINEMAGIC is not new to me, and exclamations of praise (humbly accepted) have been filtering through to my mailbox forthe past six years, ‘Six years! But this is issue #1, isn't it? Let me explain CCINENAGKC began a a full sized, lavishly produced fanzine in 1972. I was born cof an idea that came to me much earlier—in 1964—when, like most of you. | was getting heavily into making serious and creative short flms in 8mm and Super. As I put together such fun and inspired flicks as clay animation, SF comedies and ‘twist ending” horror tales—complete with superimposed titles and sync sound—I began to notice that other folks were doing likewise. Not lot of other folks in those days, but enough filmmakers with a similar fascination for special effects that it seemed like a good idea to start a “network” of amateur producers to exchange ideas and share cinematic experience. A newsletter or magazine of some type was the logical outlet for such a coalition, However, It took eight years and a lot of personal building before | was able 10 Publish the first issue of the original CNEMAGIC. But when | did, | knew that had started something good; something the fans needed and wanted. As the word spread, coupled with the magazine's quality appearance, CANEMACIC grew steadily over the years. With my limited time and resources, though, [was never able to started making “shows” long before | owned motion-picture equip. ‘ment. In the second grade I drew cartoon panels on a roll of white ‘adding-machine paper and forced all the kids in the neighborhood to sit on the floor and pay close attention while | pulled the strip of. Paper through a cardboard box, outfitted with a light bulb and cheap lens that projected the world’s weakest picture on the wall | provided the soundtrack—creating all the voices and sound effects with my childish Texas twang—and even humming bombastic musical punctuations that frequently caused our maid to wonder whether | was “right bright.” So what if the presentation lacked a few refinements. As they say, it was a start Years later | advanced to a Brownie 8mm camera, and in high school ‘my friend David Houston and | set out to film the most spectacular movie of the decade—and possibly of all time! Of course, it wasn't, but all our schoolmates who had laughed at our lavish plans cheered at our world premiere and told us it was a start During the next few years David and | completed several more am- bitious film projects—taking after-school jobs in order to purchase better movie equipment. The more professional our efforts, the more our au: diences enjoyed the productions. "Hey, guys,” they encouraged us, “this is just the start.” Now, a few years later, | am at the start of another project, but this one involves offering help, advise and encouragement to other young film: makers, Our STARLOG readers have wanted this kind of magazine for years. Although our special effects series in STARLOG is one of the most Popular regular features, it deals mainly with “how the pros do it,” and ost of the time that bears litte relationship to the budget and facilities available to non-pros and “backyard” filmmakers.