Supervising Finishing Artist
Avengers: Endgame (2019)
Cinematography by: Trent Opaloch
Cameras: ALEXA IMAX Camera
Editing System: Avid Editing System
Supervising Finishing Artist
The Lion King (2019)
Directed by: Jon Favreau
Cinematography by: Caleb Deschanel
Cameras: ARRI ALEXA 65 Camera
Supervising Finishing Artist
Avengers: Infinity War (2018)
Cinematography by: Trent Opaloch
Lenses: Angenieux Lenses, Leitz Summilux-C Series Lenses, Panavision APO Panatar Lenses, Panavision Primo 70 Lenses, Panavision Sphero 65 Series Lenses
Editing System: Avid Editing System
Supervising Finishing Artist
Roma (2018)
Directed by: Alfonso Cuarón
Cinematography by: Alfonso Cuarón
Cameras: ARRI ALEXA 65 Camera
Lenses: ARRI Rental Prime 65 Lenses
Supervising Finishing Artist
Bad Times at the El Royale (2018)
Directed by: Drew Goddard
Cinematography by: Seamus McGarvey
Edited by: Lisa Lassek
Supervising Finishing Artist
Guardians of the Galaxy Vol. 2 (2017)
Directed by: James Gunn
Cinematography by: Henry Braham
Cameras: Red Weapon Dragon Camera
Lenses: Panavision Primo 70 Lenses
Supervising Finishing Artist
Thor: Ragnarok (2017)
Directed by: Taika Waititi
Cinematography by: Javier Aguirresarobe
Supervising Finishing Artist
Captain America: Civil War (2016)
Cinematography by: Trent Opaloch
Supervising Finishing Artist
The Jungle Book (2016)
Directed by: Jon Favreau
Cinematography by: Bill Pope
Cameras: ARRI ALEXA XT M Camera
Supervising Finishing Artist
Doctor Strange (2016)
Directed by: Scott Derrickson
Cinematography by: Ben Davis
Digital Intermediate Colorist
The Accountant (2016)
Directed by: Gavin O'Connor
Cinematography by: Seamus McGarvey
Edited by: Richard Pearson
Supervising Finishing Artist
Avengers: Age of Ultron (2015)
Directed by: Joss Whedon
Cinematography by: Ben Davis
Supervising Finishing Artist
The Revenant (2015)
Directed by: Alejandro G. Iñárritu
Cinematography by: Emmanuel Lubezki
Edited by: Stephen Mirrione
Lenses: Leitz Summilux-C Series Lenses, Panavision C Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Supervising Digital Intermediate Colorist
Captain America: The Winter Soldier (2014)
Cinematography by: Trent Opaloch
Cameras: ARRI ALEXA Plus 4:3 Camera, Red Epic Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C30 35 mm T3.0 Lens, Panavision C35 35 mm T2.3 Lens, Panavision C60 60 mm T2.8 Lens, Panavision E100 100 mm T2.3 Lens, Panavision E135 135 mm T2.8 Lens, Panavision E180 180 mm T2.8 Lens, Panavision E35 35 mm T2.0 Lens, Panavision E40 40 mm T2.0 Lens, Panavision E50 50 mm T2.0 Lens, Panavision G100 100 mm T2.6 Lens, Panavision G25 25 mm T2.6 Lens, Panavision G30 30 mm T2.6 Lens, Panavision G40 40 mm T2.6 Lens, Panavision G50 50 mm T2.6 Lens, Panavision G60 60 mm T2.6 Lens, Panavision G75 75 mm T2.6 Lens
Supervising Digital Colorist
Guardians of the Galaxy (2014)
Directed by: James Gunn
Cinematography by: Ben Davis
Cameras: ARRI ALEXA XT Plus Camera, Phantom Flex Camera
Supervising Digital Colorist
Godzilla (2014)
Directed by: Gareth Edwards
Cinematography by: Seamus McGarvey
Edited by: Bob Ducsay
Cameras: ARRI ALEXA Plus Camera, Phantom Flex Camera
Supervising Digital Colorist
Birdman or (The Unexpected Virtue of Ignorance) (2014)
Directed by: Alejandro G. Iñárritu
Cinematography by: Emmanuel Lubezki
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera
Editing System: Avid Editing System
Supervising Digital Colorist
Get on Up (2014)
Directed by: Tate Taylor
Cinematography by: Stephen Goldblatt
Edited by: Michael McCusker
Supervising Digital Colorist
Gravity (2013)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Cameras: ARRI ALEXA Camera, ARRIFLEX 765 Camera
Lenses: ARRI / Zeiss Lenses, Panavision Primo Close Focus Spherical Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
Supervising Digital Colorist: Technicolor
Iron Man Three (2013)
Directed by: Shane Black
Cinematography by: John Toll
Cameras: ARRI ALEXA Studio Camera, Phantom Flex Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Leitz Summilux-C 100 mm T1.4 Lens, Leitz Summilux-C 16 mm T1.4 Lens, Leitz Summilux-C 18 mm T1.4 Lens, Leitz Summilux-C 21 mm T1.4 Lens, Leitz Summilux-C 25 mm T1.4 Lens, Leitz Summilux-C 29 mm T1.4 Lens, Leitz Summilux-C 35 mm T1.4 Lens, Leitz Summilux-C 40 mm T1.4 Lens, Leitz Summilux-C 50 mm T1.4 Lens, Leitz Summilux-C 65 mm T1.4 Lens, Leitz Summilux-C 75 mm T1.4 Lens
Colorist, Supervising Digital Colorist
Thor: The Dark World (2013)
Directed by: Alan Taylor
Cinematography by: Kramer Morgenthau
Supervising Digital Colorist
The Avengers (2012)
Directed by: Joss Whedon
Cinematography by: Seamus McGarvey
Editing System: Avid Editing System
Supervising Digital Colorist
Men in Black 3 (2012)
Directed by: Barry Sonnenfeld
Cinematography by: Bill Pope
Edited by: Don Zimmerman
Supervising Digital Colorist
Red Tails (2012)
Directed by: Anthony Hemingway
Cinematography by: John B. Aronson
Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Sony CineAlta F35 Camera
Editing System: Lightworks Editing System
Supervising Digital Colorist
Cowboys & Aliens (2011)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Supervising Digital Colorist: EFilm
The Cabin in the Woods (2011)
Directed by: Drew Goddard
Cinematography by: Peter Deming
Edited by: Lisa Lassek
Supervising Digital Colorist
Thin Ice (2011)
Directed by: Jill Sprecher
Cinematography by: Dick Pope
Edited by: Lee Percy
Supervising Digital Colorist
Thor (2011)
Directed by: Kenneth Branagh
Cinematography by: Haris Zambarloukos
Edited by: Paul Rubell
Digital Intermediate
The Tree of Life (2011)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Dalsa Evolution Camera, IMAX Cameras, Panavision System 65 Camera, Phantom HD Gold Camera, Red One Camera
Editing System: Avid Editing System
Supervising Digital Colorist
The Rite (2011)
Directed by: Mikael Håfström
Cinematography by: Ben Davis
Edited by: David Rosenbloom
Supervising Digital Colorist
The Help (2011)
Directed by: Tate Taylor
Cinematography by: Stephen Goldblatt
Edited by: Hughes Winborne
Supervising Digital Colorist
Captain America: The First Avenger (2011)
Directed by: Joe Johnston
Cinematography by: Shelly Johnson
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Canon EOS-5D Mark II Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL Camera
Editing System: Avid Editing System
Supervising Digital Colorist
Percy Jackson & the Olympians: The Lightning Thief (2010)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Peter Honess
Supervising Digital Colorist
Gulliver's Travels (2010)
Directed by: Rob Letterman
Cinematography by: David Tattersall
Cameras: Canon EOS-1D Mark IV Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL2 Camera
Editing System: Avid Editing System
Digital Film Colorist
Our Family Wedding (2010)
Directed by: Rick Famuyiwa
Cinematography by: Julio Macat
Edited by: Dirk Westervelt
Supervising Digital Colorist
Sex and the City 2 (2010)
Directed by: Michael Patrick King
Cinematography by: John Thomas
Edited by: Michael Berenbaum
Cameras: Panavision Panaflex Platinum Camera
Supervising Digital Colorist
Iron Man 2 (2010)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System
Supervising Digital Colorist
Secretariat (2010)
Directed by: Randall Wallace
Cinematography by: Dean Semler
Edited by: John Wright
Supervising Digital Colorist
RED (2010)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Lenses
Digital Intermediate Colorist, Supervising Digital Colorist
Duplicity (2009)
Directed by: Tony Gilroy
Cinematography by: Robert Elswit
Edited by: John Gilroy
Cameras: Panavision Panaflex Platinum Camera
Supervising Digital Colorist
X-Men Origins: Wolverine (2009)
Directed by: Gavin Hood
Cinematography by: Donald McAlpine
Editing System: Final Cut Pro Editing System
Supervising Digital Colorist: EFILM
Land of the Lost (2009)
Directed by: Brad Silberling
Cinematography by: Dion Beebe
Edited by: Peter Teschner
Cameras: Panavision Cameras
Supervising Digital Colorist
Night at the Museum: Battle of the Smithsonian (2009)
Directed by: Shawn Levy
Cinematography by: John Schwartzman
Supervising Digital Colorist
The Time Traveler's Wife (2009)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
Supervising Digital Colorist
The Men Who Stare at Goats (2009)
Directed by: Grant Heslov
Cinematography by: Robert Elswit
Edited by: Tatiana S. Riegel
Cameras: Panavision Panaflex Platinum Camera
Supervising Digital Colorist
Couples Retreat (2009)
Directed by: Peter Billingsley
Cinematography by: Eric Alan Edwards
Edited by: Dan Lebental
Editing System: Final Cut Pro Editing System
Digital Colorist
Julie & Julia (2009)
Directed by: Nora Ephron
Cinematography by: Stephen Goldblatt
Edited by: Richard Marks
Digital Film Colorist, Supervising Digital Colorist: EFILM
Yes Man (2008)
Directed by: Peyton Reed
Cinematography by: Robert D. Yeoman
Edited by: Craig Alpert
Cameras: Panavision Cameras
Digital Color Timer, Supervising Digital Colorist: EFILM
Jumper (2008)
Directed by: Doug Liman
Cinematography by: Barry Peterson
Cameras: Panavision Cameras, Red One Camera
Supervising Digital Colorist, Supervising Digital Colorist: EFILM
Sex and the City (2008)
Directed by: Michael Patrick King
Cinematography by: John Thomas
Edited by: Michael Berenbaum
Supervising Digital Colorist, Supervising Digital Colorist: EFILM
Wanted (2008)
Directed by: Timur Bekmambetov
Cinematography by: Mitchell Amundsen
Edited by: David Brenner
Supervising Digital Colorist, Supervising Digital Colorist: EFilm
Iron Man (2008)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Edited by: Dan Lebental
Cameras: ARRIFLEX 235 Camera, Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera
Lenses: Angenieux Optimo 17-80 mm T2.2 Lens, Angenieux Optimo 24-290 mm T2.8 Lens, Cooke CXX 15-40mm T2.0 Lens, Panavision Primo Primes Spherical Lenses
Editing System: Avid Editing System, Final Cut Pro Editing System
Supervising Digital Colorist: EFilm
Burn After Reading (2008)
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera
Editing System: Final Cut Pro Editing System
Supervising Digital Colorist
The Day the Earth Stood Still (2008)
Directed by: Scott Derrickson
Cinematography by: David Tattersall
Edited by: Wayne Wahrman
Cameras: Panavision Cameras
Digital Colorist , Supervising Digital Colorist: EFilm
Ghost Rider (2007)
Directed by: Mark Steven Johnson
Cinematography by: Russell Boyd
Edited by: Richard Francis-Bruce
Cameras: Panavision Cameras
Supervising Digital Colorist, Supervising Digital Colorist: EFilm
The Reaping (2007)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: Colby Parker Jr.
Supervising Digital Colorist: EFilm
Charlie Wilson's War (2007)
Directed by: Mike Nichols
Cinematography by: Stephen Goldblatt
Supervising Digital Colorist: EFilm
Hairspray (2007)
Directed by: Adam Shankman
Cinematography by: Bojan Bazelli
Edited by: Michael Tronick
Digital Film Colorist, Supervising Digital Colorist: EFilm
Reign Over Me (2007)
Directed by: Mike Binder
Cinematography by: Russ T. Alsobrook
Cameras: Panavision Genesis Camera
Editing System: Final Cut Pro Editing System
Supervising Digital Colorist: EFilm
Rendition (2007)
Directed by: Gavin Hood
Cinematography by: Dion Beebe
Edited by: Megan Gill
Supervising Digital Colorist, Supervising Digital Colorist: EFilm
The Break-Up (2006)
Directed by: Peyton Reed
Cinematography by: Eric Alan Edwards
Digital Colorist
Children of Men (2006)
Directed by: Alfonso Cuarón
Cinematography by: Emmanuel Lubezki
Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera
Lenses: Zeiss Master Prime Lenses
Digital Intermediate Colorist: EFilm
Inside Man (2006)
Directed by: Spike Lee
Cinematography by: Matthew Libatique
Edited by: Barry Alexander Brown
Supervising Digital Colorist: EFilm
Running with Scissors (2006)
Directed by: Ryan Murphy
Cinematography by: Christopher Baffa
Edited by: Byron Smith
Digital Intermediate Colorist: EFilm
The Fountain (2006)
Directed by: Darren Aronofsky
Cinematography by: Matthew Libatique
Edited by: Jay Rabinowitz
Supervising Digital Colorist, Supervising Digital Colorist: EFilm
Eragon (2006)
Directed by: Stefen Fangmeier
Cinematography by: Hugh Johnson
Digital Intermediate Colorist, Supervising Digital Colorist: EFilm
Little Children (2006)
Directed by: Todd Field
Cinematography by: Antonio Calvache
Edited by: Leo Trombetta
Supervising Digital Colorist: EFilm, Supervising Digital Film Colorist
The Illusionist (2006)
Directed by: Neil Burger
Cinematography by: Dick Pope
Edited by: Naomi Geraghty
Supervising Digital Colorist, Supervising Digital Colorist: EFilm
Charlotte's Web (2006)
Directed by: Gary Winick
Cinematography by: Seamus McGarvey
Supervising Digital Colorist, Supervising Digital Colorist: EFilm
Assault on Precinct 13 (2005)
Directed by: Jean-François Richet
Cinematography by: Robert Gantz
Edited by: Bill Pankow
Supervising Digital Colorist: EFilm, Supervising Digital Film Colorist
Jarhead (2005)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Walter Murch
Lenses: Cooke S4 Lenses
Editing System: Final Cut Pro Editing System
Supervising Digital Colorist, Supervising Digital Colorist: EFilm
Rent (2005)
Directed by: Chris Columbus
Cinematography by: Stephen Goldblatt
Edited by: Richard Pearson
Supervising Digital Colorist: EFilm
Wedding Crashers (2005)
Directed by: David Dobkin
Cinematography by: Julio Macat
Edited by: Mark Livolsi
Digital Color Supervisor, Supervising Digital Colorist: EFilm
Æon Flux (2005)
Directed by: Karyn Kusama
Cinematography by: Stuart Dryburgh
Digital Intermediate Colorist: EFilm
Casanova (2005)
Directed by: Lasse Hallström
Cinematography by: Oliver Stapleton
Edited by: Andrew Mondshein
Supervising Digital Colorist, Supervising Digital Colorist: EFilm
The Interpreter (2005)
Directed by: Sydney Pollack
Cinematography by: Darius Khondji
Edited by: William Steinkamp
Digital Color Supervisor
The New World (2005)
Directed by: Terrence Malick
Cinematography by: Emmanuel Lubezki
Digital Intermediate Colorist: Trailer, EFilm
Sky Captain and the World of Tomorrow (2004)
Directed by: Kerry Conran
Cinematography by: Eric Adkins
Edited by: Sabrina Plisco
Cameras: Sony HDW-F900 Camera
Editing System: Final Cut Pro Editing System
Digital Color Timer , Digital Color Timer: EFilm , Supervising Digital Colorist: EFilm
The Village (2004)
Directed by: M. Night Shyamalan
Cinematography by: Roger Deakins
Edited by: Christopher Tellefsen
Lenses: Cooke S4 Lenses
Digital Intermediate Colorist: EFilm
The Life and Death of Peter Sellers (2004)
Directed by: Stephen Hopkins
Cinematography by: Peter Levy
Edited by: John Smith
Digital Color Timer / Digital Intermediate Colorist: EFilm
Van Helsing (2004)
Directed by: Stephen Sommers
Cinematography by: Allen Daviau
Editing System: Avid Editing System
Digital Color Timer, Supervising Digital Colorist: EFilm
Lemony Snicket's A Series of Unfortunate Events (2004)
Directed by: Brad Silberling
Cinematography by: Emmanuel Lubezki
Edited by: Michael Kahn
Cameras: Panavision Panaflex Platinum Camera
Digital Intermediate Colorist: EFilm
Finding Neverland (2004)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Editing System: Avid Editing System
Digital Color Timer: EFilm
Christmas with the Kranks (2004)
Directed by: Joe Roth
Cinematography by: Don Burgess
Edited by: Nick Moore
Color Timer , Digital Intermediate Colorist: EFilm
The Ladykillers (2004)
Cinematography by: Roger Deakins
Editing System: Final Cut Pro Editing System
Digital Color Timer
The Butterfly Effect (2004)
Cinematography by: Matthew F. Leonetti
Edited by: Peter Amundson
Digital Color Timer, Digital Color Timer: EFilm
Intolerable Cruelty (2003)
Cinematography by: Roger Deakins
Cameras: ARRIFLEX 535 Camera
Editing System: Final Cut Pro Editing System
Digital Intermediate Colorist: EFilm
The Core (2003)
Directed by: Jon Amiel
Cinematography by: John Lindley
Edited by: Terry Rawlings
Digital Intermediate Colorist: EFilm
The Rundown (2003)
Directed by: Peter Berg
Cinematography by: Tobias A. Schliessler
Edited by: Richard Pearson
Digital Intermediate Colorist: EFilm
Peter Pan (2003)
Directed by: P.J. Hogan
Cinematography by: Donald McAlpine
Digital Intermediate Colorist: EFilm
The Cat in the Hat (2003)
Directed by: Bo Welch
Cinematography by: Emmanuel Lubezki
Edited by: Don Zimmerman
Editing System: Avid Editing System
Digital Color Timer, Digital Intermediate Colorist: EFilm
Down with Love (2003)
Directed by: Peyton Reed
Cinematography by: Jeff Cronenweth
Edited by: Larry Bock
Cameras: Panavision Panaflex Platinum Camera
Digital Intermediate Colorist: Title Sequence, EFilm
Master and Commander: The Far Side of the World (2003)
Directed by: Peter Weir
Cinematography by: Russell Boyd
Edited by: Lee Smith
Digital Intermediate Colorist: EFilm
American Splendor (2003)
Cinematography by: Terry Stacey
Edited by: Robert Pulcini
Editing System: Avid Editing System
Digital Intermediate Colorist: EFilm
Blue Crush (2002)
Directed by: John Stockwell
Cinematography by: David Hennings
Edited by: Emma E. Hickox
Digital Intermediate Colorist: EFilm
Spy Kids 2: Island of Lost Dreams (2002)
Directed by: Robert Rodriguez
Cinematography by: Robert Rodriguez
Edited by: Robert Rodriguez
Cameras: Sony HDW-F900 Camera
Color Timer: EFilm
Austin Powers in Goldmember (2002)
Directed by: Jay Roach
Cinematography by: Peter Deming
Digital Intermediate Colorist: EFilm
Star Trek: Nemesis (2002)
Directed by: Stuart Baird
Cinematography by: Jeffrey L. Kimball
Edited by: Dallas Puett
Digital Color Timer: EFilm
The Crocodile Hunter: Collision Course (2002)
Directed by: John Stainton
Cinematography by: David Burr
Digital Compositor
'The X-Files' First Person Shooter (2000)
Directed by: Chris Carter
Cinematography by: Bill Roe
Edited by: Heather MacDougall
Digital Compositor: The Post Group
Titanic (1997)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Digital Compositor: The Post Group
Independence Day (1996)
Directed by: Roland Emmerich
Cinematography by: Karl Walter Lindenlaub
Edited by: David Brenner
Cameras: Panavision Panaflex Platinum Camera
Lenses: Panavision Lenses
Lead Compositor: The Post Group
Broken Arrow (1996)
Directed by: John Woo
Cinematography by: Peter Levy
Cameras: Panavision Cameras
Lead Digital Compositor: Digital Domain
Apollo 13 (1995)
Directed by: Ron Howard
Cinematography by: Dean Cundey
Digital Compositor: The Post Group
Batman Forever (1995)
Directed by: Joel Schumacher
Cinematography by: Stephen Goldblatt
Cameras: Panavision Panaflex Platinum Camera
Editing System: Lightworks Editing System
Digital Compositor
Interview with the Vampire: The Vampire Chronicles (1994)
Directed by: Neil Jordan
Cinematography by: Philippe Rousselot
Cameras: Panavision Panaflex Platinum Camera
Digital Compositor: Digital Domain
True Lies (1994)
Directed by: James Cameron
Cinematography by: Russell Carpenter
Digital Compositor
Coneheads (1993)
Directed by: Steve Barron
Cinematography by: Francis Kenny
Edited by: Paul Trejo
Digital Compositor - 1 Episode, 2000
The X-Files (1993)
Directed by: Kim Manners, Rob Bowman, David Nutter, Chris Carter, R.W. Goodwin, Tony Wharmby, Michael W. Watkins, Daniel Sackheim, Michael Lange, James Wong, Jim Charleston, Cliff Bole, William A. Graham, Peter Markle, David Duchovny, Thomas J. Wright, Rod Hardy, Glen Morgan, Jerrold Freedman, Joe Napolitano, Larry Shaw, Tucker Gates, Vince Gilligan, Richard Compton, Frank Spotnitz, Darin Morgan, Fred Gerber, Michael Katleman, Harry Longstreet, Robert Mandel, Win Phelps, Stephen Surjik, James A. Contner, Nick Marck, Michael Vejar, James Whitmore Jr., Brett Dowler, Allen Coulter, Ralph Hemecker, Robert Lieberman, Bryan Spicer, Gillian Anderson, Paul Shapiro, Terrence O'Hara, Barry K. Thomas, Dwight H. Little, Michelle MacLaren, John Shiban, Carol Banker, Holly Dale, Kevin Hooks
Cinematography by: Bill Roe, John S. Bartley, Joel Ransom, Jon Joffin, Craig Wrobleski, Ron Stannett, Thomas Del Ruth
Edited by: Heather MacDougall, Lynne Willingham, Stephen Mark, Jim Gross, James Coblentz, Louise Innes, Michael Stern, Chris G. Willingham, Scott J. Wallace, Casey O. Rohrs, Christopher Cooke, Michael Kewley, Robert Komatsu, Eleanor Infante, Regis Kimble, J. Kathleen Gibson, Kevin D. Ross, Leon Carrere, Jeff Cahn
Lenses: Panavision Lenses
