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Star Wars: Episode II Attack of the Clones

Special Visual Effects and Animation by — Industrial Light & Magic, A Division of Lucasfilm Digital Ltd. Marin County, California:[1]

Post Production Sound Services Provided by – Skywalker Sound, A Division of Lucas Digital Ltd. Marin County, California[1]

Additional Shooting Crew

  • Production Manager — Brian Donovan[1]
  • Director of Photography — Giles Nuttgens[1]
  • Art Director — David Lee[1]
  • Script Supervisor — Victoria Chambers-Pike[1]
  • Construction Managers — Leon Apsey, Gene D'Cruze[1]
  • Production Buyer — Richard Bullock[1]
  • Art Department Assistant — Mark Scruton[1]
  • Gaffer — Dave Smith[1]
  • Best Boy — Sonny Burdis[1]
  • Grip — Pete Myslowski[1]
  • Chargehand Propman — Peter Watson[1]
  • Stand-By Propman — Alex Boswell[1]
  • Stand-By Carpenter — Paul Nott-Macaire[1]
  • Carpenter — Dennis Bovington[1]
  • Rigger — Eddie Sansom[1]
  • Chief Make-Up Artist — Pat Hay[1]
  • Costume Coordinator — Jo Measure[1]
  • Production Coordinators — Virginia Murray, Helen Gregory[1]
  • Assistant Production Coordinator — Victoria Morgan[1]
  • Transport Captain — Phil Allchin[1]
  • Nurse — Jeanie Udall[1]
  • First Assistant Directors — Richard Hewitt, Richard Whelan[1]
  • Second Assistant Directors — Matthew Penry-Davey, Tamana Bleasdale[1]
  • Sound Mixers — Brian Simmons, Simon Bishop[1]
  • Creature Effects Supervisor — Nick Dudman[1]
  • Prosthetic Make-Up Artists — Paul Spateri, Mark Coulier, Barrie Gower, Shaune Harrison, Kate Hill[1]
  • Animatronics — Chris Barton, Martin Reid, Tamzine Hanks, Tom Blake, Simon Williams[1]
  • Foam Latex — Andy Lee[1]
  • Creatures Coordinator — Lyn Nicholson[1]
  • Special Effects — Any Effects[1]
  • Special Effects Supervisor — Tom Harris[1]
  • Senior Special Effects Technician — Alex Gurucharri[1]
  • Special Effects Technician — Barry Woodman[1]
  • Director of Publicity — Lynne Hale[1]
  • Publicity Assistant — Lisa Shaunessy[1]
  • Researchers — Jo Donaldson, Jenny Craik, Robyn Stanley[1]
  • Location Researcher — Elizabeth Tulloch[1]
  • Data Logging — Lizzie Eves[1]
  • Stills Photographers — Lisa Tomasetti, Giles Westley, Paul Tiller[1]
  • Stills Photography Assistant — Evelyn Rose[1]
  • Stills & Publicity Runner — Ianna White[1]
  • Image Archivist — Tina Mills[1]
  • Transport Captain – Hans Van Beuge[1]
  • Unit Drivers – Duan Kereru, Dave Simpkins, Phil McDonell, Ron Wyndham[1]
  • Catering By – Kollage Katering[1]
  • Catering Manager – Kerry Fetzer[1]
  • Stand-In For Ewan McGregor – Richard Pike[1]
  • Stand-In For Natalie Portman – Natalie Lawley[1]
  • Stand-In For Hayden Christensen – Gordon Tyler[1]

Italy Shoot

  • Production Services Provided by – Mestiere Cinema, Venice, Italy[1]
  • Production Supervisor – Guido Cerasuolo[1]
  • Unit Manager – Enrico Ballarin[1]
  • Production Coordinator – Laura Cappato[1]
  • Assistant Production Coordinators – Maria Novella Martinoli, Tiziana Tortarolo[1]
  • Production Assistant – Claudia Cimmino[1]
  • Transport Captain – Nicola Rosada[1]
  • Electrician – Cristiano 'Giabba' Giavedoni[1]
  • Grip – Werner Bacciu[1]
  • Location Managers – Simona Serafini, Franco Rapa[1]
  • Location Runner – Marco D'andola[1]
  • Facilities Coordinator – Marco 'Bobo' Zanon[1]
  • Set Runner – David Giorgio[1]
  • Art Director – Susanna Codognato[1]
  • Wardrobe Assistant – Beatrice Giannini[1]
  • Accountant – Carla Zacchia[1]
  • Payroll – Ivano Lepscky[1]
  • Cashier – Bernardo Galli[1]

Tunisia Shoot

  • Production Services Provided by – CTV Services, Tunis, Tunisia[1]
  • Production Supervisor – Abdelaziz Ben Mlouka[1]
  • Art Director – Taieb Jallouli[1]
  • Assistant Art Director – Anas Talmoudi[1]
  • Unit Managers – Meimoun Mahbouli, Philippa Day[1]
  • Matmata Location Manager – Mounir Hlawet[1]
  • First Assistant Director – Moez Kamoun[1]
  • Production Coordinator – Amel Becharnia[1]
  • Accountant – Abdallah Baalouch[1]
  • Production Secretary – Lamia Saidane[1]
  • Wardrobe Supervisor – Naama Jazi Mejri[1]
  • Prop Master – Mohamed Bargaoui[1]

Spain Shoot

  • Production Services Provided by Recce & Production Services, Seville, Spain[1]
  • Production Supervisor &ndash Pedro Ma De Ugarte[1]
  • Production Managers – Sarka Sulcova, Caroline Bonham-Jones[1]
  • Production Coordinator – Isabel Delgado[1]
  • Set Coordinator – Mónica Hernandez[1]
  • Wardrobe Assistant – Maria Jiménez Alfaro[1]
  • Casting – Paz Piñar[1]
  • Production Secretary – Silvia Vázquez[1]
  • Production Runner – Jose Luis Rodriguez/Puma[1]
  • Filmed at Fox Studios, Australia and on location in Lake Como & Caserta, Italy; Tozeur & Matmata, Tunisia & Seville, Spain and at Elstree Film Studios & Ealing Film Studios, England[1]
  • Mixed & Recorded in a THX Certified Facility[1]
  • UK Legal Services by – Billy Hinshelwood[1]
  • Australian Legal Services by – Peter Thompson - Tress Cocks & Maddox[1]
  • Insurance Services by – David Havard, Peter Robey - AON/Albert G Ruben[1]
  • US Travel Services by – Cathy Nilsen - Direct Access[1]
  • Australian Travel Services by – Nathalie Verunica - Showtravel[1]
  • European Travel Services by – Sue Roberts - The Travel Company[1]
  • Shipping Services by – Film Freight Australia, Dynamic Freight Services, UK[1]
  • DLP Projection by – Christie Digital Systems[1]
  • Production Speaker Systems by – M & K Sound[1]
  • Production Network by – Foundry Networks[1]
  • Pre-Visualization Hardware by – Apple & AMD[1]
  • Pre-Visualization Software by – Alias/Wavefront's Maya & Adobe Systems Inc.[1]
  • Pre-Visualization Edited on – Final Cut Pro[1]
  • Plasma Displays & Scoring Projection by – Runco International[1]
  • 3-D Scanning Services by – Gentle Giant Studios[1]
  • Lighting Equipment by – Panavision Lighting[1]
  • Additional Lighting Equipment by – AFM Lighting[1]
  • Additional Camera Equipment by – Plus 8 Video[1]
  • Additional Camera Lenses by – Fuji[1]
  • Prints by – DeLuxe Laboratories[1]
  • Optical Sound Tracks by – Mike Vigil[1]
  • Pogle Color Correction Equipment by – Pandora International[1]
  • Piccaso System by – Snell & Wilcox[1]
  • Shot entirely digitally on – CineAlta[1]
  • Camera Equipment by – Panavision Digital Imaging[1]
  • Digital Film Masters Recorded on – ARRI[1]
  • John Farrand, Kim Williams, Steve Smith, Rod Allan, James Bramley, Ted Gagliano, Ted Costas, Tim Schafbuch, Dave Schnuelle, Steve Morris, Victoria Buchan, Byron Bay Kendo Club, Sydney Kendo Club, Fondo Per L'ambiente Italiano, Cities Of Lenno, Griante & Tremezzo, Italy, Italian Ministry Of Art And Culture, City Of Caserta, Italy, People Of Tozeur & Matmata, Tunisia, Tunisian Ministry Of The Interior, San Pablo De Sevilla Airport Customs, Seville Police, Seville City Council, Gmu - Seville, Parasound-Home Theater, Digital Film Lab, Copenhagen, British Musicians Union, Michael Smuin, Emirates, Sally Bullock, Tom Delmar, Van Bedient, Susan Leahy, Dennis Noonan, Charlie Ledogar, Cyril Drabinsky, Brian Claypool, Renee Russo, Sony-Ericsson, Landrover

and a very special thanks to all the Engineers at Sony, Atsugi, Japan