Live in California, you know
Earthquakes, because it's San Andreas' Fault!
This is a look at four motion pictures that illustrate how the motion picture
industry portrayed Earthquakes and destroyed San Francisco and Los Angeles
through the different types of "Special Effects". I will also mention
other films with similar type effects" to illustrate the
overall technology.
In 1970 my wife and I
had moved from North Hollywood, California, to Lubbock, Texas. I was working
for the NBC affiliate KCBD, and became the "Reliable News Source "
for the "Sylmar Earthquake" of that year. I
countered the wire services over what damage had happen, if the Hanson Dam was
completely breeched. The wire services had the entire San Fernando Valley under several feet
of water with major damage. I told the news anchors that even if the dam was
breeched, which I had doubted and the story was proved false only minutes after
the AP sent it, the water level would not be as high as being reported, because
of the distances involved.
On on January 17, 1994, at 4:30 AM, the Monday celebrating the birthday of
Martin Luther King, Jr., I was going to work crossing the interchange between
the 5 and 14 freeways from the Santa Clarita Valley, that I lived in, to the
Sean Fernando Valley, I worked in. When the "Northridge
Earthquake" struck, I would learn later, had I turned around
on the darken freeway to go home. I would have probably driven off a large
missing section of freeway that cost the life of a California Highway Patrol Officer
and not have been here to write this article.
The quake is still the highest ever recorded in an Urban Area of North America
and the ground movement was felt in Las Vegas, Nevada, about 220 miles from the
quake’s epicenter.
Above, are two photos of the portion of the freeway I had crossed over in daylight.
In any given year, but not necessary as devastating as the "Northridge
Earthquake", an average of 100 to 150 Earthquakes occur in California. Which makes them a great subject for motion pictures about the "The
Big One", which the 1994 quake was nowhere near prediction.
Special Effects Defined:
Special Effects are simply illusions or visual tricks to simulate
imagined events in a motion picture, or today, gaming. Originally, and this
will pertain to the first three motion pictures I am looking at, Special
Effects were divided into two categories, "Mechanical
Effects", and, "Optical Effects". Later,
with the development of "Computer-generated Imagery
(CGI)", a third category was added.
In 1902, French illusionist-magician, actor, and film director George Melies,
made and released in France, "Le Voyage dans la Lune (A Trip to
the Moon)". His short film was based upon the Jules Verne novels, 1865's, "From
the Earth to the Moon", and, 1970's, "Around the
Moon", and "Optical Special Effects" were
born.
https://www.bing.com/videos/search?q=1902+a+trip+to+the+moon&view=detail&mid=E8D9C957D5CBB915E33CE8D9C957D5CBB915E33C&FORM=VIRE
Thirteen years
later, in 1915, Stop Motion Animator Willis O'Brien, made the "Mechanical
Special Effects" short film, "The Dinosaur and the
Missing Link: A Prehistoric Tragedy".
In 1984, digital
post-production coordinator Peggy Baker and her crew created the "Computer-generated
Imagery" for the science fiction feature, "The Last
Star Fighter". The first major studio production using the
process. The following link takes my reader to a video about the CGI imagery.
https://www.youtube.com/watch?v=09_Hoecsv7A
I just want to mention the first movie about the San Francisco Earthquake, but there are only these two stills remaining from the 1913 short movie production.
THE SHOCK released on June 10, 1923.
"Universal Pictures"
publicity department played off of Lon Chaney's "The Man of a
Thousand Faces" persona in the above poster. Irving Thalberg had
just given him that name and later, the same year, his "Hunchback
of Notre Dame" was to be released.
Lon portrayed "Wilse
Dilling", and forgotten actress, Virginia Valli, portrayed "Gertrude
Hadley".
Above, Lon Chaney and Virginia Valli, and below, whom I believe is Japanese actor Togo Yamaoto, playing the "Chinese messenger", with Christine Mayo portraying "Queen Ann Cardington".
The screenplay
was by Charles Kenyon based upon a novel by William Dudley Pelley
entitled "Pit of the Golden Dragon", and the picture
was directed by Lambert Hillyer.
However, like the majority of Silent Films, those behind the technical aspects
of "The Shock", the Earthquake sequence in
particular, are apparently lost to motion picture history and are not listed
anywhere.
The picture takes place in 1906 San Francisco and tells the
story of "Wilse Dilling", a crippled gangster, who receives a message
to go to the home of his boss, "Ann Cardington". "Dilling"
is to go to the small town of Fallbrook, and await instructions of how he will
deal with "Cardington's" former lover, the banker "Micha
Hadey", played by William Welsh. However, "Wilse" meets
the banker's daughter, "Gertrude", and awaiting his instructions, he
falls in love with her. However, she is engaged to "Jack
Cooper", played by Jack Mower, who between 1914 and 1965
portrayed over 600 roles.
Above, Jack Mower, Lon Chaney, and
In typical melodrama formula, "Gertrude's father is blackmailed by
"Queen Ann" and "Wilse" reveals his part in the scheme to him. An
attempt to blow up the bank goes wrong and "Gertrude" is badly
injured and may end up like "Wilse". As a result, "Jack's"
father has him call of the engagement so that he will not be married to a
cripple.
"The
Shock" comes to a climax, during the 1906 San Francisco Earthquake, with everyone caught up in its events. In
the end, Lon Chaney gets the girl, who had recovered completely, as "Wilse
Dilling" leaves his life of crime and is able to walk without his crutches.
The Earthquake is a combination of actual footage from the 1906 quake and
models and movie sets.
The following are stills from the actual Earthquake, use them to compare to the recreated scenes in the next movie.
The following are some of the created Earthquake scenes
created for "The Shock".
The Hollywood Studio system, routinely, still did not give recognition to most technical fields through the 1930's. For example, neither Willis O'Brien, or Marcel Delgado, received official credit for the "Mechanical Effects (Stop Motion Animation)", for both 1933's, "King Kong", and, Son of Kong". Both men did get credit, under the heading, "Additional Crew", Willis O'Brien as "Chief Technician", and model maker Marcel Delgado as "Technical Staff". Nor, would anyone know that father and son, Harry Redmond, Sr., and Junior, did all the other "Special Effects" in the two classics.
Two years later, the same men, getting the same credit, or lack of, along with Vernon K. Walker, uncredited "Optical Photo Effects", worked on 1935's, "The Last Days of Pompeii", creating the destruction of the Roman city by "Mount Vesuvius". The 1935 motion picture is part of my article, "Pompeii Destroyed: Motion Pictures vs Reality", that can be read at:
http://www.bewaretheblog.com/2018/10/pompeii-destroyed-motion-pictures-vs.html
Thirteen years after "The Shock", "Metro-Goldwyn-Mayer (MGM)" returned to the 1906 Earthquake.
SAN FRANCISCO released on June 26, 1936.
"MGM" went big with this feature with two of their main stars, Clark Gable and Jeanette MacDonald, and one up and coming, Spencer Tracy.
The motion picture was directed by W.S. Van Dyke. Among Van Dyke's films are, 1934's, "Manhattan Meldodrama", starring Clark Gable, and pre-"Thin Man" series. William Powell and Myrna Loy. The motion picture's claim to fame, was after watching the movie, gangster John Dillinger walked out of the theater, and was killed by the FBI. Van Dyke also made the Jeanette MacDonald and Nelson Eddy operetta, 1936's, "Rose-Marie", and, 1938's, "Marie Antoinette", starring Norma Shearer, Tyrone Power, and John Barrymore.
One of three second unit directors was uncredited, D.W. Griffith.
The story was by Robert E. Hopkins, and Anita Loos wrote the screenplay. Uncredited was Herman J. Mankiewicz, who co-wrote Orson Welles', 1941, "Citizen Kane", and wrote the screenplay for 1942's, "The Pride of the Yankees", that starred Gary Cooper as Lou Gehig.
Clark Gable portrayed "Blackie Norton". He had just been seen in 1936's, "Wife vs. Secretary", co-starring with Jean Harlow and Myrna Loy. Gable would follow this picture with the musical comedy, 1936's, "Cain and Mabel", co-starring with William Randolph Hearst's mistress, Marion Davies.
Jeanette MacDonald portrayed "Mary Blake". She had just been in the previously mentioned, 1936, "Rose-Marie", and would follow this film with, 1937's, "Maytime", once again with her operetta co-star, Nelson Eddy.
For film buffs, if the gown looks farmiliar, it would be worn by "Glenda, the Good Witch", three years later, in "The Wizard of Oz".
MacDonald's character is that of a singer, and throughout the movie she reprises the title song, "San Francisco". Which was especially written for the picture, and composed by Bronislaw Kaper and Walter Jurmann with lyrics by Gus Kahn.
Spencer Tracy portrayed "Catholic Father Tim Mullin". Tracy had just just co-starred with Sylvia Sidney, in director Fritz Lang's, 1936, "Fury", the classic film about mob violence against a wrongly accused man. He would follow this feature with fourth billing, in 1936's, "Libeled Lady", that starred Jean Harlow, William Powell and Myna Loy.
Jack Holt portrayed "Jack Burley". Holt was a leading man during the silent era and became associated as the villain in many "B" Westerns. Holt portrayed "The Commodore", in producer Val Lewton's classic horror film, 1942's, "Cat People", directed by Jacques Tourneur.
Left to right, Clark Gable, Jack Holt, Spencer Tracy and Jeanette MacDonald.
The story starts out on New Year’s Eve, as everyone in the city brings in 1906. On the Barbary Coast is the "Paradise Club", a saloon and gambling house owned by "Blackie Norton". He hires impoverished singer "Mary Blake" and she becomes the attraction for even upper-class San Franciscans. However, although "Blackie" might not be aware that "Mary" is a classically trained singer. His piano player, "The Professor", played by Al Shean, believes "Mary Blake" is not long for the "Paradise Club".
"Blackie" has a childhood friend in "Father Tim Mullin", who has made many attempts to reform him, and this becomes a secondary plot line. By this point, "Blackie" has developed feelings for "Mary", but she is offered and accepts a singing position at the "Tivoli Opera House" on Market Street. There she meets "Nob Hill scion" "Jack Burley".
This will lead to the obvious conflict between "Norton" and "Burley" over "Mary", but at 5:13 AM, on, April 18, 1906, everything will be settled, as the San Francisco Earthquake strikes the city.
The motion picture ends with the survivors walking through the rubble and singing "The Battle Hymn of the Republic", to show the spirit they have to rebuild their city, followed by a short reprise of "San Francisco", showing a montage of the new city in 1936.
The Earthquake Sequence:
For the San Francisco Earthquake sequences, only John Hoffman received credit under a somewhat strange sounding heading, "Editorial Department". In actuality, Hoffman was a film editor who specialized in "Montage Sequences", that by definition falls under the "Editorial Department".
Hoffman was also an uncredited Second Unit Director overseeing the Earthquake effects. He won the "Photoplay Magazine", "Medal of Honor", for his work on "San Francisco".
Also, under the heading of "Editorial Department", was the uncredited Slavko Vorkapich for the "Montage Sequences: Earthquake".
Additionally, without credit were:
Russell A. Cully for "Special Effects: Earthquake Sequence".
Loyal Griggs for "Camera and Electrical Department: Photographer Earthquake sequence".
Other "Special Effects" were by the uncredited A. Arnold Gillespie and James Basevi.
"Visual Effects" were by Max Fabian
The following are stills from the "Earthquake Sequence", no real 1906 film footage was used, this is all models and backlot sets.
The following link takes my reader to the actual ending of what some refer to as the "First Disaster Motion Picture".
https://www.youtube.com/watch?v=6eMyGPPnGb8
1937, saw director John Ford provide audiences with "The Hurricane". "Hurricane and Special Effects Staged" by James Basevi and "Hurricane and Special Effects Assisted by" R.T. Layton.
1940, saw a similar story in "Typhoon", with "Special Photographic Effects" by Gordon Jennings and uncredited, "Optical cinematography", by Paul K. Lerpe.
1953, had a "Fair Wind to Java", giving audiences the destructions of the volcanic island "Krakatoa". The 'Special Effects" by the Lydecker brothers, Howard and Theodore. They were assisted by the uncredited Norman O'Skeete.
My article about the actual facts and impact of the destruction of "Krakatoa" on the entire World, "Krakatoa: 'West' Not East of Java: The 1883 Destruction of the Island and the Two Hollywood Motion Pictures" is available for reading at:
http://www.bewaretheblog.com/2017/12/krakatoa-west-not-east-of-java-1883.html
On December 23 1973, the Japanese studio, "Toho", released in Japan, "日本沈没, Nihon Chinbotsu (Submersion of Japan)". In the plot, a Japanese geophysicist discovers that the entire island of Japan is sinking into the "Japan Trench". There will be Earthquakes and a massive Tidal Wave. The film's excellent "Special Effects" are by Teruyoshi Nakano and Eiichi Asada.
My readers should see the original, 1973, Japanese version, and not the re-edited, 1975, American version, from executive producer Roger Corman, entitled "Tidal Wave". That has scenes of Loren Greene and other added American actors at a shorter running time even with the new footage.
The following link is to the original Japanese trailer:
https://www.bing.com/videos/search?q=movie+tidal+wave&&view=detail&mid=2054E6A460F408B7C81A2054E6A460F408B7C81A&&FORM=VRDGAR&ru=%2Fvideos%2Fsearch%3Fq%3Dmovie%2520tidal%2520wave%26%26FORM%3DVDVVXX
After Toho submerged the entire island of Japan, Hollywood returned to the destruction of the City of Los Angeles in:
EARTHQUAKE released on November 15, 1974.
This was an All-Star disaster motion picture from "Universal International Pictures" again.
I saw it the first weekend the feature played in Los Angeles, at the still, at the time, original format, "Grauman's Chinese Theater", in Hollywood. When I walked into the theater to take my seat, above the entire seating area was hanging a heavy rope net to catch the falling debris from the Earthquake. There was a method to that stunt, because:
"Earthquake" was in "Sensurround"! When the title event takes place, between the noise level and the vibrations of the special speakers, you felt like it was really happening. The following is the technical description of this sound system:
The Sensurround Control Tones were recorded on Tracks 2 and 4 and are 100 Hz instead of 25 Hz and 35 Hz. This was because the magnetic system could not reproduce the very low-frequency control tones reliably. The 100 Hz tone on Track-2 controls the program effects applied to the Sensurround Horns and the 100 Hz tone on Track-4 controls the rumble effect applied to the Sensurround horns. Like the other systems, the level of the 100 Hz tones varies the levels applied to the Sensurround horns and when both control tones are present, the Step/Hi-Gain function is turned on to increase the dynamic range of the main program by 8 dB. Track-3 (Center Front) is applied to the Sensurround system for program sounds. No other signal is recorded on Tracks 2 and 4.
https://en.wikipedia.org/wiki/Sensurround
The motion picture was directed by Mark Robson. Robson directed producer Val Lewton's 1943, "The Seventh Victim", which predates "Rosemary's Baby" with a story about "Satan Worshipers" in Greenwich Village, 1943's, "Ghost Ship", the two Boris Karloff classics, my favorite low-keyed horror movie, 1945's, "Isle of the Dead", and, 1946's, "Bedlam".
The two screenplay writers were Mario Puzo, who had written the novel "The Godfather", in 1969, and the screenplay for the 1972 motion picture version, and George Fox, this was his only screenplay.
Apparently, what was seen on the screen was not the original draft from Puzo, with detailed characters and plot lines, because it would have cost "Universal International Pictures" a large budget they did not want to spend. So, Fox was brought in to turn Mario Puzo's screenplay into a more acceptable budgeted motion picture. That budget is estimated to have been $7 million, 1974 dollars, and the initial Worldwide box office was estimated at $79 million , 1974-1975, dollars.
The cast had eleven major stars of the period, that included a cameo by Walter Matthau as a drunk in a bar.
I am only speaking to the six named in large font on the above poster.
Charlton Heston portrayed Architect "Stewart Graff". British director Richard Lester had made a very long version of Alexander Dumas' "The Three Musketeers", and divided it into two film releases. Heston was back as "Cardinal Richelieu" in the 1974, second part release, "The Four Musketeers", just prior to this picture's release. He would follow this feature, co-starring with James Coburn in the 1976 Western, "The Last Hard Men".
Ava Gardner portrayed "Remy Royce-Graff". The alcoholic, sleeping pill popping jealous wife of "Stewart Graff". Gardner had just portrayed "Lily Langtry" in director John Huston's,1972, "The Life and Times of Judge Roy Bean", starring Paul Newman. She followed this feature with the Austria and United Kingdom co-production spy story, 1975's, "The Executioner".
George Kennedy portrayed Los Angeles Police Officer "Lou Slade". Kennedy would be associated with disaster movies of the 1970's. He was in 1970's, "Airport", with Burt Lancaster, 1974's, "Airport 1975", and immediately before this picture with Charlton Heston. In 1977, it was "Airport 1977", and two years later, it was "The Concorde...Airport 1979", talk about type casting as the recurring character of "Joe Patroni". Kennedy starred in the third "Magnificent Seven" movie, 1969's, "The Guns of the Magnificent Seven", and had his own television series from 1971 through 1972, "Sarge", as "Father Samuel 'Sarge' Cavanaugh", a ex-Police Sergeant turned Priest.
Above, George Kennedy with Marjoe Gortner as psychotic National Guardsman, "Jody Joad".
Lorne Greene portrayed "Stewart Graff's" father-in-law "Sam Royce", owner of the Architectural Firm he works for. Greene had just finished his 1973 through 1974 television series, "Griff", and would follow this picture with a 1975 made-for-television remake of the Steve McQueen, 1966 movie, "Nevada Smith".
Genevoeve Bujold portrayed "Stewart Griff's" girlfriend, "Denise Marshall". Bujold had just been in the Canadian motion picture. 1973's, "Kamouraska", with Richard Jordon, and would follow this film with the French motion picture, 1975's, "Incorrigible", with Jean-Paul Belmondo.
Richard Roundtree portrayed daredevil stuntman "Miles Quade". Roundtree has just completed the 1973 through 1974 television series "Shaft". He would follow it with a version of Daniel Defoe's "Robinson Crusoe", entitled "Friday", co-starring with Peter O'Toole.
Above Gabriel Dell as "Sal Amci", Victoria Principal as "Rosa Amci", "Sal's" sister, and Richard Roundtree.
What happened to Mario Puzo's screenplay by Fox and the studio is a shame. What's left are two groups of uninteresting people attempting to survive a 9.9 Earthquake in Los Angeles. We know Puzo's screenplay covered areas outside of Los Angeles with deeper characters, but that was all cut out.
There is a theme about predicting Earthquakes, that sees scientist "Dr. Frank Adams", played by Bob Cunningham, planting recording devices in a trench he dug along the San Andreas Fault. While he's at the trenches bottom, a tremor causes a cave in, burying "Adams" and his assistant without anyone knowing they had ever been there.
While, the main plot line has "Stewart Graff" coping with his wife, who keeps overdosing to get his attention, and a father-in-law that doesn't want to lose a cash-cow in "Graff". While, "Stewart" is in love with "Denise", and looks for a way out of his marriage.
Then there's "Miles", whose manager, "Sal", has set up a motorcycle track that has a wheel in the middle, for the stunt man to gain publicity for his act. "Rosa" becomes the target of psycho "Jody Joad", after she buys groceries at the market he works at, and it's up to "Police Officer Lou Slade" to save her and perhaps fall for her in the process.
All of this is happening as Los Angeles is shaking, and perhaps that was the intention of the studio to focus of the Earthquake's destruction rather than the people experienceing it..
The Earthquake Sequence:
Even though "Earthquake" was made Fifty-one-years after "The Shock", "Special Effects" were still using models and sets.
Frank Brendel is credited for the "Special Effects". However, Mike Reedy was uncredited as the "Special Effects Technician". Also uncredited for "Special Effects", are, Johnny Borgese, Ted Koerner, Jack McMaster, and, Glen Robinson.
"Visual Effects" had four of the fives names credited. These included, Roswell A. Hoffman (Ross Hoffman) for "Matte Photography", Glen Robinson for "Miniatures", Clifford Stine for "Special Photography", and Albert Whitlock for "Special Photographic Effects". The one uncredited, Cleo E. Baker, for "Miniatures".
Even with the success of 1984's, Computer Generated Imagery's, "The Last Starfighter", it still would be another thirty-one-years later. Before Hollywood took on the destruction of Los Angeles and this time combined it with the destruction of San Francisco.
SAN ANDREAS premiered in Los Angeles on May 27, 2015.
"Earthquake" had "Sensurround", and "San Andreas" had "Real 3-D". Which is a stereoscoptic projection technology, unlike the 3-D of my youth with images flying off the screen into your face, that creates a feeling of reality and the audience believing they're actually in the scenes.
Speaking to the 3-D movies of my youth and the history of Third-Dimension, my article, "Third Dimension the Golden Age of 3-D Motion Pictures 1952-1955", will be read at:
http://www.bewaretheblog.com/2015/08/third-dimension-golden-age-of-3-d.html
The motion picture was directed by Brad Peyton. Canadian Peyton started out directing shorts and Canadian television, in 2010, he directed "Cats & Dogs: The Revenge of Kitty Galore", if I have to explain the title, you're not a "James Bond" fan. Two years later, it was the "Real 3-D", "Journey 2: The Mysterious Island", starring Dwayne Johnson and Michael Caine. Just before this feature, Peyton directed the horror entry, "Incarnate", starring Aaron Eckhart.
The story was co-created by Andre Fabrizio and Jeremey Passmore. Fabrizio wrote the screenplay for 2014's, "The Prince", starring Jason Patric, Bruce Willis and John Cusack. Passmore wrote the screenplay for the 2012 remake of "Red Dawn".
The actual screenplay was written by Carlton Cuse, Cuse was an action television writer, "The Adventures of Briscoe County, Jr.", "Nash Bridges", and "Lost", for example. Although he wrote three made-for-television movies, this was Carlton Cuse's first feature film screenplay.
The motion picture was filmed mainly in Queensland, Australia, with establishment shots in and around Los Angles, Bakersfield and San Francisco, California.
Dwayne Johnson portrayed "Raymond 'Ray' Gaines". Johnson aka: Wrestling's "The Rock", had just been seen in 2015's, "Furious 7", and followed this picture with 2015's, "Jem and the Holograms".
Carla Gugino portrayed "Emma Gaines". If you're a fan of director Robert Rodriguez, you may recognize Carla Gugino as the mother in his "Spy Kids" series. You may also remember her as "Dr. Gina Simon" on televisions "Chicago Hope", or as "Karen Sisco" in her short-lived series of that name. Her other roles include, "Dr. Alex Friedman", when she co-starred with Dwayne Johnson in the Walt Disney Company's, 2009, "Race to Witch Mountain", or perhaps it was "Abby Rhodes", in the television series "Californication", starring David Duchovny?
Alexandra Daddario portrayed "Blake Gaines". Daddario started out with forty-three episodes of the day time soap opera, "All My Children". She portrayed "Annabeth" in 2010's, "Percy Jackson and the Olympians: The Lightening Thief", reprised her role in, 2013's, "Percy Jackson: Sea of Monsters", while appearing in roles of several television series.
Hugo Johnstone-Burt portrayed "Ben Taylor". Scottish-Australian actor Johnstone-Burt had appeared in several Australian television programs prior to this motion picture, and returned to Australian television afterwards.
Art Parkinson portrayed "Ollie Taylor". Irish actor Parkinson during the filming and release of this motion picture, was appearing as "Rickon Stark", on the series, "Game of Thrones".
Above, Art Parkinson, Alexandra Daddario, and Hugo Johnstone-Burt.
The first difference between 1974's, "Earthquake" and 2015's, "San Andreas", is the reality of the characters and their relationships. While not stopping the high action pace of the story, the screenplay develops who these five people are, making the audience care about them.
Yet, in many ways it's almost the same story. The screenplay starts with a rescue of a young woman, whose car went off a cliffside road in the San Fernando Valley outside of Los Angeles, and introduces Rescue Helicopter Pilot, "Ray Gaines". Next, the scene switches to "Cal-Tech" and the audience meets seismologist "Dr. Lawrence Hayes", played by American actor Paul Gianatti, teaching a class and giving the audience the background for a possible nine, or larger overdue Earthquake in California.
Next, "Ray" discovers he is in the middle of a divorce proceedings. He has not been the same after the loss of one daughter on a rafting trip, and this had affected his marriage, but, "Ray" still loves his other daughter, "Blake", and still loves his soon to be ex-wife, "Emma". "Emma" is moving in with her boyfriend, "Architect Daniel Riddick", played by Welsh actor Ioan Gruffudd. He will take "Blake", on his private jet, to San Francisco, which sets up the sequences there.
"Dr. Hayes" and his assistant, "Dr. Kim Park", played by American actor and martial artist, Will Yun Lee, go to Hoover Dam, located between Arizona and Nevada, to test their Earthquake prediction system. In San Francisco, "Blake", waiting in the lobby of "The Riddick Building" for "Daniel" to finish a meeting, meets two English brothers who have come to the United States."Ben" is there to be intereviewed for a position in "Riddick's" company. "Ollie" is there, because he has to be with his older brother.
While, "Emma" goes to a lunch date with "Susan Riddick", played by Australian singer Kylie Minogue, "Daniel's" snobbish sister.
Then, the initial Earthquake, of a 7.1 magnitude, hits and destroys Hoover Dam and kills "Dr. Park". "Hayes" goes back to Cal-Tech and predicts that the quake, on an unknown fault, is a precursor to the big one. Caused by the new fault joining the San Andreas, and moving from Nevada, to Los Angeles, and up through California to San Francisco. "Dr. Hayes" tells those with him at Cal-Tech that:
What follows, starts as a 9.1 magnitude quake hitting Los Angeles, and becomes a larger one, hitting San Francisco, afterwards.
"Riddick", in shock, deserts "Blake", who is trapped in his limousine in the basement garage of his building. The two brothers rescue her and "Ben" and "Blake" come together, as they follow her father’s instructions to reach a rescue point. Meanwhile, "Ray", has rescued "Emma", from the roof top of the damaged building "Susan" and others have died in. The two come back together, as "Ray" confronts the loss of their other daughter for the first time, and they go to save "Blake".
The following is taken directly from the IMDb website about "San Andreas". It shows both the recognition of those involved with both "Special Effects" and "Visual Effects". Along with how many people were needed to create the 2015, "Computer Generated Imagery (CGI)" for Andreas".
There are only two names without credit, out of thirty-five, under "Special Effects".
There are 983 credited names and fifty-four uncredited names under "Visual Effects".
Special Effects by
... | special effects art director for additional photography | |
... | Rigging Foreman Special Effects | |
... | purchasing officer | |
... | special effects coordinator | |
... | special effects technician | |
... | special effects technician | |
... | special effects supervisor | |
... | special effects technician | |
... | special effects technician | |
... | special effects coordinator: San Francisco | |
... | special effects assistant supervisor | |
... | special effects technician | |
... | special effects purchaser: additional photography | |
... | water effects supervisor | |
... | special effects supervisor: L.A. unit | |
... | special effects | |
... | special effects on set supervisor | |
... | special effects technician | |
... | special effects technician | |
... | special effects technician | |
... | special effects coordinator | |
... | senior special effects technician | |
... | special effects supervisor for additional photography | |
... | senior special effects technician | |
... | special effects technician for additional photography | |
... | special effects technician | |
... | special effects technician | |
... | special effects labourer | |
... | special effects technician | |
... | special effects technician | |
... | special effects assistant: San Francisco | |
... | special effects technician for additional photography | |
... | special effects technician | |
... | special effects assistant (uncredited) | |
... | special effects consultant (uncredited) |
Visual Effects by
... | stereoscopic compositor | |
... | senior visual effects coordinator | |
... | 3D modeler | |
... | fx td: Cinesite | |
... | layout artist: Scanline VFX | |
... | lead stereoscopic artist: Stereo D | |
... | layout artist: Scanline VFX / matchmove artist: Scanline VFX | |
... | stereo compositor / stereoscopic compositor | |
... | lead compositor | |
... | lighting artist: Cinesite | |
... | previs artist: Proof Inc. | |
... | animator: Scanline VFX | |
... | modeler: Scanline VFX | |
... | rigger: Scanline VFX | |
... | stereoscopic artist | |
... | finaling compositor-artist: Deluxe Stereo D | |
... | compositor: Scanline VFX | |
... | visual effects coordinator: Scanline VFX | |
... | visual effects artist | |
... | production assistant | |
... | vfx element qc | |
... | compositor | |
... | department production manager: Scanline VFX / roto/prep and matchmove department manager | |
... | layout artist: Scanline VFX | |
... | stereo compositor | |
... | lead cg modeller | |
... | visual effects producer: Hydraulx | |
... | stereo compositor | |
... | visual effects | |
... | previs/postvis artist: The Third Floor | |
... | matchmove lead | |
... | texture artist | |
... | compositor | |
... | stereoscopic artist | |
... | stereoscopic producer | |
... | stereo compositor | |
... | previs/postvis artist: The Third Floor | |
... | roto artist: stereoscopic conversion | |
... | digital compositor: Scanline VFX | |
... | lead lighting td: Scanline VFX | |
... | stereoscopic artist: Stereo D | |
... | roto artist | |
... | compositor | |
... | visual effects artist: the third floor | |
... | stereoscopic compositor | |
... | visual effects crew: Scanline VFX | |
... | compositor: Scanline VFX | |
... | stereoscopic compositor | |
... | digital coordinator | |
... | lighting artist: Cinesite | |
... | compositor: Scanline VFX | |
... | layout supervisor: Scanline VFX | |
... | lead stereoscopic compositor | |
... | stereo compositor | |
... | stereo compositor / technical director | |
... | visual effects artist | |
... | effects technical director: Method Studios | |
... | compositor: Cinesite | |
... | fx td: Method Studios | |
... | visual effects artist | |
... | render wrangler | |
... | stereo compositing supervisor: Stereo D | |
... | environment lead: Image Engine | |
... | element quality control | |
... | compositor: Scanline VFX | |
... | previs lead / previs/postvis artist: The Third Floor | |
... | compositing supervisor: Method Studios LA | |
... | data coordinator | |
... | senior visual effects coordinator: Scanline VFX / visual effects coordinator: Scanline VFX | |
... | layout artist: Scanline VFX | |
... | visual effects coordinator: Scanline VFX | |
... | lead stereoscopic compositor | |
... | digital artist: Scanline VFX / visual effects artist | |
... | pipeline support: Cinesite | |
... | visual effects artist | |
... | visual effects executive producer (Vitality Visual Effects) | |
... | dmp artist: Cinesite | |
... | visual effects data wrangler | |
... | effects technical director: Atomic Fiction | |
... | rigging: Cinesite | |
... | compositor: Scanline VFX | |
... | visual effects coordinator | |
... | 3d scan technician: Gentle Giant Studios | |
... | pipeline td / pipeline td: Scanline VFX | |
... | stereoscopic supervisor | |
... | compositor: Method Studios | |
... | compositor: Scanline VFX | |
... | stereoscopic lead | |
... | stereoscopic compositor | |
... | cg modeler | |
... | compositor: Scanline VFX | |
... | visual effects artist | |
... | visual effects artist | |
... | compositor: Cinesite | |
... | modeler: Scanline VFX | |
... | digital compositor | |
... | modeling supervisor: Method Studios | |
... | digital production manager: Method Studios | |
... | matte painter: Scanline VFX | |
... | bg prep artist | |
... | stereo production coordinator | |
... | visual effects artist | |
... | visual effects coordinator | |
... | stereo compositor | |
... | 2d supervisor | |
... | pre-visual artist | |
... | matte painter: Atomic Fiction | |
... | stereo compositor | |
... | element qc compositor: Stereo D | |
... | compositor: Scanline VFX / senior compositor | |
... | stereoscopic compositor | |
... | finaling compositor | |
... | Element QC Production Coordinator | |
... | stereoscopic compositor: Stereo D | |
... | previs/postvis artist: the third floor | |
... | lead compositor: Cinesite | |
... | element qc compositor | |
... | visual effects artist | |
... | digital compositor | |
... | compositor: Scanline VFX / digital compositor | |
... | stereo compositor | |
... | roto paint supervisor: Scanline VFX / roto/paint supervisor | |
... | fx artist: hydraulx | |
... | technical support | |
... | production supervisor | |
... | matchmove artist: visual effects | |
... | assistant department manager, roto: Stereo D | |
... | stereo compositor | |
... | stereoscopic artist: Stereo D | |
... | tracking/layout | |
... | compositor: Scanline VFX | |
... | stereo supervisor | |
... | secondary lead stereo compositor | |
... | look development artist | |
... | effects technical director: Method Studios | |
... | previs/postvis artist: The Third Floor | |
... | visual effects production manager: MPC | |
... | cg supervisor | |
... | head of stereography: Stereo D | |
... | stereoscopic compositor | |
... | animator: Cinesite | |
... | cg supervisor: Cinesite | |
... | rotoscoping artist | |
... | matchmove artist: Scanline VFX | |
... | lead stereo artist: Stereo D | |
... | compositor: method studios | |
... | digital compositor | |
... | visual effects coordinator: Hydraulx | |
... | matchmove artist: Cinesite / matchmover: Cinesite | |
... | digital artist | |
... | senior light and look development technical director | |
... | stereo production coordinator: stereo d | |
... | element qc | |
... | digital compositor | |
... | previs supervisor: The Third Floor / previs/postvis artist: The Third Floor | |
... | vfx editor | |
... | stereoscopic coordinator | |
... | stereoscopic compositor | |
... | texture artist: Cinesite | |
... | digital matte artist | |
... | paint and roto: Cinesite | |
... | stereoscopic compositor | |
... | fx artist: Scanline VFX | |
... | stereoscopic artist | |
... | stereo artist | |
... | visual effects supervisor: Image Engine | |
... | vfx coordinator: Cinesite | |
... | modelling: Cinesite | |
... | visual effects production coordinator: Soho VFX | |
... | pipeline support: Cinesite | |
... | lead matchmover: Cinesite | |
... | lead fx artist: Scanline VFX | |
... | stereoscopic compositor | |
... | lead layout artist: Cinesite | |
... | stereoscopic compositor: Stereo D | |
... | digital modeler | |
... | stereoscopic lead | |
... | rigging technical director: Image Engine | |
... | lead layout artist: Scanline VFX / visual effects artist: layout lead | |
... | digital compositor: Cinesite | |
... | previs artist | |
... | data i/o manger (as Rachel Decker) | |
... | visual effects editor: Atomic Fiction (as Ayse Dedeoglu Arkali) | |
... | executive assistant: stereoscopic conversion | |
... | pipeline td: Scanline VFX (as Christian Deiss) | |
... | global head of layout: MPC | |
... | texture artist: Cinesite | |
... | fx td: Cinesite | |
... | stereoscopic technical assistant: Stereo D | |
... | animator: Scanline VFX | |
... | lead render systems engineer: MPC | |
... | paint & roto artist | |
... | visual effects artist | |
... | compositor: Scanline VFX | |
... | lead stereoscopic compositor | |
... | visual effects artist | |
... | stereo compositor | |
... | digital compositor: Cinesite | |
... | vfx photographer, vfx data wrangler, vfx cinematographer: Scanline VFX | |
... | vfx photographer: data wrangler: Scanline VFX | |
... | stereo artist | |
... | visual effects producer (Method Studios Vancouver) | |
... | compositor: Scanline VFX | |
... | senior modeler: Scanline VFX | |
... | visual effects artist | |
... | digital compositor | |
... | modeler: Scanline VFX | |
... | visual effects | |
... | visual effects | |
... | visual effects artist | |
... | stereo production coordinator: Stereo D | |
... | compositor: Scanline VFX | |
... | visual effects line producer | |
... | digital effects artist | |
... | visual effects artist | |
... | visual effects coordinator | |
... | production assistant: stereo animation | |
... | depth artist | |
... | senior producer: method studios | |
... | visual effects producer / visual effects producer: Scanline VFX | |
... | visual effects coordinator | |
... | animator: Scanline VFX | |
... | stereo compositor: Stereo D (as Paul Faeldo) | |
... | previs/postvis artist: The Third Floor | |
... | stereoscopic lead | |
... | compositor: Scanline VFX / digital compositor | |
... | 3d generalist / digital artist: Scanline VFX | |
... | stereoscopic artist | |
... | concept artist / matte painter: Scanline VFX | |
... | compositor: Scanline VFX | |
... | lead paint & roto: Cinesite | |
... | depth artist | |
... | stereo compositor: Stereo D | |
... | paint artist | |
... | previs/postvis artist: The Third Floor | |
... | stereoscopic compositor | |
... | animation supervisor: MPC | |
... | 3d conversion: Stereo D | |
... | lidar supervisor | |
... | visual effects coordinator: Scanline VFX | |
... | lead effects technical director / lead effects technical director: Method Studios | |
... | roto/paint artist / rotoscope artist: Scanline VFX | |
... | lead element qc artist | |
... | vfx production coordinator: Cinesite | |
... | visual effects producer | |
... | compositor | |
... | senior compositing technical director | |
... | executive visual effects producer: Hydraulx | |
... | rigging supervisor: Scanline VFX | |
... | matchmove supervisor: Scanline VFX | |
... | stereo production coordinator: Stereo D | |
... | digital compositor | |
... | stereoscopic depth artist: Stereo D | |
... | depth artist | |
... | rotoscope artist: Method Studios | |
... | compositor: Scanline VFX | |
... | digital artist | |
... | visual effects artist | |
... | visual effects: MPC | |
... | stereo compositor | |
... | visual effects artist | |
... | visual effects coordinator: Scanline VFX | |
... | r&d | |
... | senior stereo compositor | |
... | cg production manager: Cinesite | |
... | lead lighting artist: Cinesite | |
... | sr. systems architect | |
... | digital compositor | |
... | compositor | |
... | stereoscopic compositor (as Ariana Miller) | |
... | compositor: Scanline VFX / digital compositor (as Safeer Ghaznavi) | |
... | data operator/render wrangler: Cinesite | |
... | lead digital compositor: Scanline VFX | |
... | visual effects executive | |
... | matte painter (as Nick Giassullo) | |
... | digital artist: Scanline VFX | |
... | stereoscopic production coordinator: Stereo D | |
... | visual effects coordinator | |
... | digital compositor: Method Studios LA | |
... | pipeline technical director | |
... | paint artist: Method Studios | |
... | modeler: Scanline VFX | |
... | visual effects producer | |
... | stereoscopic artist | |
... | lighting artist: Cinesite | |
... | executive producer: method studios | |
... | stereoscopic artist | |
... | previs supervisor: Proof Inc | |
... | visual effects | |
... | modeler: Scanline VFX | |
... | stereo compositor | |
... | pipeline developer: Image Engine (as Neil Grey) | |
... | visual effects supervisor: Scanline VFX | |
... | stereoscopic compositor | |
... | previs/postvis artist: the third floor | |
... | lookdev artist | |
... | stereo compositor | |
... | vfx executive producer: Cinesite | |
... | vfx line producer: Cinesite | |
... | visual effects producer | |
... | stereo compositing lead: stereoD | |
... | depth lead: Stereo D | |
... | 3d conversion: stereo d | |
... | stereo finaling artist | |
... | visual effects coordinator | |
... | digital effects artist: Scanline VFX / effects technical director | |
... | digital compositor | |
... | digital compositor | |
... | compositor: Cinesite (as Venetia Penna) | |
... | technical director | |
... | fx artist: Scanline VFX / senior fx technical director: flowline | |
... | rigging: Cinesite | |
... | previs/postvis artist: The Third Floor | |
... | compositor: Scanline VFX (as Jason Williams) | |
... | visual effects artist | |
... | modeler: Method Studios | |
... | lead stereoscopic artist | |
... | visual effects artist | |
... | digital compositor | |
... | matchmove supervisor: Method Studios | |
... | fx artist: Scanline VFX | |
... | senior render td: Cinesite (as Alexander Hartwin) | |
... | stereo artist | |
... | previs/postvis artist: The Third Floor | |
... | visual effects artist: Method Studios | |
... | intern: not credited | |
... | visual effects artist | |
... | stereoscopic artist | |
... | previs/postvis artist: The Third Floor | |
... | lead stereoscopic artist | |
... | data operator/render wrangler: Cinesite | |
... | visual effects artist | |
... | lead digital compositor: Scanline VFX | |
... | layout artist: MPC | |
... | senior lighter: lookdevelopment | |
... | visual effects artist: Hydraulx | |
... | tracking supervisor | |
... | digital compositor | |
... | lead stereoscopic artist | |
... | visual effects | |
... | digital matte painter | |
... | senior look development and lighting artist | |
... | visual effects | |
... | stereo compositor | |
... | modeler: Method Studios Vancouver | |
... | visual effects artist | |
... | cg supervisor / cg supervisor: Method Studios | |
... | visual effects production supervisor | |
... | senior compositor: ScanlineVFX | |
... | Sr. Prep Artist: Scanline VFX / fx artist: Scanline VFX | |
... | animator: Scanline VFX | |
... | digital compositor: Soho VFX | |
... | production coordinator: Scanline VFX | |
... | 3d depth artist | |
... | digital artist: roto artist | |
... | production support | |
... | modeler: Scanline VFX | |
... | vfx line producer: Cinesite | |
... | fx artist: Scanline VFX | |
... | matte painter: Scanline VFX | |
... | fx artist: Hydraulx | |
... | compositor: Scanline VFX / digital compositor: Scanline VFX | |
... | compositor: Method Studios | |
... | software development manager: Stereo D | |
... | pre-visualization editor | |
... | compositor / compositor: Scanline VFX | |
... | production coordinator | |
... | finaling coordinator | |
... | visual effects | |
... | stereoscopic artist | |
... | technical director | |
... | senior dynamic artist | |
... | pipeline td: Scanline VFX | |
... | compositor: Scanline VFX / senior compositor: Scanline VFX | |
... | i/o coordinator: Gener8 (as Jorge Miguel Jimenez Quintanilla) | |
... | stereoscopic production assistant: Stereo D | |
... | stereoscopic compositor | |
... | compositor: Scanline VFX | |
... | department manager: StereoD | |
... | digital compositor | |
... | finaling qc artist: Stereo D | |
... | visual effects supervisor (as Katherine Rodtsbrooks) | |
... | compositor | |
... | lead matchmove artist: Image Engine | |
... | lead lighting artist | |
... | modeler | |
... | jr. compositor: Scanline VFX | |
... | digital compositor | |
... | matchmover | |
... | stereoscopic compositor | |
... | stereoscopic compositor | |
... | 3d conversion: Stereo D | |
... | layout artist: Scanline VFX | |
... | lighting td: Scanline VFX | |
... | cg modeller | |
... | rotoscope lead: Method Studios | |
... | fx artist: Hydraulx | |
... | digital compositor | |
... | assistant manager visual effects | |
... | animator / animator: Scanline VFX | |
... | stereoscopic roto lead | |
... | roto artist: mpc | |
... | lead fx artist: Scanline VFX | |
... | depth artist: Stereo D | |
... | visual effects production manager: Atomic Fiction | |
... | visual effects coordinator | |
... | head of production: Scanline VFX | |
... | compositor: Scanline VFX | |
... | rotoscope artist: Scanline VFX | |
... | stereoscopic compositor | |
... | matchmove lead: Atomic Fiction | |
... | stereoscopic compositor | |
... | lighting artist: visual effects | |
... | digital compositor | |
... | modeler | |
... | rotoscope artist: Scanline VFX | |
... | compositor | |
... | modeling supervisor: Scanline VFX | |
... | element qc artist | |
... | visual effects artist: animated logo | |
... | technology manager | |
... | depth assistant department manager | |
... | lead systems engineer: Scanline VFX | |
... | digital compositor | |
... | finaling supervisor | |
... | stereo compositor | |
... | visual effects producer: Vitality Visual Effects | |
... | animator: Scanline VFX | |
... | previs accountant: The Third Floor | |
... | rigger: Scanline VFX / rigging lead/pipeline td | |
... | digital compositor: Scanline VFX | |
... | senior generalist | |
... | head of production | |
... | compositor: scanline vfx | |
... | visual effects coordinator: Soho VFX | |
... | effects artist: Scanline VFX | |
... | roto/paint artist: Scanline VFX | |
... | digital compositor | |
... | visual effects artist | |
... | lead compositor Hydraulx | |
... | systems administrator: Cinesite | |
... | fx lead | |
... | animator | |
... | vfx producer: Cinesite | |
... | compositor: Cinesite | |
... | stereo production coordinator | |
... | concept artist | |
... | paint supervisor | |
... | compositor: Cinesite | |
... | shader writer: Image Engine | |
... | matte painter: Scanline VFX / visual effects artist | |
... | compositor: Scanline VFX | |
... | effects artist: Scanline VFX | |
... | depth artist | |
... | dynamics artist | |
... | compositor: Scanline VFX | |
... | senior compositor: Scanline VFX | |
... | stereo producer | |
... | stereoscopic paint artist | |
... | compositor | |
... | senior matte painter: Hydraulx | |
... | modeler: Scanline VFX | |
... | digital artist: Scanline VFX | |
... | fx artist: Scanline VFX | |
... | lighting technical director: Cinesite | |
... | stereoscopic compositor | |
... | lead modeler: Scanline VFX | |
... | lead fx td: Scanline VFX | |
... | senior lighting td: Method Studios LA | |
... | texture artist: MPC | |
... | stereographic production manager: Scanline VFX | |
... | software development and pipeline: Stereo D (as Dai Liu) | |
... | lead stereo compositor | |
... | compositing supervisor: Scanline VFX | |
... | compositor: Scanline VFX | |
... | fx artist: Image Engine | |
... | previs/postvis artist: The Third Floor (as Andrew Long) | |
... | stereo compositor | |
... | compositor: Scanline VFX / digital compositor | |
... | previs/postvis artist: The Third Floor | |
... | modelling: Cinesite | |
... | animator | |
... | compositor | |
... | stereoscopic lead | |
... | visual effects coordinator | |
... | rotoscope artist | |
... | stereo artist | |
... | vfx production manager | |
... | stereoscopic artist / stereoscopic artist: Stereo D | |
... | fx artist: Scanline VFX | |
... | visual effects artist: Method Studios | |
... | depth artist: Stereo D | |
... | finaling lead | |
... | stereoscopic compositor: Stereo D | |
... | finaling coordinator | |
... | visual effects supervisor: Soho VFX | |
... | previs/postvis artist: The Third Floor | |
... | stereo compositing supervisor | |
... | finaling sec lead | |
... | depth department manager: Stereo D | |
... | digital compositor | |
... | modeler: Scanline VFX | |
... | production coordinator: mpc | |
... | Roto and Cleanup | |
... | stereoscopic compositor | |
... | senior stereoscopic compositor | |
... | vfx production assistant: Cinesite | |
... | stereo compositor | |
... | data operator/render wrangler: Cinesite | |
... | stereoscopic compositor | |
... | lighting td: Scanline VFX | |
... | depth supervisor | |
... | stereo compositor | |
... | rotopaint artist | |
... | pipeline developer: Stereod | |
... | visual effects coordinator (as Melanie Farley) | |
... | fx artist: Scanline VFX (as Terry Marriott) / fx td (as Terry Marriott) | |
... | depth artist | |
... | vfx production coordinator | |
... | lighting artist: Cinesite | |
... | modeler: Scanline VFX | |
... | digital artist | |
... | 3d generalist / digital artist / visual effects artist | |
... | visual effects coordinator | |
... | previsualization editor: The Third Floor | |
... | modeler | |
... | stereoscopic producer | |
... | matte painter | |
... | roto/paint artist | |
... | stereoscopic depth artist | |
... | head of production: MPC, London (as Lauren Knowlton-Parry) | |
... | stereoscopic compositor | |
... | visual effects artist | |
... | stereo compositing supervisor | |
... | roto/paint artist: Scanline VFX | |
... | visual effects coordinator | |
... | data operative | |
... | compositor | |
... | matchmove artist: Scanline VFX | |
... | tracking artist: method studios | |
... | technical animator: MPC | |
... | visual effects | |
... | concept artist | |
... | lighting artist | |
... | dmp artist: Cinesite | |
... | digital compositor | |
... | compositor | |
... | lead 2nd stereoscopic artist: stereoD | |
... | compositor: Scanline VFX | |
... | executive producer: Scanline VFX / vfx executive producer: Scanline VFX | |
... | senior vfx technical director | |
... | character rigging supervisor | |
... | pipeline production manager | |
... | element qc artist | |
... | rotomation artist | |
... | vfx element qc: digital compositor | |
... | depth lead | |
... | facility manager: Scanline VFX / studio manager: Scanline VFX | |
... | flame artist | |
... | Roto paint lead / roto paint lead: Scanline VFX | |
... | modelling: Cinesite | |
... | compositing supervisor | |
... | effects technical director: Method Studios Vancouver | |
... | fx artist: Scanline VFX | |
... | Lead compositor/paint | |
... | digital compositor: Soho VFX | |
... | Lead Animator | |
... | digital compositor: Hydraulx (as Rob Moggach) | |
... | fx technical director | |
... | software development and pipeline | |
... | digital artist: Scanline VFX / texture artist | |
... | previs/postvis artist: The Third Floor | |
... | visual effects artist: Stereo D | |
... | visual effects supervisor: Scanline VFX | |
... | matte painting supervisor: Scanline VFX | |
... | lighting td: Scanline VFX / visual effects artist | |
... | fx artist: Scanline VFX | |
... | visual effects artist | |
... | stereo compositing supervisor | |
... | stereoscopic depth artist | |
... | stereoscopic compositor QC Supervisor | |
... | team lead data operations: cinesite | |
... | digital compositor | |
... | prep artist: Rotomaker (as Ajithkumar) | |
... | vfx coordinator: Cinesite | |
... | production support | |
... | stereoscopic technical director | |
... | lighting technical director: method studios | |
... | finaling artist | |
... | outsource manager: Method Studios | |
... | stereoscopic compositor | |
... | lead texture artist | |
... | stereoscopic prep artist: Gener8 Media Corp. | |