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| Date | February 24–25, 1942 |
|---|---|
| Location | Los Angeles, California, United States |
| Deaths | At least 5[1] |
The Battle of Los Angeles, also known as The Great Los Angeles Air Raid, is the name given by contemporary sources to the rumored attack by Japan and subsequent anti-aircraft artillery barrage which took place from late February 24 to early February 25, 1942, over Los Angeles, California.[2][3] The incident occurred less than three months after the United States entered World War II in response to the Imperial Japanese Navy's surprise attack on Pearl Harbor, and one day after the bombardment of Ellwood on February 23. Initially, the target of the aerial barrage was thought to be an attacking force from Japan, but speaking at a press conference shortly afterward, Secretary of the NavyFrank Knox called the incident a 'false alarm'. Newspapers of the time published a number of reports and speculations of a cover-up.
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When documenting the incident in 1949, the United States Coast Artillery Association identified a meteorological balloon sent up at 1:00 a.m. that 'started all the shooting' and concluded that 'once the firing started, imagination created all kinds of targets in the sky and everyone joined in'.[4] In 1983, the U.S. Office of Air Force History attributed the event to a case of 'war nerves' triggered by a lost weather balloon and exacerbated by stray flares and shell bursts from adjoining batteries.
Background[edit]
Anger and paranoia over the Imperial Japanese Navy's surprise attack on Pearl Harbor in Hawaii on December 7, 1941, and the United States entry into World War II the next day intensified across the West Coast of the United States over the next few months. In Juneau, residents were told to cover their windows for the nightly blackout after rumors of Japanese submarines lurking by the southeast Alaskan coast.[5] Rumors spread of a Japanese aircraft carrier cruising off the coast of the San Francisco Bay Area, resulting in the city of Oakland to close their schools and to issue a blackout; civil defense sirens provided from Oakland Police Department (OPD) cars blared through the area, and radio silence was ordered.[6] In Seattle, the city also imposed a blackout of all buildings and vehicles, and the owners who left the lights on in their buildings had their businesses smashed by a mob of 2,000 residents.[7] Rumors were bad enough that 500 United States Army troops moved into the Walt Disney Studios lot in Burbank, California to defend the famed Hollywood facility and nearby factories against enemy sabotage or air attacks.[8]
As the United States began mobilizing for total war, anti-aircraft guns were set up, bunkers were built, and air raid precautions were drilled into the populace all over the country. Several merchant ships were attacked by Japanese submarines in the U.S. coastal waters of the West Coast especially during the last half of the month of December 1941 through February 1942. As paranoia continued to mount, on February 23, 1942, at 7:15 pm during President Franklin D. Roosevelt's fireside chats, Japanese submarine I-17 surfaced near Santa Barbara and shelled Ellwood Oil field in Goleta. Although damage was minimal, only $500 in property damage and luckily no one was injured, the attack had lasting consequences as the West Coast residents believed that the Japanese were going to storm their beaches at any minute (eventually less than four months later, Japan bombed Dutch Harbor in Unalaska, Alaska and landed troops in the Aleutian Islands of Kiska and Attu).[6]
Alarms raised[edit]
On February 24, 1942, Naval Intelligence issued a warning that an attack could be expected within the next ten hours. That evening, a large number of flares and blinking lights were reported from the vicinity of defense plants. An alert was called at 7:18 pm, and was lifted at 10:23 pm. Renewed activity began early in the morning of the 25th.[9]Air raid sirens sounded at 2:25 am throughout Los Angeles County.[10] A total blackout was ordered and thousands of Air Raid Wardens were summoned to their positions. At 3:16 am the 37th Coast Artillery Brigade began firing .50 caliber machine guns and 12.8-pound anti-aircraft shells into the air at reported aircraft; over 1,400 shells would eventually be fired. Pilots of the 4th Interceptor Command were alerted but their aircraft remained grounded. The artillery fire continued sporadically until 4:14 am. The 'all clear' was sounded and the blackout order lifted at 7:21 am.[11]
Several buildings and vehicles were damaged by shell fragments, and five civilians died as an indirect result of the anti-aircraft fire: three killed in car accidents in the ensuing chaos and two of heart attacks attributed to the stress of the hour-long action.[12] The incident was front-page news along the U.S. Pacific coast and across the nation.[13]
Press response[edit]
Within hours of the end of the air raid, Secretary of the Navy Frank Knox held a press conference, saying the entire incident was a false alarm due to anxiety and 'war nerves.' Knox's comments were followed by statements from the Army the next day[14] that reflected General George C. Marshall's supposition that the incident might have been caused by enemy agents using commercial airplanes in a psychological warfare campaign to generate panic.[15]
Some contemporary press outlets suspected a cover-up. An editorial in the Long Beach Independent wrote, 'There is a mysterious reticence about the whole affair and it appears that some form of censorship is trying to halt discussion on the matter.' Speculation was rampant as to invading airplanes and their bases. Theories included a secret base in northern Mexico as well as Japanese submarines stationed offshore with the capability of carrying planes. Others speculated that the incident was either staged or exaggerated to give coastal defense industries an excuse to move further inland.[16]
Representative Leland Ford of Santa Monica called for a Congressional investigation, saying, '..none of the explanations so far offered removed the episode from the category of 'complete mystification' .. this was either a practice raid, or a raid to throw a scare into 2,000,000 people, or a mistaken identity raid, or a raid to lay a political foundation to take away Southern California's war industries.'[17]
Attribution[edit]
The Japanese government, after the war ended, declared that they had flown no airplanes over Los Angeles during the war.[10]
In 1983 the U.S. Office of Air Force History concluded that an analysis of the evidence points to meteorological balloons as the cause of the initial alarm:[9]
| “ | During the course of a fireside report to the nation delivered by President Roosevelt on 23 February 1942, a Japanese submarine rose out of the sea off Ellwood, a hamlet on the California coast north of Santa Barbara, and pumped thirteen shells into tidewater refinery installations. The shots seemed designed to punctuate the President's statement that 'the broad oceans which have been heralded in the past as our protection from attack have become endless battlefields on which we are constantly being challenged by our enemies.' Yet the attack which was supposed to carry the enemy's defiance, and which did succeed in stealing headlines from the President's address, was a feeble gesture rather than a damaging blow. The raider surfaced at 1905 (Pacific time), just five minutes after the President started his speech. For about twenty minutes the submarine kept a position 2,500 yards offshore to deliver the shots from its 5½-inch guns. The shells did minor damage to piers and oil wells, but missed the gasoline plant, which appears to have been the aiming point; the military effects of the raid were therefore nil. The first news of the attack led to the dispatch of pursuit planes to the area, and subsequently three bombers joined the attempt to destroy the raider, but without success. The reluctance of AAF commanders to assign larger forces to the task resulted from their belief that such a raid as this would be employed by the enemy to divert attention from a major air task force which would hurl its planes against a really significant target. Loyal Japanese-Americans who had predicted that a demonstration would be made in connection with the President's speech also prophesied that Los Angeles would be attacked the next night. The Army, too, was convinced that some new action impended, and took all possible precautions. Newspapers were permitted to announce that a strict state of readiness against renewed attacks had been imposed, and there followed the confused action known as 'The Battle of Los Angeles.' During the night of 24/25 February 1942, unidentified objects caused a succession of alerts in southern California. On the 24th, a warning issued by naval intelligence indicated that an attack could be expected within the next ten hours. That evening a large number of flares and blinking lights were reported from the vicinity of defense plants. An alert called at 1918 [7:18 pm, Pacific time] was lifted at 2223, and the tension temporarily relaxed. But early in the morning of the 25th renewed activity began. Radars picked up an unidentified target 120 miles west of Los Angeles. Antiaircraft batteries were alerted at 0215 and were put on Green Alert—ready to fire—a few minutes later. The AAF kept its pursuit planes on the ground, preferring to await indications of the scale and direction of any attack before committing its limited fighter force. Radars tracked the approaching target to within a few miles of the coast, and at 0221 the regional controller ordered a blackout. Thereafter the information center was flooded with reports of 'enemy planes, ' even though the mysterious object tracked in from sea seems to have vanished. At 0243, planes were reported near Long Beach, and a few minutes later a coast artillery colonel spotted 'about 25 planes at 12,000 feet' over Los Angeles. At 0306 a balloon carrying a red flare was seen over Santa Monica and four batteries of anti-aircraft artillery opened fire, whereupon 'the air over Los Angeles erupted like a volcano.' From this point on reports were hopelessly at variance. Probably much of the confusion came from the fact that anti-aircraft shell bursts, caught by the searchlights, were themselves mistaken for enemy planes. In any case, the next three hours produced some of the most imaginative reporting of the war: 'swarms' of planes (or, sometimes, balloons) of all possible sizes, numbering from one to several hundred, traveling at altitudes which ranged from a few thousand feet to more than 20,000 and flying at speeds which were said to have varied from 'very slow' to over 200 miles per hour, were observed to parade across the skies. These mysterious forces dropped no bombs and, despite the fact that 1,440 rounds of anti-aircraft ammunition were directed against them, suffered no losses. There were reports, to be sure, that four enemy planes had been shot down, and one was supposed to have landed in flames at a Hollywood intersection. Residents in a forty-mile arc along the coast watched from hills or rooftops as the play of guns and searchlights provided the first real drama of the war for citizens of the mainland. The dawn, which ended the shooting and the fantasy, also proved that the only damage which resulted to the city was such as had been caused by the excitement (there was at least one death from heart failure), by traffic accidents in the blacked-out streets, or by shell fragments from the artillery barrage.Attempts to arrive at an explanation of the incident quickly became as involved and mysterious as the 'battle' itself. The Navy immediately insisted that there was no evidence of the presence of enemy planes, and [Secretary of the Navy], Frank Knox announced at a press conference on 25 February that the raid was just a false alarm. At the same conference he admitted that attacks were always possible and indicated that vital industries located along the coast ought to be moved inland. The Army had a hard time making up its mind on the cause of the alert. A report to Washington, made by the Western Defense Command shortly after the raid had ended, indicated that the credibility of reports of an attack had begun to be shaken before the blackout was lifted. This message predicted that developments would prove 'that most previous reports had been greatly exaggerated.' The Fourth Air Force had indicated its belief that there were no planes over Los Angeles. But the Army did not publish these initial conclusions. Instead, it waited a day, until after a thorough examination of witnesses had been finished. On the basis of these hearings, local commanders altered their verdict and indicated a belief that from one to five unidentified airplanes had been over Los Angeles. Secretary Stimson announced this conclusion as the War Department version of the incident, and he advanced two theories to account for the mysterious craft: either they were commercial planes operated by an enemy from secret fields in California or Mexico, or they were light planes launched from Japanese submarines. In either case, the enemy’s purpose must have been to locate anti-aircraft defenses in the area or to deliver a blow at civilian morale. The divergence of views between the War and Navy departments, and the unsatisfying conjectures advanced by the Army to explain the affair, touched off a vigorous public discussion. The Los Angeles Times, in a first-page editorial on 26 February, announced that 'the considerable public excitement and confusion' caused by the alert, as well as its 'spectacular official accompaniments,' demanded a careful explanation. Fears were expressed lest a few phony raids undermine the confidence of civilian volunteers in the aircraft warning service. In the United States Congress, Representative Leland Ford wanted to know whether the incident was 'a practice raid, or a raid to throw a scare into 2,000,000 people, or a mistaken identity raid, or a raid to take away Southern California’s war industries.' Wendell Willkie, speaking in Los Angeles on 26 February, assured Californians on the basis of his experiences in England that when a real air raid began 'you won’t have to argue about it—you’ll just know.' He conceded that military authorities had been correct in calling a precautionary alert but deplored the lack of agreement between the Army and Navy. A strong editorial in the Washington Post on 27 February called the handling of the Los Angeles episode a 'recipe for jitters,' and censured the military authorities for what it called 'stubborn silence' in the face of widespread uncertainty. The editorial suggested that the Army’s theory that commercial planes might have caused the alert 'explains everything except where the planes came from, whither they were going, and why no American planes were sent in pursuit of them.' The New York Times on 28 February expressed a belief that the more the incident was studied, the more incredible it became: 'If the batteries were firing on nothing at all, as Secretary Knox implies, it is a sign of expensive incompetence and jitters. If the batteries were firing on real planes, some of them as low as 9,000 feet, as Secretary Stimson declares, why were they completely ineffective? Why did no American planes go up to engage them, or even to identify them? .. What would have happened if this had been a real air raid?' These questions were appropriate, but for the War Department to have answered them in full frankness would have involved an even more complete revelation of the weakness of our air defenses. View and Download GE Fanuc 90-30 PLC user manual online. TCP/IP Ethernet Communications Ethernet Interface for the Series 90-30 PLC. 90-30 PLC Computer Hardware pdf manual download. Also for: Series 90-30, Ic693cmm321. Ge 90 30 programming manual. View and Download GE 90.-30 PLC Series user manual online. Interface between a Series 90-30 programmable logic controller (PLC) and a LONWORKS network Bus Interface Module. 90.-30 PLC Series Computer Hardware pdf manual download. At the end of the war, the Japanese stated that they did not send planes over the area at the time of this alert, although submarine-launched aircraft were subsequently used over Seattle. A careful study of the evidence suggests that meteorological balloons—known to have been released over Los Angeles—may well have caused the initial alarm. This theory is supported by the fact that anti-aircraft artillery units were officially criticized for having wasted ammunition on targets which moved too slowly to have been airplanes. After the firing started, careful observation was difficult because of drifting smoke from shell bursts. The acting commander of the anti-aircraft artillery brigade in the area testified that he had first been convinced that he had seen fifteen planes in the air, but had quickly decided that he was seeing smoke. Competent correspondents like Ernie Pyle and Bill Henry witnessed the shooting and wrote that they were never able to make out an airplane. It is hard to see, in any event, what enemy purpose would have been served by an attack in which no bombs were dropped, unless perhaps, as Mr. Stimson suggested, the purpose had been reconnaissance. | ” |
UFOlogy[edit]
A photo published in the Los Angeles TimesShoutcast dsp plugin download. on February 26, 1942, has been cited by some ufologists and conspiracy theorists as part of evidence of an extraterrestrial visitation. They assert that the photo clearly shows searchlights focused on an alien spaceship; however, the photo was heavily modified by photo retouching prior to publication, a routine practice in graphic arts of the time intended to improve contrast in black and white photos.[18][19]Los Angeles Times writer Larry Harnisch noted that the retouched photo along with faked newspaper headlines were presented as true historical material in trailers for the film Battle: Los Angeles. Harnisch commented, 'if the publicity campaign wanted to establish UFO research as nothing but lies and fakery, it couldn't have done a better job.'[20]
Commemoration[edit]
Every February, the Fort MacArthur Museum, located at the entrance to Los Angeles Harbor, hosts an entertainment event called 'The Great LA Air Raid of 1942.'[21]
See also[edit]
Battle Of Los Angeles Free Download
- The Bombardment of Ellwood, which occurred the previous day.
- 1941, a 1979 film by Steven Spielberg, loosely based on the Battle of Los Angeles.
References[edit]
- ^'The Battle of Los Angeles'. Military Museum. Retrieved 6 November 2015.
- ^Caughey, John; Caughey, LaRee (1977). Los Angeles: biography of a city. University of California Press. ISBN978-0-520-03410-5.
- ^Farley, John E. (1998). Earthquake fears, predictions, and preparations in mid-America. Southern Illinois University Press. ISBN978-0-8093-2201-5. Retrieved 17 May 2010.
- ^Murphy, Col. John G. (May–June 1949). 'Activities of The Ninth Army AAA - L.A. 'Attacked''(PDF). Antiaircraft Journal, The United States Coast Artillery Association. LXXXII (3): 5. Retrieved 3 March 2016.
- ^Juneau During WWII Panel The Empty Chair: The Forced Removal and Relocation of Juneau's Japanese, 1941-1951
- ^ abBattle of Los Angeles
- ^Erik Lacitis (7 December 2016). 'What happened in Seattle after the Pearl Harbor attack in 1941'. The Seattle Times.
- ^Moseley, Doobie (7 December 2015). 'Pearl Harbor Changed Everything, Even the Disney Studio'. Laughing Place.Italic or bold markup not allowed in:
publisher=(help) - ^ abCraven, Wesley Frank; Cate, James Lea (1983). ''West Coast Air Defenses', 'The Battle of Los Angeles''. The Army Air Forces in World War II: Defense of the Western Hemisphere(PDF). 1. Washington, D.C: Office of Air Force History. pp. 277–86. ISBN978-0-912799-03-2. Archived from the original on 25 March 2009. Retrieved 18 May 2010.
- ^ abThe Battle of L.A. turns 75: When a panicked city fought a Japanese invasion that never happened LA Times
- ^Boissoneault, Lorraine. 'The Great Los Angeles Air Raid Terrified Citizens—Even Though No Bombs Were Dropped'. smithsonianmag.com. Smithsonian Institution. Retrieved 5 May 2018.
- ^Niiya, Brian (1993). Japanese American History: An A-to-Z Reference from 1868 to the Present. VNR AG, p. 112. ISBN0816026807
- ^'The Battle of Los Angeles – 1942'. Sfmuseum.net. 25 February 1942. Retrieved 19 May 2010.
- ^Los Angeles Times, 27 February 1942
- ^'California in World War II: The Battle of Los Angeles'. Militarymuseum.org. 25 February 1942. Archived from the original on 27 May 2010. Retrieved 19 May 2010.
- ^Los Angeles Times, 'Information, Please', 26 Feb. 1942, p. 1
- ^Los Angeles Times, 'Knox Assailed on 'False Alarm': West Coast legislators Stirred by Conflicting Air-Raid Statements' 27 Feb. 1942, p. 1
- ^Harnisch, Larry (13 March 2011). 'Another Good Story Ruined: Saucers Over L.A.! – Part 7'. Los Angeles Times. Retrieved 3 April 2014.
- ^Ed Stockly. 'TV Skeptic: 'Fact or Faked: Paranormal Files' looks at the real 'Battle of L.A.''. Los Angeles Times.
- ^Harnisch, Larry (21 February 2011). 'Another Good Story Ruined -- The Battle of Los Angeles'. Los Angeles Times. Retrieved 23 February 2013.
- ^'Fort MacArthur Museum: The Great Los Angeles Air Raid of 1942'. The Fort MacArthur Museum Association. 1994–2010. Retrieved 19 May 2010.
External links[edit]
Directed by
| Jonathan Liebesman |
Writing Credits(WGA)
| Christopher Bertolini | .. | (written by) (as Chris Bertolini) |
Cast (in credits order) complete, awaiting verification
| Aaron Eckhart | .. | Ssgt. Michael Nantz | |
| Ramon Rodriguez | .. | 2nd Lt. William Martinez | |
| Will Rothhaar | .. | Cpl. Lee Imlay | |
| Cory Hardrict | .. | Cpl. Jason Lockett | |
| Jim Parrack | .. | LCpl. Peter Kerns | |
| Gino Anthony Pesi | .. | Cpl. Nick Stavrou | |
| Ne-Yo | .. | Cpl. Kevin Harris | |
| James Hiroyuki Liao | .. | LCpl. Steven Mottola | |
| Bridget Moynahan | .. | Michele | |
| Noel Fisher | .. | Pfc. Shaun Lenihan | |
| Adetokumboh M'Cormack | .. | Corpsman Jibril Adukwu | |
| Bryce Cass | .. | Hector Rincon | |
| Michael Peña | .. | Joe Rincon | |
| Michelle Rodriguez | .. | TSgt. Elena Santos | |
| Neil Brown Jr. | .. | LCpl. Richard Guerrero | |
| Taylor Handley | .. | LCpl. Corey Simmons | |
| Joey King | .. | Kirsten | |
| Lucas Till | .. | Cpl. Scott Grayston | |
| Kenneth Brown Jr. | .. | Cpl. Richard Oswald | |
| Jadin Gould | .. | Amy | |
| Joe Chrest | .. | 1st Sgt. John Roy | |
| E. Roger Mitchell | .. | Company Captain | |
| Rus Blackwell | .. | Lt. Col. K.N. Ritchie | |
| Susie Abromeit | .. | Amanda | |
| Brandi Gerard | .. | Cherise (as Brandi Coleman) | |
| Beth Keener | .. | Kathy Martinez (as Elizabeth L. Keener) | |
| Jessica Heap | .. | Jessy | |
| David Jensen | .. | Psychiatrist | |
| Stacey Turner | .. | Reporter on TV | |
| Tom Hillmann | .. | Reporter on TV | |
| Lena Clark | .. | Chris | |
| Jamie Norwood | .. | Flower Shop Employee | |
| Todd Cochran | .. | Command Hangar Marine | |
| Nzinga Blake | .. | Adukwu's Sister | |
| Taryn Southern | .. | Reporter on Beach | |
| James D. Dever | .. | Sgt. Major (as Jim Dever) | |
| Rest of cast listed alphabetically: | |||
| Alex Aristidis | .. | Beach Goer (uncredited) | |
| Charlotte Biggs | .. | Emergency Medical Tech. (uncredited) | |
| Ava Bogle | .. | Beach Girl 1 (uncredited) | |
| Dane Brown | .. | Firefighter (uncredited) | |
| Grant Case | .. | Marine (uncredited) | |
| Kurt DeVille | .. | Marine (uncredited) | |
| Joshua Farcone | .. | Dead Civilian (uncredited) | |
| Alex Froman | .. | Marine (uncredited) | |
| Joshua George | .. | Marine (uncredited) | |
| Zander Gerhardt | .. | Dead Civilian (uncredited) | |
| Emily D. Haley | .. | Citizen / Dead Citizen (uncredited) | |
| Nick Jones Jr. | .. | Marine (uncredited) | |
| Philip Lawrence | .. | U.S. Marine (uncredited) | |
| Charles Malveaux | .. | U.S. Marine (uncredited) | |
| Tony Mccullough | .. | LAPD Officer Boggs (uncredited) | |
| Keith Middlebrook | .. | Steve Johinson (uncredited) | |
| Courtney Munch | .. | Marine Crew Chief (uncredited) | |
| Gustavo I. Ortiz | .. | Doctor Running Away (uncredited) | |
| Jim Palmer | .. | Crew Chief (uncredited) | |
| Gunner Glenn Peter | .. | Marine (uncredited) | |
| Michelle Pierce | .. | Shelly (uncredited) | |
| Philippe Radelet | .. | Civilian (uncredited) | |
| Raul Ramirez III | .. | Marine (uncredited) | |
| Vanessa Ross | .. | Terrified Pedestrian (uncredited) | |
| Lawanda Smith | .. | Civilian (uncredited) | |
| David Speed | .. | Gary (uncredited) | |
| Peyton Whitcomb | .. | Extra (uncredited) | |
| Michael Wozniak | .. | Beach Dude (uncredited) | |
| Marlon Young | .. | Sergeant Major (uncredited) | |
| Lynette Zumo | .. | Dead Civilian (uncredited) | |
Produced by
| Jeffrey Chernov | .. | executive producer |
| David Greenblatt | .. | executive producer |
| Ori Marmur | .. | producer |
| Neal H. Moritz | .. | producer |
| Lisa Rodgers | .. | associate producer |
Music by
| Brian Tyler |
Cinematography by
| Lukas Ettlin |
Film Editing by
| Christian Wagner |
Casting By
| Craig Fincannon |
| Lisa Mae Fincannon |
| Debra Zane |
Production Design by
| Peter Wenham |
Art Direction by
| Andrew Neskoromny | ||
| Chris L. Spellman | ||
| Thomas Valentine | .. | supervising art director |
Set Decoration by
| Bob Kensinger |
Costume Design by
| Sanja Milkovic Hays |
Makeup Department
| Cary Ayers | .. | creature technician / makeup effects |
| Kim Ayers | .. | key makeup artist |
| Gloria Belz | .. | makeup artist |
| Steve Buscaino | .. | makeup artist / makeup effects shop supervisor |
| Gloria Pasqua Casny | .. | hair department head (as Gloria P. Casny) |
| Brian Demski | .. | creature technician / special makeup effects artist |
| Jeremy Drake | .. | makeup effects |
| Thomas Eldredge | .. | creature effects production assistant |
| Andrew Freeman | .. | sculptor |
| Sherri B. Hamilton | .. | assistant hair stylist (as Sherri Hamilton) |
| Joel Harlow | .. | makeup department head |
| Jules Holdren | .. | key hair stylist |
| Christopher Johnson | .. | sculptor |
| Hiroshi Katagiri | .. | sculptor: Spectral Motion Inc |
| Krystal Kershaw | .. | makeup artist |
| Don Lanning | .. | lead sculptor |
| Courtney Lether | .. | creature technician / makeup artist |
| Adrienne Lynn | .. | additional makeup artist |
| Leonard MacDonald | .. | makeup artist |
| Danny Marin | .. | creature effects production assistant |
| Chrissy Morris | .. | additional makeup artist |
| Kent Richard | .. | additional hair stylist |
| Tommie Strawther | .. | third hair stylist |
| Tony Ward | .. | third hair stylist |
| Crystal Woodford | .. | hair stylist |
| Jed Dornoff | .. | makeup artist (uncredited) |
| Shaun Smith | .. | fake bodies (uncredited) |
Production Management
| Tommy Harper | .. | unit production manager |
| Karen Jarnecke | .. | production supervisor |
| Scott Thaler | .. | production manager: Creative Mood Reel R&D |
Second Unit Director or Assistant Director
| Christian Clarke | .. | assistant director |
| Gary Cotti | .. | dga trainee |
| J. Michael Haynie | .. | first assistant director |
| Kevin O'Neil | .. | second second assistant director |
| Richard Oswald | .. | second assistant director |
| Scott Owen | .. | location first assistant director |
| Scott Thaler | .. | additional first assistant director |
Art Department
| Spencer J. Abadie | .. | construction production assistant |
| Dave Akes | .. | carpenter |
| A. Russell Amdal | .. | gang boss |
| Michael Arena | .. | greens foreman |
| Tom Ashburn | .. | stand-by painter |
| Richard Bennett | .. | storyboard artist |
| Jesse Benson | .. | art director: additional photography |
| Doug Bernard | .. | propmaker |
| Charles Bodenheimer | .. | painter |
| Derick Broderman | .. | propmaker |
| Rick Broderman | .. | paint foreman |
| Jeff Broome | .. | construction medic |
| Kenneth Brown | .. | prop maker |
| Shane Buckallew | .. | lead plaster foreman |
| Ed Burcham | .. | set dresser (as Eddie Burcham) |
| Andrew M. Casbon III | .. | paint gang boss |
| Ralph Chabaud | .. | scenic |
| David Chow | .. | digital set designer |
| John B. Clarey III | .. | construction general foreman |
| Daniel Coe | .. | general foreman |
| Randall S. Coe | .. | construction coordinator |
| Matthew L. Crowson | .. | set dresser |
| Ricardo F. Delgado | .. | storyboard artist |
| Carl Denooyer | .. | gang boss: set dressing |
| James Dupuy | .. | general foreman |
| Will Eastin | .. | graphic designer |
| TyRuben Ellingson | .. | conceptual designer |
| Jann K. Engel | .. | set designer |
| Matthew Gatlin | .. | model maker |
| Gregory T. Geniusz | .. | set dresser |
| Paul Gerrard | .. | concept artist |
| Darek Gogol | .. | concepts artist |
| Chris Grantz | .. | set dresser |
| Julie Gueydan | .. | construction buyer |
| Ted Haigh | .. | graphic designer |
| Chad Harris | .. | set dresser |
| Destin M. Hebert | .. | props |
| Anthony J. Henderson | .. | lead sculptor |
| Kathleen Kat Holton | .. | construction buyer |
| Daniel R. Jennings | .. | set designer |
| Phillip Joffrion | .. | set dresser |
| Jeremy Johnson | .. | propmaker |
| Tammi Johnson | .. | construction medic |
| Edward Joyner | .. | draftsman |
| Joey Kent | .. | set dresser |
| Thierry Labbe | .. | leadman |
| Nicole LaBranche | .. | art department coordinator |
| Gerald J. Lajaunie | .. | welder gangboss |
| Ty Landry | .. | set dresser |
| Leo Lauricella | .. | mill foreman |
| Blake Le Vasseur | .. | set sculptor |
| Mara LePere-Schloop | .. | assistant art director |
| K. Emily Levine | .. | art department coordinator |
| Andrew H. Lewis | .. | set labor |
| Lindanne Lewis | .. | set plasterer |
| Janette Luttrell | .. | props |
| Steve Martemucci | .. | construction gangboss |
| T.J. McCall | .. | lead scenic artist |
| Kevin McCullough | .. | assistant property master |
| Simon McGuire | .. | concept artist |
| Robert McKinnon | .. | concept artist |
| Molly Mikula | .. | set designer |
| Martha Eidsness Mitchell | .. | art department |
| Phillip Norwood | .. | storyboard artist |
| Rachel Nowik | .. | set decoration coordinator |
| William Nutt | .. | key greensman |
| Cory Parker | .. | on-set dresser |
| Brett Phillips | .. | lead model maker |
| Danielle Poret | .. | art department assistant |
| Daniel Ramos | .. | utility tech |
| Jack Reeves | .. | painter |
| Virle S. Reid | .. | second assistant property master |
| Erika Rice | .. | set dressing buyer |
| Noel Rideout | .. | set dresser |
| Sonda L. Rowland | .. | painter |
| George Sanchez | .. | plasterer |
| Sian C. Sanzone | .. | paint gangboss |
| Kenneth Sayers | .. | set dresser |
| Jordu Schell | .. | conceptual creature designer |
| John Eric Seay | .. | foreman |
| Ember Soberman | .. | painter |
| Paul Stanwyck | .. | lead painter |
| Floyd B. Sterling | .. | assistant property master |
| Jason Baldwin Stewart | .. | assistant art director (as Jason E. Baldwin) |
| Gordon Thomas | .. | set dresser |
| Gary Tuers | .. | property master |
| David Tureau | .. | lead greensman |
| Bill Walters | .. | set dresser |
| Joel Watts Jr. | .. | painter |
| Simon Webber | .. | concept artist |
| David O. Whatley | .. | sculptor gangboss (as Dave Whatley) |
| Jason Wilson | .. | foreman |
| Michael Wynn | .. | painter |
| Caryn Marcus | .. | set decoration buyer (uncredited) |
Sound Department
| Ryan Farris | .. | boom operator (as Ryan K. Farris) |
| Sandy Gendler | .. | foley editor |
| David Giammarco | .. | re-recording mixer |
| Jamie Hardt | .. | sound effects editor |
| Robin Harlan | .. | foley artist |
| Chris M. Jacobson | .. | sound effects editor (as Chris Jacobson) |
| Devin Johnson | .. | assistant sound editor |
| Jon Johnson | .. | supervising sound editor |
| Ryan Juggler | .. | assistant sound editor (as Ryan B. Juggler) |
| Vanessa Lapato | .. | supervising adr editor |
| Paul Ledford | .. | production mixer |
| Howard London | .. | adr mixer |
| Paul Massey | .. | re-recording mixer |
| Sarah Monat | .. | foley artist |
| Matthias Neumann | .. | dubbing recordist |
| Jordan O'Neill | .. | datasat sound mastering engineer |
| Paul N.J. Ottosson | .. | sound effects designer |
| Randy Singer | .. | foley mixer (as Randy K. Singer) |
| Brad Sokol | .. | assistant sound editor |
| Bruce Stubblefield | .. | dialogue editor |
| Robert Troy | .. | dialogue editor |
| David Forshee | .. | sound production assistant (uncredited) |
Special Effects by
| Douglas Calli | .. | special effects foreman |
| Wayne Eaton | .. | special effects technician |
| Jack Edjourian | .. | propmaker |
| Mary Elizalde | .. | CFO: Spectral Motion Inc. |
| Stephen Imhoff | .. | mold maker: Harlow Designs |
| Jeremy Johnson | .. | special effects technician |
| Blake Le Vasseur | .. | special effects technician |
| Donald Myers | .. | special effects foreman |
| Ken Niederbaumer | .. | mold maker |
| Stan Parks | .. | special effects coordinator |
| David A. Poole | .. | on set foreman |
| Michael Roundy | .. | special effects foreman |
| Hill Vinot | .. | fabricator: Harlo FX |
| Burt Dalton | .. | supervising special effects coordinator (uncredited) |
Visual Effects by
| Kevin Aguirre | .. | previs artist |
| Neishaw Ali | .. | executive producer |
| Ryan Andersen | .. | visual effects production assistant: Shade VFX |
| Mandy Arnold | .. | digital restoration artist |
| Oliver Arnold | .. | lighting supervisor |
| Jeff Atherton | .. | associate visual effects producer: Hydraulx |
| David August | .. | interactive creative director: OOOii |
| Jarrod Avalos | .. | layout & matchmove lead |
| Dan Ayling | .. | matchmove artist |
| Dave Bannister | .. | compositor: Cinesite |
| Craig Barron | .. | visual effects supervisor: Matte World Digital |
| Austin Basile | .. | digital compositor |
| Darren A. Bell | .. | visual effects executive producer: Intelligent Creatures |
| Laurent Ben-Mimoun | .. | matte painter |
| Michael Boden | .. | compositor |
| Joel Bodin | .. | lighting technical director |
| Amanda Bone | .. | texture artist |
| Pierre Bonnette | .. | visual effects artist |
| Guy Botham | .. | visual effects executive producer |
| Matt Boyer | .. | matchmove artist |
| Charlie Bradbury | .. | visual effects producer: The Embassy VFX |
| Adam Briggs | .. | visual effects artist |
| Kirk Brillon | .. | digital compositor: SPIN VFX |
| Andre Brizard | .. | compositor: cinesite |
| Kari Brown | .. | senior effects technical director: Cinesite |
| Kenneth Quinn Brown | .. | visual effects: Hydraulx (as Kenneth Brown) |
| Ronn Brown | .. | visual effects: AXISvfx |
| Jeff Bruneel | .. | senior compositor |
| Tom Bruno Jr. | .. | senior previsualization artist |
| Andy Burmeister | .. | lead matchmover: Luma Pictures |
| Everett Burrell | .. | visual effects supervisor |
| Jeremy F. Butler | .. | animation supervisor |
| Andrew Byrne | .. | visual effects artist |
| Roisin Byrne | .. | production accountant: cinesite |
| Doug Campbell | .. | senior compositor |
| Jeff Campbell | .. | visual effects supervisor: SPIN VFX |
| Kevin Campbell | .. | visual effects |
| Alexandre Cancado | .. | lead digital compositor: Luma Pictures |
| Marco Capparelli | .. | visual effects artist |
| David Carriker | .. | visual effects supervisor: Modern Videofilm |
| Steve Casa | .. | 3d scan technician |
| David Casey | .. | compositor: The Embassy |
| Chas Cash | .. | effects td: cinesite |
| Cynthia Rodriguez del Castillo | .. | digital compositor |
| Oscar G. Castillo | .. | senior fx artist |
| Hunter Chase | .. | previz artist |
| Daniel Chavez | .. | visual effects coordinator |
| Dominic Cheung | .. | lighting techical director: The Embassy VFX |
| James Chretien | .. | senior lighting lead |
| Vincent Cirelli | .. | visual effects supervisor: Luma Pictures |
| Peter Clayton | .. | animation: cinesite |
| Chris Clough | .. | data operator: Cinesite |
| James Clyne | .. | visual effects concept artist |
| Ross Colgan | .. | senior data operator: Cinesite |
| Andrew M. Collins | .. | animator / matchmove artist |
| Emanuele Comotti | .. | senior compositor: Cinesite |
| Cameron Coombs | .. | digital compositor |
| Paul Copeland | .. | visual effects artist: The Embassy VFX |
| Dayne Cowan | .. | Digital Development Manager: Cinesite |
| Don Crawford | .. | visual effects artist |
| Ryan Cromie | .. | texture artist |
| Colin Cunningham | .. | lighting lead: Soho VFX |
| Rocky Curby | .. | pre-visualization artist |
| Phil Dakin | .. | tracking/layout lead: SPIN VFX |
| Amy Daye | .. | lead compositor: SPIN VFX |
| Hector de la Torre | .. | modeler / texture artist: Hydraulx |
| Dave Dean | .. | digital compositor |
| Yoshi DeHerrera | .. | 3d lidar scanning |
| Alberto Della Regina | .. | effects technical director |
| Kent Demaine | .. | creative director: interactive design: OOOii |
| Giancarlo Derchie | .. | digital compositor |
| Ashish Dewan | .. | digital compositor: SPIN VFX |
| Joseph DiValerio | .. | visual effects |
| Chethan Diwakar | .. | digital compositor |
| Dan Dixon | .. | CG supervisor: Shade VFX |
| Eric Doiron | .. | compositing supervisor: Spin VFX |
| David Dozoretz | .. | senior pre-visualization supervisor |
| Abdullah Ecirli | .. | digital compositor |
| Nadav Ehrlich | .. | 3D animator: Soho VFX |
| Leif Einarsson | .. | postvis supervisor / previs artist |
| Kevin Elam | .. | visual effects producer |
| Tamer Eldib | .. | modeler |
| Josh Elmore | .. | model/texture artist: Hydraulx |
| Nicholas Elwell | .. | visual effects coordinator: Hydraulx |
| Jared Embley | .. | rigger/crowd td: Cinesite |
| Eddie Englander | .. | compositor: Spin VFX |
| Xou Fang | .. | motion editor |
| Cat Rowe Farquharson | .. | digital colorist assist (as Cat Rowe) |
| Marq Faulkner | .. | roto/paint artist: Hydraulx |
| Amy Felce | .. | lead matchmove artist (as Amy Lloyd) |
| Andrew Fensom | .. | compositor: Cinesite |
| Frank Fieser | .. | digital compositor |
| Igor Fiorentini | .. | digital compositor |
| Paul Flanagan | .. | lead effects artist: The Embassy Visual Effects |
| Patrick Flannery | .. | visual effects stills photographer |
| Anna Ford | .. | bidding producer: Cinesite |
| Chris Fregoso | .. | compositor |
| Joshua Galbincea | .. | roto/paint artist |
| Melissa Garcia | .. | compositor |
| Juan Jesús García | .. | matte painting supervisor: SPIN |
| Caroline Garrett | .. | cg manager: cinesite |
| Demitre Garza | .. | digital artist |
| Alex Gatsis | .. | animator: Embassy VFX |
| Gillian George | .. | digital matte painter |
| Paul C. George | .. | lead lighting technical director: Spin VFX |
| Peter Giliberti | .. | animation director |
| Luca Giorgio | .. | CG artist: Spin VFX |
| Bryan Godwin | .. | visual effects supervisor: Shade VFX |
| Katie Godwin | .. | visual effects coordinator: Luma Pictures |
| Dianne Gordon | .. | data operations manager: Cinesite |
| Lenny Gordon | .. | tracker: Luma Pictures |
| Robin Scott Graham | .. | compositing supervisor |
| Anthony Grant | .. | matte painter: Luma Pictures |
| Sebastian Greese | .. | look development: Hydraulx |
| Steve Griffith | .. | visual effects producer: Luma Pictures |
| Jem Grimshaw | .. | lighting: cinesite |
| Jon Grinberg | .. | visual effects editor: Hydraulx |
| Joshua Grow | .. | 3d coordinator: Hydraulx |
| Omar Gudjonsson | .. | compositor |
| Miguel A. Guerrero | .. | senior modeler: Hydraulx |
| Manuel H. Guizar | .. | compositor |
| Jennifer Gutierrez | .. | compositor: Luma Pictures |
| Jason Michael Hall | .. | pre-visualization artist |
| Lindsay Hallett | .. | director: business development: LUMA PICTURES |
| H Haden Hammond | .. | sequence supervisor: Luma Pictures |
| Brian Hanable | .. | digital effects compositor: Hydraulx |
| Chris Haney | .. | pipeline supervisor |
| Trevor Harder | .. | visual effects artist |
| Joe Harkins | .. | cg supervisor |
| Dan Harrod | .. | compositor: cinesite |
| Steve Hawken | .. | digital compositor |
| John R. Hazzard | .. | pipeline technical director: Luma Pictures |
| Winston Helgason | .. | visual effects supervisor: The Embassy |
| Sandro Henriques | .. | compositor: cinesite |
| Brent Hensarling | .. | senior systems administrator: Luma Pictures |
| Marla Neto Henshaw | .. | digital coordinator: Luma Pictures (as Marla Neto) |
| Irit Hod | .. | senior technical director: lighting |
| Alan Hodges | .. | motion editor |
| Chad Hofteig | .. | pre-visualization artist |
| Paul Hopkins | .. | matchmove/layout |
| Carl Horner | .. | model builder |
| Graham Houston | .. | lighting: cinesite |
| Bryan Howard | .. | rigger: Soho VFX |
| Caleb J. Howard | .. | digital effects |
| Gill Howe | .. | bidding producer: Cinesite (as Gillian Roberts) |
| Robert Hubbard | .. | visual effects |
| Catherine Hughes | .. | visual effects coordinator: Luma Pictures |
| Nathan Hurlburt | .. | digital compositor |
| Louise Hutchinson | .. | visual effects coordinator: cinesite |
| Atsushi Imamura | .. | lead modeler: Hydraulx |
| J.D. Imhof | .. | lighting artist: Hydraulx |
| Pasha Ivanov | .. | visual effects |
| Jason Ivimey | .. | animator: Cinesite |
| Andreas Jablonka | .. | senior compositor: Shade VFX |
| Brian Janelli | .. | model/texture artist |
| Adam Jewett | .. | visual effects coordinator: SPIN VFX |
| Christopher Johnson | .. | model maker |
| Jeremy Johnson | .. | digital compositor |
| Justin Johnson | .. | digital effects supervisor |
| John Joyce | .. | miniature effects producer |
| Michael Joyce | .. | miniature effects supervisor |
| Zack Judson | .. | visual effects artist |
| Marky Kang | .. | digital artist |
| John Kay | .. | 3D animator: Cinesite |
| Robert James Kelly | .. | technical director |
| Harimander Singh Khalsa | .. | visual effects artist: Luma Pictures (as Michael Cashore) |
| Sevendalino Khay | .. | digital matte painting: Cinesite |
| Sith Khay | .. | digital matte painter (as Sithiriscient Khay) |
| Sunny Hj Kim | .. | digital compositor |
| Steve Kimbrey | .. | matchmove artist: cinesite |
| Anthony Kramer | .. | digital compositor: Shade VFX |
| George Krauter | .. | digital artist |
| Slav Kravchenko | .. | matte painter: Intelligent Creatures |
| Daniel Kruse | .. | digital lighter: [Hy*drau'lx] |
| Ashwin Kumar | .. | rotoscope artist |
| Bill Kunin | .. | visual effects supervisor |
| Billy-Vu Lam | .. | character animator |
| Ted Lao | .. | visual effects production manager: Soho VFX |
| Erik LaPlant | .. | cg coordinator: hydraulx |
| Nathaniel Larouche | .. | CG supervisor (as Nathan Larouche) |
| Kim LeBrane | .. | 3d coordinator: Hydraulx |
| Daniel Lee | .. | digital compositor |
| Jongju Lee | .. | 3D animator: SPIN VFX |
| Sun Lee | .. | senior matte painter: Hydraulx |
| Paul Lemeshko | .. | visual effects |
| Todd Liddiard | .. | senior digital compositing artist |
| Colin Liggett | .. | senior compositor |
| Catherine Liu | .. | visual effects coordinator |
| Derick Loo | .. | digital artist: Soho VFX |
| Jose Lopez | .. | modeler: Hydraulx |
| Steve Lowry | .. | digital compositor |
| Felix Lu | .. | modeler / texture artist: Hydraulx |
| Adam Lucas | .. | rigging and modelling: cinesite |
| George Macri | .. | visual effects producer: SPIN |
| Jessica Madsen | .. | digital artist: Luma Pictures |
| Allan Magled | .. | visual effects producer: Soho VFX |
| Gabriel Mandala | .. | digital compositor: Embassy Visual Effects |
| Adam Marisett | .. | animator: Embassy VFX |
| Jean-Yves Martel | .. | visual effects production executive: Intelligent Creatures |
| Austin Martin | .. | digital artist (as Austin Roderique) |
| Edward Martin | .. | production assistant: Cinesite |
| Seth Martiniuk | .. | compositor |
| Dan Mason | .. | modeler: Cinesite |
| Artin Matousian | .. | systems administrator |
| Matt Mcewan | .. | digital compositor |
| Doran McGee | .. | visual effects artist |
| Dennis McHugh | .. | visual effects director of photography |
| Tony Meagher | .. | visual effects executive producer (as Michael Meagher) |
| David Michaels | .. | character technical director |
| Scott Michelson | .. | visual effects executive producer |
| Michael Miller | .. | digital compositor |
| Steven Miller | .. | flare artist: Hydraulx |
| Dhaval Mistry | .. | matchmover: Spin VFX |
| Dipesh Mistry | .. | visual effects editor: SPIN VFX |
| Jennifer Mizener | .. | visual effects producer: Cinesite |
| Lon Molnar | .. | visual effects production executive: Intelligent Creatures |
| Paul Molodowitch | .. | pipeline technical director: Luma Pictures |
| Chris F. Moore | .. | visual effects |
| Hailey Moore | .. | texture painter: Soho VFX |
| Rebecca Moores | .. | production accountant: cinesite |
| Carlos Morales | .. | digital compositor |
| Eroc Moralls | .. | visual effects artist |
| Raul Moreno | .. | pre-visualization artist |
| Michael Morley | .. | digital compositor |
| Glenn Morris | .. | roto/paint supervisor |
| Jesse Morrow | .. | visual effects artist |
| Gautama Murcho | .. | roto/paint artist: Luma Pictures |
| Connor Murphy | .. | motion editor |
| Paul Murphy | .. | modelling and texturing: cinesite |
| Ben Nelson | .. | previsualization artist |
| Erin Nicholson | .. | modeling supervisor: Spin VFX |
| Ken Nielsen | .. | digital compositor |
| Talon Nightshade | .. | lead matte painter: Hydraulx |
| James P. Noon | .. | tracking |
| Robert Nzengou-Tayo | .. | matchmove artist |
| Ciaran O'Connor | .. | digital compositor: Soho VFX |
| Dave Olivares | .. | visual effects technical director |
| Chris Olivas | .. | digital artist |
| James Orlik | .. | animator: Giant Studios / motion editor: Giant Studios |
| Tyler Ott | .. | vfx assistant coordinator |
| Richard Owen | .. | matchmove artist |
| Eugene Paluso | .. | tracking and layout |
| Bruno Parenti | .. | digital artist: Hydraulx |
| Jale Parsons | .. | roto/paint artist |
| Sheri Patterson | .. | visual effects production manager: Shade VFX |
| Chris Payne | .. | digital compositor |
| Claire Pegorier | .. | digital artist |
| Stephen Pepper | .. | compositing supervisor: The Embassy |
| Daniel Pettipher | .. | facility production manager: cinesite |
| Raphael A. Pimentel | .. | animation supervisor |
| Anthony Pintor | .. | motion editor/animator |
| Ian Plumb | .. | compositor: cinesite |
| Brian Pohl | .. | previsualization supervisor |
| John Polyson | .. | visual effects editor: Hydraulx |
| James Porter | .. | matchmove artist |
| Justin Porter | .. | technical coordinator: Luma Pictures |
| Dave Preciado | .. | motion editor: Giant Studios |
| Dan Prentice | .. | visual effects artist |
| Jeremy Price | .. | compositor |
| Chris Radcliffe | .. | senior modeler |
| Scott Rader | .. | senior inferno artist: Hydraulx |
| Crystal Rainone | .. | motion capture editor |
| Stevie Ramone | .. | digital compositor: SPIN VFX |
| Leigh H. Rens | .. | previsualization artist/animator |
| Nathan Rich | .. | network administrator: Luma Pictures |
| Carrie Richardson | .. | visual effects production manager: Spin VFX |
| John Riddle | .. | technical director: Shade VFX |
| Colin Riley | .. | compositor |
| Scott Riopelle | .. | senior digital compositor: Intelligent Creatures |
| Greg Rodin | .. | imaging technician: Colorworks |
| Karl Rogovin | .. | dynamics effects animator: Hydraulx |
| Drew Rosen | .. | system administrator: Luma Pictures |
| Marc Roth | .. | visual effects artist |
| Matthew Rouleau | .. | lead technical director |
| Jean-Paul Rovela | .. | lighting: cinesite |
| Sean Phillip Rowe | .. | digital film scanner (as Sean Rowe) |
| Trevor Rowland | .. | pipeline lead |
| Leigh Russell | .. | texture artist |
| Vishal Rustgi | .. | digital compositor |
| Jared Sanders | .. | matchmove artist: Luma Pictures |
| Alvaro Sanint | .. | visual effects |
| Brandon Schaafsma | .. | visual effects editor: Intelligent Creatures |
| Evan Schiff | .. | visual effects editor |
| Mark Schreiber | .. | animator |
| Geoff D.E. Scott | .. | visual effects supervisor |
| Liz Scully | .. | lighting lead: cinesite |
| James Sellers | .. | tracking: Cinesite |
| Keith Sellers | .. | visual effects supervisor: Soho VFX |
| Joel Sevilla | .. | animation lead: Hydraulx |
| Laura Sevilla | .. | digital compositor |
| David Sewell | .. | 2D supervisor: Cinesite |
| Daryl Shail | .. | tracking and matchmove artist |
| Ahmed Shehata | .. | visual effects |
| Carolyn Shelby | .. | compositor |
| Ben Shepherd | .. | visual effects supervisor: Cinesite |
| Payam Shohadai | .. | executive visual effects supervisor: Luma Pictures |
| Monty Shook | .. | modelshop supervisor |
| Prateep Siamwalla | .. | tracking |
| Tim Sibley | .. | lead effects artist: SPIN VFX |
| Joey Sila | .. | digital compositor: Luma Pictures |
| Jared Simeth | .. | lead digital compositor: Luma Pictures |
| Tim Simon | .. | modeler: Hydraulx |
| Matt Siner | .. | visual effects editor |
| Nick Sinnott | .. | tracking artist: Hydraulx |
| Thanapoom Siripopungul | .. | character technical director: Luma Pictures |
| Adam Smith | .. | visual effects |
| Alex Smith | .. | compositor: cinesite |
| Craig W. Smith | .. | visual effects editor |
| Karen Smith | .. | visual effects artist |
| Safari Sosebee | .. | digital artist: Luma Pictures |
| John C. Sparks | .. | visual effects: hydraulx |
| Liam Spencer | .. | rotoscope artist: Cinesite |
| Nic Spier | .. | digital artist |
| Chris Starwalt | .. | visual effects |
| Frankie Stellato | .. | visual effects artist |
| Andy Stevens | .. | visual effects editor: Cinesite |
| Colin Strause | .. | visual effects designer |
| Greg Strause | .. | visual effects designer |
| Shane Strickman | .. | visual effects coordinator: Shade VFX (as Shane Paugh) |
| Donald Strubler Jr. | .. | compositor: Sony Pictures Entertainment |
| Frederick George Stuhrberg | .. | 3D scanning / lidar scanning |
| Jul Sumaran | .. | digital artist |
| Richard Sutherland | .. | cg supervisor: Luma Pictures |
| Steven Swanson | .. | visual effects supervising producer: Luma Pictures |
| David Swift | .. | matte painter: Cinesite |
| Mark Joey Tang | .. | digital compositor (as Joey Tang) |
| Marcus Taormina | .. | visual effects data coordinator |
| Blair Tennessy | .. | CG supervisor |
| Mark Thomas-Stubbs | .. | digital compositor |
| Patrick Thompson | .. | digital compositor |
| Alexander Tirasongkran | .. | matchmove artist |
| Shigeharu Tomotoshi | .. | visual effects technician |
| Greg Tse | .. | tracking / layout artist: Hydraulx |
| Yuki Uehara | .. | roto/paint artist |
| Robert Vaindiner | .. | visual effects artist |
| Eduardo Vaisman | .. | visual effects editor: Spin VFX |
| David Van Dyke | .. | visual effects executive producer: Shade VFX |
| Courtney Vanderslice | .. | visual effects executive producer: cinesite |
| Tracey Vaz | .. | senior compositor |
| Pankaj Verma | .. | effects artist |
| Rickey Verma | .. | digital compositor |
| Robert Vignone | .. | modeler: Hydraulx |
| Holger Voss | .. | senior pipeline technical director |
| Kendrick Wallace | .. | visual effects producer |
| Kevin Wang | .. | motion capture animator / motion capture tracker / motion editor |
| James Waterson | .. | digital compositor: Luma Pictures |
| Chris Wells | .. | visual effects: Hydraulx |
| Andrew Wheater | .. | texture painter: Cinesite |
| Geoff Wigmore | .. | digital compositor |
| Steve Wigmore | .. | digital artist |
| C. Jerome Williams | .. | digital compositor |
| Derek Winslow | .. | matte painter |
| Andrew Winters | .. | visual effects artist |
| Paul Wojdylo | .. | lighting artist |
| Steven D. Wolff | .. | compositor |
| Sarah Wormsbecher | .. | visual effects producer: Intelligent Creatures |
| Michael Wortmann | .. | senior effects technical director |
| Xye | .. | tracking |
| Yoshiya Yamada | .. | creature/modeling supervisor: Hydraulx |
| Clement Yip | .. | animator |
| Michelle Yu | .. | digital compositor: SPIN VFX |
| Michael Zavala | .. | 2D production manager: hy*drau'lx vfx |
| Tristan Zerafa | .. | compositor |
| Bojan Zoric | .. | digital matte painting supervisor |
| Anthony Zwartouw | .. | cg supervisor: cinesite |
| Ian Abbott | .. | production support: Cinesite (uncredited) |
| Keith Barton | .. | production support: Cinesite (uncredited) |
| Cleber Coutinho | .. | digital artist: Cinesite (uncredited) |
| Philip Fraschetti | .. | flare artist: Hydraulx (uncredited) |
| Michael Honrada | .. | compositor: Matte World Digital (uncredited) |
| Jared Pecht | .. | digital film scanner (uncredited) |
| Victor Tang | .. | researcher (uncredited) |
Stunts
| Casey Adams | .. | stunts |
| Daniel Arrias | .. | stunts |
| Kelli Barksdale | .. | stunts |
| Joey Box | .. | stunt coordinator |
| Ryan Cardone | .. | stunts |
| Trace Cheramie | .. | stunts |
| Seth Duhame | .. | stunts |
| Zack Duhame | .. | stunts |
| Kofi Elam | .. | stunts |
| Shane Geraghty | .. | stunts |
| Jessica Harbeck | .. | stunts |
| Charles Haugk | .. | stunts |
| Lisa Hoyle | .. | Stunt Dbl: Michelle Rodriguez / stunts |
| Craig Jensen | .. | stunts |
| Keii Johnston | .. | stunts |
| Courtney Munch | .. | stunts |
| Mark Munoz | .. | stunts |
| Chris Palermo | .. | stunts |
| Jim Palmer | .. | stunt crew |
| Jade Quon | .. | stunts |
| Mark Rayner | .. | stunts |
| Dennis Scott | .. | stunts |
| Tim J. Smith | .. | stunts |
| Kofi Yiadom | .. | stunts |
| Michael AvMen | .. | stunts (uncredited) |
| Kelli Barksdale | .. | stunt double (uncredited) |
| Trace Cheramie | .. | stunt double (uncredited) |
| Zack Duhame | .. | stunt double: Will Rothhaar (uncredited) |
| Jessica Harbeck | .. | stunt double: Bridget Moynahan (uncredited) |
| Thirl Haston | .. | stunt driver (uncredited) |
| Mark Munoz | .. | stunt double (uncredited) |
| Jade Quon | .. | stunt double (uncredited) |
| Kofi Yiadom | .. | stunt double (uncredited) |
Camera and Electrical Department
| Donald Akes | .. | rigging electrician |
| Michael Applebaum | .. | additional camera operator |
| Jose F. Barrios | .. | grip |
| Dale Beasley | .. | grip |
| Lucas Bielan | .. | camera operator: 'a' camera |
| Hans Bjerno | .. | aerial director of photography |
| Cedric Bonier | .. | electrician (2009) |
| Brian Branton | .. | grip |
| Wesley Bryant | .. | rigging electrician |
| Gary Cadow | .. | rigging grip |
| Scott Calcagno | .. | rigging grip |
| Joe Chess | .. | additional camera operator |
| Jarrid Clinkinbeard | .. | rigging electrician |
| Kenneth Coblentz | .. | key grip: second unit |
| Jayson S. Coddington | .. | assistant best boy rigging grip |
| Duane Cooper | .. | grip |
| Dan Cornwall | .. | gaffer |
| Crystal Dallas | .. | rigging electrician |
| Nicholas Davidoff | .. | additional camera operator |
| Bryan DeLorenzo | .. | first assistant additional camera: second unit |
| Ferdinand Duplantier Jr. | .. | best boy rigging electric |
| John Gregory Edwards | .. | electrician |
| Brent Egan | .. | second assistant camera |
| Rowland Egerton | .. | rigging grip |
| Michael S. Endler | .. | assistant camera |
| Kevin Erb | .. | key rigging grip |
| Tom Fendley | .. | rigging gaffer |
| Dale Fowler | .. | best boy electric |
| Josh Friz | .. | additional photography / second assistant camera: 'a' camera |
| Kevin Gazdik | .. | rigging electrician |
| Peter Graf | .. | aerial camera system tech cineflex |
| Kurt Grossi | .. | key grip |
| Quinn Grove | .. | best boy grip |
| Mark Haas | .. | grip |
| Thirl Haston | .. | camera car |
| Marvin Haven | .. | rigging grip |
| Penelope Helmer | .. | second assistant camera |
| Danny Horne | .. | second assistant camera: second unit |
| Stan Hoyt | .. | lighting technician |
| Bruce Jackson | .. | lighting technician |
| Kyle Jenkins | .. | video utility |
| Jimmy E. Jensen | .. | first assistant camera: 'a' camera |
| Justin LeBlanc | .. | rigging electrician |
| Kevin Lippincott | .. | rigging electrician |
| Joe Lotuaco | .. | grip |
| David J. Lukinovich Jr. | .. | electrician |
| Ronald 'Ronnie' Martin | .. | rigging electrician |
| Bruce McCleery | .. | cinematographer: second unit |
| BJ McDonnell | .. | camera operator: 'b' camera / steadicam operator |
| Mason McGuire | .. | additional lamp operator |
| Jonathan Morrill | .. | electrician |
| Frédéric North | .. | pilot: camera helicopter |
| David B. Nowell | .. | aerial director of photography |
| Joseph Paolucci Jr. | .. | rigging electric gang boss |
| Mike 'Chewie' Pappas | .. | electrician |
| Myron Parran | .. | additional / second assistant camera |
| Max Patrucco | .. | rigging grip |
| Nancy Piraquive | .. | camera production assistant |
| Christopher Prampin | .. | gaffer: additional photography |
| Maricella Ramirez | .. | first assistant camera: 'a' camera, Steadicam additional photography: Los Angeles |
| Humberto Recio | .. | electrician |
| Brice Reid | .. | first assistant camera: second unit |
| Jonathan E. Robinson | .. | camera loader |
| Peter D. Roome | .. | first assistant camera: 'b' camera |
| Jared Rosen | .. | video/computer playback supervisor |
| Jimi Ryan | .. | dolly grip: b camera |
| Jacob Sauerbrey | .. | rigging electrician |
| Dick Saunders | .. | second assistant camera: day player |
| Rick Secosky | .. | grip: second unit |
| James Selph | .. | rigging grip |
| Justin Seyb | .. | electrician |
| Kevin Stevenson | .. | video and computer playback operator |
| Jonathan Stoll | .. | grip |
| L. Chris Strong | .. | rigging grip (as Lon C. Strong) |
| Brandon Swain | .. | rigging electrician |
| Jeff Taylor | .. | second assistant camera: 'c' camera |
| Todd Thompson | .. | rigging grips |
| Shawn Torge | .. | dimmer board operator |
| Chad Vanko | .. | grip |
| Jason Vowell | .. | video assist |
| Amanda Warning | .. | rigging electrician |
| Kristopher Weaver | .. | lighting technician |
| Jeremy Webre | .. | 'c' dolly grip |
| Barry Williamson | .. | second best boy grip |
| Alex P. Willson | .. | grip |
| Earl Woods | .. | local best boy set electric |
| Marvin Wright | .. | lighting technician |
| William D. Wynn | .. | dolly grip |
| Steve Zeiger | .. | tie-down grip |
| Brown Cooper | .. | camera operator: 'c' camera (uncredited) |
| Trenton McRae | .. | electrician (uncredited) |
| Toni Weick | .. | camera production assistant (uncredited) |
| Oliver Wood | .. | additional photographer (uncredited) |
Animation Department
| T.J. Burke | .. | animator |
| Ami DeLullo | .. | animator |
| Matthew Lajoie | .. | animator |
| Carol Prince | .. | animator |
| Kimberly Sanchez | .. | animator |
| Scott Slater | .. | animator |
Casting Department
| Robin Batherson | .. | casting director: background |
| Tara Feldstein | .. | casting associate |
| Craig Fincannon | .. | additional casting |
| Lisa Mae Fincannon | .. | additional casting |
| Tony Hobbs | .. | background casting: additional photography |
| Jason Landry | .. | extras casting |
| Shayna Markowitz | .. | casting assistant |
| Darcel White Moreno | .. | extras casting assistant |
| Tannis Vallely | .. | casting associate |
| Wendy Washbrook | .. | extras casting |
Costume and Wardrobe Department
| Camille Argus | .. | costume supervisor |
| Myeshea Baker | .. | set costumer |
| Doré Cermak | .. | additional costumer |
| Suzanne M.B. Chambliss | .. | set costumer |
| Donna Chance | .. | key costumer: Louisiana |
| Mairi Chisholm | .. | set costumer |
| Christian Cordella | .. | costume illustrator |
| Meghan Cornay | .. | costume assistant / set costumer |
| Tracey Dundas | .. | costumer |
| Natasha Gale | .. | costume production assistant |
| Lori Harris | .. | set costumer |
| Lorenzo Hearns Jr. | .. | costumer |
| April LaBranche | .. | costume clerk |
| Philip Maldonado | .. | key costumer |
| Shonta T. McCray | .. | set costumer |
| Gayle Merindino | .. | costumer (as Gayle Anderson) |
| Lexi Price | .. | additional costumer |
| Melissa Reed | .. | costumer |
| Jane Ryder | .. | seamstress |
| Margaret Wren | .. | costume assistant |
| Melissa Antablin | .. | key costumer: re-shoots (uncredited) |
Editorial Department
Battle Of Los Angeles Free Online
| Zahida Bacchus | .. | digital intermediate producer |
| Aaron Brock | .. | first assistant editor |
| Adam M. Duthie | .. | assistant editor |
| Leigh Folsom Boyd | .. | additional editor |
| Mo Henry | .. | negative cutter |
| Josh Henson | .. | post-production assistant |
| Phillip Kimsey | .. | assistant editor |
| Melissa McCaffery | .. | second assistant editor |
| Harry Muller | .. | color timer |
| Keith Ponschock | .. | telecine operator |
| Stephen M. Rickert Jr. | .. | assistant editor |
| David Rosenbloom | .. | additional editor |
| Sean Phillip Rowe | .. | digital film scanner (as Sean Rowe) |
| Evan Schiff | .. | visual effects editor |
| Bryan Torres | .. | apprentice editor |
| Michael Tronick | .. | additional editor |
| Reza Amidi | .. | digital intermediate editor (uncredited) |
Location Management
| Gregory H. Alpert | .. | location manager: additional photography: Los Angeles (as Gregory Alpert) |
| George Alvarezzo | .. | assistant location manager: additional photography: los angeles (as Jorge Luis Alvarez) |
| Becky Brake | .. | location manager: additional photography |
| Phillip Jordan Brooks | .. | key location assistant |
| Jacob Bynum | .. | location production assistant |
| James J. Cullinane | .. | location coordinator |
| Christina DeCharles | .. | assistant location manager |
| Jane E. Graves | .. | key assistant location manager |
| Hodge Grigsby | .. | locations scout |
| Matthew Keim | .. | location assistant |
| Mickey Lambert | .. | prep assistant location manager |
| Ed Lipscomb | .. | location manager |
| Virginia McCollam | .. | location scout |
| Gregory McNamara | .. | key assistant location manager |
| John A. Metoyer | .. | assistant location manager |
| Charles Rapp | .. | key location scout |
| Jim Small | .. | assistant location manager |
| Golden Swenson | .. | key assistant location manager: additional photography: los angeles (as Rob Swenson) |
| Daryl Wilsford | .. | location assistant |
| James Stevens | .. | location assistant (uncredited) |
Watch Battle Los Angeles
Music Department
Watch Battle For La
| Eric Bradley | .. | musician: singer |
| Elin Carlson | .. | chorus |
| Kyle Clausen | .. | assistant music editor |
| Sandy DeCrescent | .. | orchestra contractor (as DeCrescent/Rotter) |
| Robert Elhai | .. | orchestrator |
| Robert Fernandez | .. | score mixer |
| Kevin Globerman | .. | digital score recordist |
| Tina Guo | .. | cello |
| Pakk Hui | .. | orchestrator |
| Joel Iwataki | .. | music scoring mixer |
| Eric Kalver | .. | orchestrator |
| Gary Krause | .. | music editor/score mix supervisor |
| Kier Lehman | .. | music supervisor |
| Joe Lisanti | .. | music editor |
| Greg Loskorn | .. | scoring engineer |
| Matthew Margeson | .. | additional music arranger |
| Tony Morales | .. | musical score arrangements |
| Dana Niu | .. | orchestrator |
| Keith Power | .. | musical score arrangements |
| Paul Rabjohns | .. | music editor |
| Jasper Randall | .. | choir contractor |
| Peter Rotter | .. | orchestra contractor (as DeCrescent/Rotter) |
| Jason Ruder | .. | preview music editor |
| Bart Samolis | .. | musician |
| Andrew Shulman | .. | musician |
| Patrick Spain | .. | assistant score engineer |
| James Thatcher | .. | musician: french horn |
| Jeff Toyne | .. | orchestrator |
| Brian Tyler | .. | conductor |
| Suzanne Waters | .. | singer: choir |
| Gerald White | .. | singer |
| Elyse Willis | .. | singer: ensemble |
| Eric Kalver | .. | assistant to composer (uncredited) |
| Scott McRae | .. | music preparation (uncredited) |
| Jason Soudah | .. | score technical assistant (uncredited) |
| Greg Whipple | .. | playback singer (uncredited) |
Transportation Department
| David Adkison | .. | production driver |
| Morris Aroesti | .. | driver |
| Skip Barbay | .. | transportation captain |
| Mark Bascle | .. | security driver: Bridget Moynahan |
| Donald Bradley | .. | driver |
| Alex E. Burns | .. | Los Angeles driver |
| Jared Foshee | .. | driver |
| Johnny D. Foster Jr. | .. | driver |
| Monica W. Fuller | .. | driver (as Monica Williamson) |
| Connie Herring | .. | driver |
| Beau Holden | .. | driver: Aaron Eckhart |
| Nicholas Howard | .. | picture car mechanic |
| Michael W. LeMaster | .. | driver: special equipment |
| Rock LeRoy | .. | transportation |
| David J. Lind | .. | transportation assistant |
| Buddy Loflin | .. | driver: honeywagon |
| Lori Maxwell | .. | dispatcher |
| Gary McClain | .. | driver |
| Aaron D. Moore | .. | driver |
| Willie D. Partin | .. | transportation local captain |
| Jim Robin | .. | driver |
| Sean C. Ryan | .. | picture car coordinator |
| Tommy Tancharoen | .. | transportation coordinator |
| Tom Whelpey | .. | transportation captain |
| Dean Winton | .. | driver |
| Daniel Woodcock | .. | driver |
| Tommie Young | .. | production driver |
Other crew
| Edward Allen | .. | production accountant |
| Mac Alsfeld | .. | production assistant |
| Danny 'Dano' Anderson | .. | set production assistant: background |
| Toby Ascher | .. | assistant: Mr. Marmur |
| Michael AvMen | .. | stand-in |
| Adam Babin | .. | production assistant |
| Frank Barnett | .. | set production assistant |
| Roy Barrios | .. | medic |
| Mary Bean | .. | set production assistant |
| Jennifer Benton | .. | craft service assistant / craft service |
| Michael Beran | .. | animal trainer |
| Kara Bowman | .. | medic |
| Shawn Brady | .. | set medic: additional unit |
| Beau Brasseaux | .. | Double (credit only) |
| Jeffrey Broome | .. | medic |
| Jennifer Brown | .. | set medic |
| Cedric Burton | .. | stand in/photo double |
| Richard E. Carter II | .. | set production assistant |
| Jerry Carville | .. | key second assistant accountant |
| Clay Chamberlin | .. | stand in/photo double |
| Sylvie Chesneau | .. | script supervisor: additional photography |
| John Chisholm | .. | welfare/studio teacher |
| Brian Chung | .. | liaison: United States Army |
| Benton Collinsworth | .. | set production assistant |
| S.R. Conger | .. | first assistant accountant |
| Minh Dang | .. | production assistant |
| Trang Dang | .. | assistant production coordinator |
| Eric Joshua Davis | .. | stand-in (as Josh Davis) |
| Sean Shyboy Davis | .. | stand-in: Photo Double |
| James D. Dever | .. | senior military technical advisor (as Jim Dever) |
| Frank Duffy | .. | medic coordinator |
| Zack Earl Edwards | .. | assistant: Aaron Eckhart |
| Mike Elizalde | .. | design consultant |
| Brooke Ensign | .. | unit publicist |
| D.R. Farquharson | .. | project manager: Deluxe Digital Cinema |
| Cliff Fleming | .. | aerial coordinator / pilot |
| Chris W. Freeman | .. | assistant: Mr. Chernov |
| Jeff Galpin | .. | head animal trainer |
| Dawn Gilliam | .. | script supervisor |
| Ira Goldklang | .. | legal affairs |
| Chris Goyne | .. | office production assistant |
| Rhett Guillot | .. | production assistant |
| David Heffler | .. | production secretary |
| Vanessa Hickey | .. | production assistant |
| Beau Holden | .. | security: Aaron Eckhart |
| Heather Holton | .. | payroll clerk |
| Harrison Huffman | .. | production assistant: day player |
| Dean Israelite | .. | assistant: Mr. Liebesman |
| Rachel Jacob | .. | set production assistant |
| David Anthony Jones | .. | stand-in |
| Jodie Jones | .. | production assistant |
| Steve Karnes | .. | weapons armorer |
| Michael G. Kehoe | .. | craft service company: Louisiana/Los Angeles (as Michael Kehoe) |
| Savanna Kinchen | .. | photo double/stand in |
| Nikki King | .. | assistant: Mr. Moritz |
| April LaBranche | .. | production assistant |
| Dave Landaker | .. | video and computer playback operator |
| John Lavis | .. | medic |
| Amy Law | .. | medic |
| Jessica Lee | .. | production assistant |
| Cory Bennett Lewis | .. | assistant production office coordinator |
| David J. Lind | .. | production assistant |
| Kevin Lorio | .. | set production assistant |
| K. Lynn Martin | .. | script supervisor: splinter unit |
| Tom Minder | .. | technical advisor: military |
| Steven Miramontz | .. | production assistant |
| Ellen J. Morris | .. | production coordinator (as Ellen J. Porter) |
| Desi Page | .. | crew |
| Desiree Page | .. | acting double |
| Eva Quiroz | .. | vice president of operations |
| Crystal Rainone | .. | script supervisor |
| Megan Rainwater | .. | stand in (as Meg Rains) |
| Charles Rapp | .. | production supervisor: additional unit |
| Mark Rayner | .. | surf instructor |
| Johnnie Ruth Richey | .. | accounts payable clerk |
| Valerie Rodriguez | .. | assistant: Jeffrey Chernov |
| Rebecca Rogers | .. | set production assistant |
| Pilar L. Salazar | .. | payroll accountant |
| Mitchell Sandler | .. | assistant: Mr. Greenblatt |
| Lee J. Santillan | .. | additional first assistant accountant |
| Michael Saunders | .. | set production assistant |
| Frank Sharp | .. | additional voice |
| Joe Statham | .. | production assistant |
| Desiree Stevenson | .. | production assistant / set production assistant |
| Molly Jane Sullivan | .. | photo double: Joey King (as Molly Sullivan) |
| Quay Terry | .. | assistant military technical advisor |
| Tracy E. Thomas | .. | set production assistant |
| Alexis Tippin | .. | second assistant accountant |
| Kate Warren | .. | office production assistant |
| Greg Washington | .. | set medic |
| Jennifer Williamson | .. | set production assistant |
| Michele Wright | .. | second assistant accountant |
| Anthony Yuse | .. | production assistant |
| John 'Duke' Duquesnay | .. | studio manager: Hydraulx VFX (uncredited) |
| Cory Fleming | .. | helicopter pilot (uncredited) |
| Taylor Marie Good | .. | assistant to Mr. Chernov (uncredited) |
| Jeffrey Reyes | .. | weapons: second & pick up units (uncredited) |
| Ron Segro | .. | post-production accountant (uncredited) |
Thanks
| Brandon Castor | .. | special thanks |
| Stephen Castor | .. | special thanks |
| Josh Loveman | .. | special thanks |
| Philip M. Strub | .. | special thanks |