Cast Software Vs Sonar Con
Posted By admin On 19.12.19- Cast Software Vs Sonar Converter
- Cast Software Vs Sonar Converter
- Cast Software Vs Sonar Configuration
- Cast Software Vs Sonar Construction
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EditDirected by
| Robert Schwentke |
Writing Credits
| Brian Duffield | .. | (screenplay) and |
| Akiva Goldsman | .. | (screenplay) and |
| Mark Bomback | .. | (screenplay) |
| Veronica Roth | .. | (novel) |
Cast (in credits order) verified as complete
| Kate Winslet | .. | Jeanine | |
| Jai Courtney | .. | Eric | |
| Mekhi Phifer | .. | Max | |
| Shailene Woodley | .. | Tris | |
| Theo James | .. | Four | |
| Ansel Elgort | .. | Caleb | |
| Miles Teller | .. | Peter | |
| Cynthia Barrett | .. | Amity Divergent Woman | |
| Justice Leak | .. | Amity Divergent Husband | |
| Lyndsi LaRose | .. | Amity Teacher | |
| Charlie Bodin | .. | Amity Server | |
| Octavia Spencer | .. | Johanna | |
| Zoë Kravitz | .. | Christina | |
| Ben Lloyd-Hughes | .. | Will | |
| Tony Goldwyn | .. | Andrew | |
| Ashley Judd | .. | Natalie | |
| Konrad Howard | .. | Connor | |
| Lucella Costa | .. | Odessa | |
| Devon Lane Tresan | .. | Amity Horse Girl | |
| Ray Stevenson | .. | Marcus | |
| Stephanie Leigh Schlund | .. | Amity Hot Blonde (as Stephanie Schuland) | |
| Leonardo Santaiti | .. | Amity Seth | |
| Derick Pritchard | .. | Amity Dauntless Soldier (as Derik Pritchard) | |
| Ian Casselberry | .. | Amity Dauntless Soldier | |
| Jonny Weston | .. | Edgar | |
| Naomi Watts | .. | Evelyn | |
| Keiynan Lonsdale | .. | Uriah | |
| Suki Waterhouse | .. | Marlene | |
| Emjay Anthony | .. | Hector | |
| Rosa Salazar | .. | Lynn | |
| Maggie Q | .. | Tori | |
| Kendrick Cross | .. | Candor Guard | |
| Daniel Dae Kim | .. | Jack Kang | |
| David Landry | .. | Candor Dauntless Soldier | |
| Lawrence Kao | .. | Erudite Tech #1 | |
| Justin Miles | .. | Erudite Tech #2 | |
| Hunter Burke | .. | Erudite Administrator | |
| Kate Rachesky | .. | Candor Teenage Girl | |
| Callie Brook McClincy | .. | Candor Small Girl (as Callie McClincy) | |
| Pete Burris | .. | Candor Divergent Man (as Peter Burris) | |
| Justine Wachsberger | .. | Lauren | |
| Isadore Lieberman | .. | Factionless Kid #1 | |
| Nicholas Martin | .. | Factionless Kid #2 | |
| Nelson Bonilla | .. | Erudite Cell Guard | |
| Arian Ash | .. | Erudite Control Room Tech #1 (as Arian Ash Clute) | |
| Jane Park Smith | .. | Erudite Control Room Tech #2 | |
| Janet McTeer | .. | Edith Prior | |
| Rest of cast listed alphabetically: | |||
| Andrea Alcorn | .. | Amity (uncredited) | |
| Isabella Antinori | .. | Factionless Kid (uncredited) | |
| Denzell Armon | .. | Amity Teen (uncredited) | |
| Rick Avis | .. | Factionless (uncredited) | |
| Preston Baker | .. | Dauntless Rebel (uncredited) | |
| Andrew Bansemer | .. | Dauntless Rebel (uncredited) | |
| Hayden Gael Barnes | .. | Factionless Kid (uncredited) | |
| Kimberly Battista | .. | Candor (uncredited) | |
| Dustin Bennett | .. | Candor Guard 2 (uncredited) | |
| Patrick Constantine Bertagnolli Jr. | .. | Erudite Dauntless Soldier (uncredited) | |
| Ashley Lyn Blair | .. | Erudite Extra (uncredited) | |
| Andrew James Bleidner | .. | Factionless Soldier (uncredited) | |
| Austin Bollinger | .. | Bully (uncredited) | |
| Igor Bondaruk | .. | Erudite Lab Tech (uncredited) | |
| Bradley Bowen | .. | Candorian (uncredited) | |
| Deaven Brooks | .. | Factionlist Army (uncredited) | |
| DuRa Brown | .. | Erudite Dauntless Soldier (uncredited) | |
| Andrew Buckman | .. | Abnegation (uncredited) | |
| Summer Cain | .. | Dauntless (uncredited) | |
| Phil Cappadora | .. | Cole (uncredited) | |
| Jeremy Carr | .. | Dauntless Rebel (uncredited) | |
| Trey Goodman Carter | .. | Dauntless Rebel (uncredited) | |
| Medo Cash | .. | Evelyn's Guard (uncredited) | |
| Jack Champion | .. | Abnegation Child (uncredited) | |
| Melissa Chandler | .. | Candor Girl (uncredited) | |
| Tabitha Chappelle | .. | Candor Soldier (uncredited) | |
| Paul Cottman | .. | Erudite Security Special Forces (uncredited) | |
| Joseph Cox | .. | Factionless (uncredited) | |
| Morgan Cryer | .. | Erudite Girl (uncredited) | |
| Kristen Danielle | .. | Factionless Army (uncredited) | |
| Taurus Davis | .. | Swat (uncredited) | |
| John Deifer | .. | Farmer (uncredited) | |
| Desha' | .. | Dauntless Rebel (uncredited) | |
| Gordon Dillard Jr. | .. | Candor Guard (uncredited) | |
| Chandler Dollahite | .. | Dauntless Rebel (uncredited) | |
| Jane Doole | .. | Factionless Adult (uncredited) | |
| Patricia M. Dunn | .. | Core Erudite Dauntless (uncredited) | |
| Payson Durant | .. | Abnegation Faction Member (uncredited) | |
| Niki Edwards | .. | Factionless Army (uncredited) | |
| Michael Entrekin | .. | Erudite Dauntless Soldier (uncredited) | |
| Alexandra Erickson | .. | Factionless Teen (uncredited) | |
| Jason Lee Erickson | .. | Dauntless Rebel (uncredited) | |
| Gregory Fears | .. | Candor Factor (uncredited) | |
| Stephanie Ann Louise Fisher | .. | Amity (uncredited) | |
| Alessandro Folchitto | .. | Dauntless Captain (uncredited) | |
| Michael Franji | .. | Erudite Dauntless Soldier (uncredited) | |
| Marco Fuller | .. | Candor Member (uncredited) | |
| Rob Fuller | .. | Dauntless Rebel (uncredited) | |
| Fred Galle | .. | Candor Lawyer (uncredited) | |
| Krista Gibson | .. | Candor Teen (uncredited) | |
| James Gill | .. | Core Dauntless Rebel (uncredited) | |
| Brian Gonzalez | .. | Erudite Faction (uncredited) | |
| Robert Dane Goodwin | .. | Factionless Army (uncredited) | |
| Jermaine Salute Green | .. | Dauntless Soldier (uncredited) | |
| Keith Ham | .. | Factionless (uncredited) | |
| Lucky Harmon | .. | Dauntless Rebel (uncredited) | |
| Roger A. Harrison | .. | Dauntless Rebel (uncredited) | |
| Rory Healy | .. | Candorian (uncredited) | |
| Nathalia Hencker | .. | Tris Spanish (uncredited) | |
| Walter Hendrix III | .. | Factionless EMT (uncredited) | |
| Greg Holliday | .. | Factionless Soldier (uncredited) | |
| Graham Hunt | .. | Abnegation (uncredited) | |
| Janell Islas | .. | Abnegation Woman (uncredited) | |
| Alphonso A'Qen-Aten Jackson | .. | Dauntless Rebel (uncredited) | |
| Isaiah John | .. | Amity Citizen (uncredited) | |
| Stephanie Tyler Jones | .. | Amity Citizen (uncredited) | |
| Lynne Jordan | .. | Amity Woman (uncredited) | |
| Skyla Eli June | .. | Factionless (uncredited) | |
| Alexis Kadey | .. | Candor Girl (uncredited) | |
| John Kap | .. | Factionless (uncredited) | |
| Dom Kegel | .. | Dauntless Rebel (uncredited) | |
| Susan Kegel | .. | Dauntless Rebel (uncredited) | |
| Kate Kilcoyne | .. | Amity Kid (uncredited) | |
| Jesse Kindred | .. | Factionless (uncredited) | |
| Kailey Knight | .. | Amity Girl (uncredited) | |
| Sanya Kongdara | .. | Dauntless Rebel (uncredited) | |
| Levi Krevinghaus | .. | Factionless (uncredited) | |
| Colin Lacativa | .. | Factionless (uncredited) | |
| Dakota James Alden Lane | .. | Dauntless Rebel (uncredited) | |
| Roy Larsen | .. | Candorian (uncredited) | |
| Marcus Lewis | .. | Core Dauntless Rebel / Factionless Army Soldier (uncredited) | |
| Mallorie Lindsey | .. | Erudite Woman (uncredited) | |
| Dale Liner | .. | Dauntless Soldier Captain (uncredited) | |
| Luke Loveless | .. | Amity Boy (uncredited) | |
| Britney Lucas | .. | Erudite Girl (uncredited) | |
| Chelsea Lynn | .. | Amity Woman (uncredited) | |
| Josiah Lyricq | .. | Dauntless Rebel Divergent (uncredited) | |
| Eric Maldonado | .. | Evelyn's Guard #1 (uncredited) | |
| Brittany Mann | .. | Erudite Woman (uncredited) | |
| Keives McGaugh | .. | Factionless Adult (uncredited) | |
| Daniel McGraw | .. | Amity Council Member (uncredited) | |
| Dan Michael | .. | Dauntless Rebel (uncredited) | |
| Gary Miller | .. | Candor Man (uncredited) | |
| La'Chyra Candace Mitchell | .. | Erudite Faction (uncredited) | |
| Christopher William Moore | .. | Factionless Army (uncredited) | |
| Sarah Murphy | .. | Amity Woman (uncredited) | |
| Roger Neal | .. | Core Erudite Dauntless (uncredited) | |
| Nonoma | .. | Factionless Army (uncredited) | |
| Logan O'Neill | .. | Candor Security Soldier (uncredited) | |
| Samuel Oden | .. | Amity Member (uncredited) | |
| Tony Ohara | .. | Dauntless rebel (uncredited) | |
| Max Ortiz Jr. | .. | Factionless Army (uncredited) | |
| Jessica Paidge | .. | Factionless Woman (uncredited) | |
| Justin Parks | .. | Core Dauntless Rebel (uncredited) | |
| Richard Pis | .. | Core Group Dauntless Rebel (uncredited) | |
| Zane Pittman | .. | Core Dauntless Rebel (uncredited) | |
| Aron Price | .. | Candor Headquarters Security Force (uncredited) | |
| Patrick Purser | .. | Factionless (uncredited) | |
| Sara Jane Ragnarök | .. | Evelyn's Posse (uncredited) | |
| Rebecca Ray | .. | Dark Tris (uncredited) | |
| Jake Riley | .. | Dauntless Rebel (uncredited) | |
| Dale Ritchey | .. | Factionless Army (uncredited) | |
| Emma Elle Roberts | .. | Dauntless Rebel (uncredited) | |
| Megan Prater Robinson | .. | Amity Faction Member (uncredited) | |
| Manuel Rodriguez | .. | Factionless (uncredited) | |
| Nancy Sandlin | .. | Abnegation (uncredited) | |
| Shaker Sangam | .. | Amity Council Member (uncredited) | |
| Bryleigh Saunders | .. | Amity Kid (uncredited) | |
| Selena Scott | .. | Erudite Leader (uncredited) | |
| A.J. Sexton | .. | Amity Girl (uncredited) | |
| Cole Shannon | .. | Dauntless Rebel (uncredited) | |
| Megyn Shott | .. | Factionless (uncredited) | |
| Angela Simmons-Morgan | .. | Dauntless Rebel (uncredited) | |
| Cori Sims | .. | Rebel Warrior (uncredited) | |
| Marian Sing | .. | Core Erudite Dauntless (uncredited) | |
| Chris Stein | .. | Candor (uncredited) | |
| Kayleigh Stover | .. | Factionless Kid (uncredited) | |
| Jeff Strickland | .. | Candor Guard (uncredited) | |
| Juanita P. Taylor | .. | Factionless Faction (uncredited) | |
| Steven A.D. Taylor | .. | Evelyn's Guard (uncredited) | |
| Dezirae Teal | .. | Core Dauntless Rebel (uncredited) | |
| Suparna Thies | .. | Factionless Seamstress (uncredited) | |
| Shelby Townsend | .. | Erudite Teen Girl (uncredited) | |
| Gissette Valentin | .. | Factionless Army (uncredited) | |
| Jaclyn Vames | .. | Factionless Seamstress (uncredited) | |
| Jordan Verroi | .. | Factionless Army (uncredited) | |
| Terrence V. Walker | .. | Core Dauntless Rebel (uncredited) | |
| Kathy Walton | .. | Factionless (uncredited) | |
| Diego Ward | .. | Erudite Cell Guard (uncredited) | |
| Steve Warren | .. | Amity Farmer (uncredited) | |
| Gary Watson | .. | Dauntless / Erudite Soldier (uncredited) | |
| Garret Ethan Whittington | .. | Erudite (uncredited) | |
| Bobbie Wigginton | .. | Erudite (uncredited) | |
| William Willet | .. | Candorian Lawmaker (uncredited) | |
| Erick Wofford | .. | Dauntless Rebel (uncredited) | |
| Aja Wooldridge | .. | Amity Girl (uncredited) | |
| Stella Wright | .. | Amity Girl (uncredited) | |
| Jessica Yoshimura | .. | Amity Citizen (uncredited) | |
Produced by
| Mathew Alden | .. | line producer: additional photography |
| Tina Anderson | .. | co-producer |
| Neil Burger | .. | executive producer |
| Julia Enescu | .. | associate producer (as Julia T. Enescu) |
| Lucy Fisher | .. | producer |
| David Hoberman | .. | executive producer |
| Todd Lieberman | .. | executive producer |
| Charlie Morrison | .. | co-producer |
| Michael Paseornek | .. | production executive |
| Veronica Roth | .. | co-producer |
| Pouya Shahbazian | .. | producer |
| Barry H. Waldman | .. | executive producer (as Barry Waldman) |
| Douglas Wick | .. | producer |
| John Wildermuth | .. | co-producer |
Music by
| Joseph Trapanese | .. | (music by) |
Cinematography by
| Florian Ballhaus | .. | director of photography |
Film Editing by
| Stuart Levy |
| Nancy Richardson |
Casting By
| Venus Kanani |
| Mary Vernieu |
Production Design by
| Alec Hammond |
Art Direction by
| Alan Hook | .. | supervising art director |
| Jay Pelissier | ||
| Michael H. Ward |
Set Decoration by
| Kathy Lucas |
Costume Design by
| Louise Mingenbach |
Makeup Department
| Lance Aldredge | .. | hair stylist |
| Maurice Beaman | .. | additional hair stylist |
| Wyatt Belton | .. | hair stylist |
| Howard Berger | .. | special makeup effects KNB |
| Michal Bigger | .. | makeup artist: Ms. Watts |
| Suzanna Boykin | .. | hair stylist: second unit |
| Leay Cangelosi | .. | hair stylist |
| Mary Castor | .. | makeup artist |
| Cynthia L. Chapman | .. | hair stylist |
| Patrice Coleman | .. | additional makeup artist |
| Angelique D'Agnese | .. | hair stylist |
| Yvonne Eagle | .. | additional makeup artist |
| Lumas Hamilton Jr. | .. | key hair stylist (as Lumas Hamilton) |
| Deaundra Harris-Metzger | .. | hair stylist (as Deaundra Metzger) |
| Edouard F. Henriques | .. | makeup department head: additional photography (as Ed Henriques) |
| Noel Hernandez | .. | additional makeup artist (as Noël Hernandez) |
| Lane Holloway | .. | hair stylist |
| Carey Jones | .. | supervisor: KNB EFX Group |
| Kimberly Jones | .. | makeup artist for Ms. Winslet |
| Margie Kaklamanos | .. | prosthetics makeup artist: Ms. Spencer |
| Michele Lewis | .. | additional makeup artist |
| Hagen Linss | .. | additional makeup artist (as L. 'Hagen' Linss) |
| Tracey L. Miller-Smith | .. | makeup artist |
| Tracey Moss | .. | hair stylist |
| Moyra Mulholland | .. | makeup artist: Ms. Judd |
| Greg Nicotero | .. | special makeup effects: KNB |
| Jennifer Nieman | .. | additional makeup artist |
| Fawn Ortega | .. | makeup artist |
| Zsofia Otvos | .. | key makeup artist (as Zsófia Ötvös) |
| Travis Pates | .. | special makeup effects artist |
| Denise Paulson | .. | assistant department head make-up |
| Stephanie Ponder | .. | additional makeup artist |
| Judy Ponder-Patton | .. | additional makeup artist (as Judy S. Ponder) |
| Donna M. Premick | .. | background makeup supervisor (as Donna Premick) |
| Gerald Quist | .. | key makeup artist: additional photography (as Gerry Quist) |
| Susan Ransom | .. | makeup artist |
| Evelyn Roach | .. | additional hair stylist (as Evelyn F. Roach) |
| Mark James Ross | .. | special makeup effects artist: KNB EFX Group |
| Duane Saylor | .. | makeup artist |
| Nico Sohn | .. | additional makeup artist |
| Rick Stratton | .. | tattoo designer |
| Yolanda Toussieng | .. | hair department head |
| Ryan Trygstad | .. | hair stylist: Ms. Watts |
| Denise Tunnell | .. | makeup artist |
| Dawn Turner | .. | hair stylist |
| Brad Wilder | .. | makeup department head |
Production Management
| Tina Anderson | .. | post-production supervisor |
| Jennifer Campbell | .. | production supervisor: second Unit |
| Candice D. Campos | .. | production supervisor |
| Kristy Chrobak | .. | associate production manager |
| Mark W. McCoy | .. | vice president: Feature Post Production |
| Jason Pomerantz | .. | director of production: IMAX Version |
| Mika Saito | .. | production supervisor: additional photography |
| Charuhas Sonar | .. | unit production manager |
| Barry H. Waldman | .. | production manager |
Second Unit Director or Assistant Director
| G.A. Aguilar | .. | second unit director |
| Christopher Blackmore | .. | second second assistant director: second unit |
| Christina Fong | .. | second assistant director |
| Robert S. Hoffman | .. | additional second assistant director: additional photography |
| Keith Jackson | .. | second assistant director: second unit |
| Robin Rk Kempf | .. | additional second assistant director |
| James Madigan | .. | second unit director |
| James McGrady | .. | second second assistant director: additional photography |
| Patrick Priest | .. | second assistant director: aerial unit |
| Kate Pulley | .. | staff additional second assistant director |
| Kevin Roy | .. | additional second assistant director (as Kevin Thomas Roy) / staff additional second assistant director |
| Nick Satriano | .. | first assistant director: second unit |
| Michael Saunders | .. | second second assistant director |
| Jason J. Scott | .. | second second assistant director (second unit) |
| Andy Spellman | .. | first assistant director: Chicago unit |
| Dawn Terashima | .. | second second assistant director: chicago unit |
| Mike Tsucalas | .. | second second assistant director (second unit) |
| John Wildermuth | .. | first assistant director |
| Heather Wusterbarth | .. | second assistant director: second unit |
| Steve Windle | .. | second second assistant director (uncredited) |
Art Department
| Efrem L. Acosta | .. | labor foreman |
| David Baptiste | .. | greens utility |
| Pedro Barquin | .. | greens on set foreman |
| Edward Bearden III | .. | gang boss: welder |
| Brian Benavides | .. | set foreman |
| Sarena Bhargava | .. | head sculptor |
| Mark Bialuski | .. | propmaker gang boss |
| Gary Blair | .. | construction rigger |
| Rachel Block | .. | assistant art director |
| Wren Boney | .. | construction medic |
| Dann Brauckmann | .. | on set dresser |
| Maxwell Britton | .. | set dresser |
| Erika Burke | .. | art dept. assistant |
| Greg John Callas | .. | construction coordinator |
| Wes Campbell | .. | scenic sculptor |
| Christopher Casey | .. | set dresser |
| Robert Consing | .. | storyboard artist |
| Tim Croshaw | .. | set designer |
| Hank Curtis | .. | set dresser |
| Raniero Daza | .. | props |
| Jeffrey DeBell | .. | greens coordinator |
| Patrick Dunn-Baker | .. | lead set designer |
| Scott Einbinder | .. | set dresser |
| Scot Erb | .. | senior model maker |
| Zachary Fannin | .. | graphic designer |
| Kasra Farahani | .. | concept artist |
| Robert Fechtman | .. | set designer |
| Giovanni Ferrara | .. | painter (paint foreman) |
| John Fleming | .. | metal construction |
| Matthew Lee Flory | .. | fabricator |
| Lonam Fogleman | .. | set dresser |
| John Galbreath | .. | construction medic |
| Michael Glynn | .. | assistant property master (as J. Michael Glynn) |
| Cary Goen | .. | greens lead |
| Joel Thomas Guros | .. | digital asset manager (as Joel Guros) |
| Nicholas Hatfield | .. | painter |
| Todd Hatfield | .. | scenic artist |
| Bryan Wilson Hembree | .. | utility (as Bryan Bubba Hembree) |
| John Hemphill | .. | greens gang boss |
| Aimee Holmberg | .. | set dresser |
| Mark Hudson | .. | paint foreman |
| Preston Jacob | .. | set dresser |
| Kip Jamison | .. | set dresser and additional on-set dresser |
| Scott Johnson | .. | on-set dresser: additional photography |
| Tedd Keith | .. | General Foreman |
| B. David King | .. | paint utility |
| Mayumi Konishi-Valentine | .. | set designer |
| Fabian Lacey | .. | concept illustrator |
| Charlotte Lee | .. | buyer |
| Meagen Lee | .. | art department assistant: preproduction |
| Amanda Leigh | .. | art department production assistant |
| Anthony Leonardi III | .. | storyboard artist |
| Chloe Lipp | .. | art department coordinator |
| Erik Malkovich | .. | set dresser |
| David Manhan | .. | leadman |
| Sean Mannion | .. | property master |
| Alex McCarroll | .. | reshoots |
| Bret McKee | .. | set dresser |
| Frank Mckeever | .. | fabricator |
| Calvin Myers | .. | greensman |
| Jason Negron | .. | set dresser |
| Joe Northrop | .. | gangboss painter |
| Tripp Norton | .. | on set dresser |
| Sam Page | .. | set designer |
| Jose F. Pineda Garcia | .. | propmaker |
| Jose F. Garcia Pineda | .. | props |
| Wil Rees | .. | production illustrator |
| Katrina Rice | .. | props |
| Raj Rihal | .. | concept artist |
| Dan Riker | .. | props |
| Kathleen Rosen | .. | set decoration buyer |
| T.J. Rottenberg | .. | greensman |
| Scott Schneider | .. | specialist set designer |
| Nathan Schroeder | .. | illustrator |
| Carrie Sharpe | .. | art department assistant (as Carrie D. Curtis) |
| Dan Shoen | .. | propmaker |
| Craig Shoji | .. | concept artist |
| Craig T. Shordon | .. | decorator gang boss |
| Lamont Snipes | .. | gangboss painter |
| Shea Soutar | .. | stand by painter |
| Marc Tantin | .. | welder gang boss |
| Beau Tepper | .. | art department production assistant |
| Amy Lynn Umezu | .. | storyboard artist |
| Timothy Vierra | .. | propmaker gangboss |
| Jason Vigdor | .. | set dresser |
| Joe Voltolin | .. | construction foreman |
| James Bryant Wactor | .. | propmaker foreman |
| Frankie Walker | .. | set dressser |
| Chris Watson | .. | utility |
| Dara Watson | .. | set decoration coordinator |
| Wendy Weaver | .. | set decorating buyer: LA |
| Willa Whalen | .. | art deptartment pa |
Sound Department
| Tom Burns | .. | re-recording mix technician |
| Charlie Campagna | .. | sound effects recordist |
| Scott Cannizzaro | .. | adr mixer |
| Kevin Cerchiai | .. | boom operator |
| Kevin A. Cheatham | .. | sound utility (second unit) |
| Jason Chiodo | .. | re-recording mixer: special features |
| Harry Cohen | .. | sound designer |
| P.J. Corvus | .. | audio technician |
| Tanja Crouch | .. | post-production facility manager |
| Jeremy B. Davis | .. | re-recording mix technician |
| Peter J. Devlin | .. | sound mixer |
| Thomas J. Doolittle | .. | additional sound utility: day player / utility/boom operator (day-player) |
| Mike Filosa | .. | sound mixer: second unit |
| Nerses Gezalyan | .. | foley mixer / sound mixer |
| Hector C. Gika | .. | sound effects editor (as Hector Gika) |
| Lauren Hadaway | .. | foley editor |
| Gary A. Hecker | .. | supervising foley artist |
| Michael Hertlein | .. | dialogue editor: MPSE |
| Michael Jones | .. | sound utility: second unit |
| Daniel R. Kerr | .. | sound effects recordist |
| Jason C. Lewis | .. | second boom operator |
| Dave McMoyler | .. | supervising sound editor |
| Michael Miller | .. | adr mixer |
| Christian P. Minkler | .. | re-recording mixer |
| Michael Minkler | .. | re-recording mixer |
| Dror Mohar | .. | sound editor |
| Chris Navarro | .. | adr mixer |
| Jordan O'Neill | .. | datasat sound mastering engineer |
| Rick Owens | .. | foley artist |
| Michelle Pazer | .. | dialogue editor |
| Mike Sansom | .. | additional sound utility |
| Kambiz Sardari | .. | dubbing |
| Seva Solntsev | .. | re-recording mixer |
| Wylie Stateman | .. | supervising sound editor |
| John C. Stuver | .. | dialogue editor |
| Richard Swor | .. | adr mixer |
| Jon Title | .. | sound designer |
| Renee Tondelli | .. | dialogue and adr supervisor |
| Robert Vardaros | .. | boom operator: second unit |
| Tim Walston | .. | sound effects editor |
| Allen Lee Williams III | .. | boom operator (second unit) |
| James Wright | .. | dolby sound consultant |
Special Effects by
| David Amborn | .. | special effects foreman |
| Thomas Amborn | .. | special effects technician |
| John P. Cazin | .. | special effects foreman |
| Mancico Troy Cloud | .. | special effects technician |
| Randy Fitzgerald | .. | special effects foreman |
| Eric Frazier | .. | special effects coordinator additional photography |
| Anthony Ray Herrera | .. | special effects foreman |
| Dewaldt Hicks | .. | special effects technician |
| Joel Hobbie | .. | special effects technician |
| J.J. Madaris | .. | special effects technician |
| Ken Mieding | .. | special effects foreman |
| Chad Pruett | .. | special effects technician |
| Theodore M. Sandifer | .. | prep supervisor at gener8 |
| James G. Thomas | .. | special effects foreman |
| Bruno Van Zeebroeck | .. | special effects coordinator |
| Ross Young | .. | special effects engineer |
Visual Effects by
| Ian Abbott | .. | technology: Double Negative |
| Aileen Acayan | .. | stereoscopic compositor: Legend 3D |
| Pranay Agarwal | .. | compositor: Double Negative |
| Alicia Aguilera | .. | digital compositor |
| Africa Aguirre Martín | .. | studio data management: double negative |
| Marisa Ahn | .. | rotoscope artist: Gener8 (as Marissa Ahn) |
| Matt Akey | .. | executive producer: legend 3D |
| Evrim Akyilmaz | .. | visual effects artist: Double Negative |
| Keren Albala | .. | previsualization artist |
| Ryan Albertson | .. | pipeline td |
| Andrew Alevizos | .. | compositor |
| Troy Alexiadis | .. | stereoscopic compositor |
| William Algar-Chuklin | .. | render wrangler: animal logic |
| Mona Ali | .. | rotoscope artist: stereoscopic conversion |
| Mauricio Amezcua Arregui | .. | rotoscoping artist |
| Christopher Anciaume | .. | visual effects artist: double negative |
| Erika Anderholm | .. | visual effects artist |
| Elana Andersen | .. | support engineer: animal logic |
| Dane Anderson | .. | senior io technician: Legend 3D |
| Derek Anderson | .. | rotoscope artist: Gener8 |
| Joren Anderson | .. | visual effects production assistant |
| Tovonaina Andriamampionona | .. | stereo compositor: legend3d |
| Arild Anfinnsen | .. | visual effects artist |
| Lilian Angel | .. | stereo compositor: Legend 3D |
| Mario Antoñanzas | .. | animator |
| Khan Arbaz | .. | matchmove artist |
| Kamran Arian | .. | lead stereo compositor: Legend 3D |
| Vaughn Arnup | .. | roto/paint supervisor |
| Jyoti Arora | .. | prep artist: stereo conversion: Gener8 |
| Prabesh Aryal | .. | stereo artist |
| Jayce Attewell | .. | visual effects coordinator: Method Studios |
| Elias Atto | .. | visual effects artist |
| David Aulds | .. | digital compositor |
| Daniel Avery | .. | stereo compositor: Gener8 |
| Daniel Axelsson | .. | character modeler |
| Murat Ayasli | .. | compositor |
| Nithin Babu | .. | visual effects artist: digital artist: Double Negative |
| Mathieu Bacchous | .. | stereo depth artist: Legend 3D |
| Eric Bachtiar | .. | studio data assistant |
| Austin Baerg | .. | visual effects artist |
| Rami Bahsous | .. | stereo compositor: Legend 3D |
| Joshua Bailor | .. | digital compositor: Crafty Apes |
| Garry Baker | .. | purchasing & asset management officer: animal logic |
| Michael John Baker | .. | roto/prep artist: Double Negative |
| Michael Jeff Baldemoro | .. | roto/prep supervisor: Double Negative |
| Jon Baldwin | .. | previs artist: The Third Floor Inc. |
| Scott Balkcom | .. | digital compositor |
| Carlo Barbera | .. | digital compositor: Genialogic FX s.u. |
| William Barkus | .. | compositor |
| H.R. Barnett | .. | depth grade operator: Legend 3D |
| Mike Barnett | .. | stereo artist: Legend 3D |
| Brandon Barney | .. | compositor |
| Judy Barr | .. | digital compositor |
| Christian J. Barratt | .. | junior stereo artist: Legend 3D |
| Pharoah Barrett | .. | visual effects artist: the third floor |
| Keith Barton | .. | technical support: Milk Visual Effects |
| Jason Bath | .. | visual effects producer: Animal Logic |
| Jeremy Bazin | .. | stereoscopic compositor |
| D.J. Becerral | .. | stereo compositor: Legend3D |
| Susanne Becker | .. | digital compositor: Double Negative |
| Nathan Behmlander | .. | stereoscopic compositor |
| Matthew Bell | .. | stereo compositor: Legend 3D |
| Richard Bendo | .. | stereoscopic compositor: Legend 3D |
| Tyler Bennink | .. | stereo producer: Legend3D |
| Niki Bern | .. | compositor |
| Kate Bernauer | .. | compositor |
| Melissa Best | .. | stereo compositing supervisor: Gener8 |
| Luke Bigley | .. | digital compositor |
| Sabina Bihlmaier | .. | digital compositor |
| James Bishop | .. | support engineer: animal logic |
| Jourdan Biziou | .. | previs artist: The Third Floor Inc. |
| Aevar Bjarnason | .. | visual effects artist |
| Gabriel Blanco | .. | r&d engineer |
| James Bleakley | .. | visual effects: Matchmove artist: Animal Logic |
| Ilona Blyth | .. | visual effects coordinator |
| Preetham Tej Boddu | .. | prep supervisor |
| David Bohorquez | .. | previs artist: The Third Floor Inc. |
| Caleb Bomysoad | .. | compositor: Gener8 |
| Austin Bonang | .. | previs supervisor: The Third Floor Inc |
| Fabrizia Bonaventura | .. | lighting td |
| Timothy Bond | .. | digital coordinator: Luma Pictures |
| Jonathan Bot | .. | digital compositor: Animal Logic |
| Manuel Bover | .. | previs artist: The Third Floor Inc. |
| Chris Bowers | .. | previsualization artist |
| Jason Bowers | .. | compositing supervisor |
| Paul Boyd | .. | visual effects artist |
| Neal Bradshaw | .. | 3d scan technician: Gentle Giant Studios |
| James Braid | .. | technology: Double Negative |
| Ben Breckenridge | .. | stereoscopic supervisor |
| Greg Breitzman | .. | previs artist: The Third Floor Inc. |
| Millie Brennan | .. | stereo compositor: Legend 3D |
| Laura Brewer | .. | stereo artist (as Laura Massingham) |
| Decharne Brian | .. | digital compositor |
| Brandon Brocker | .. | visual effects production assistant |
| Adam Broderick | .. | visual effects artist |
| Tasha Brotherton | .. | lead stereoscopic compositor |
| Colin P. Brown | .. | colourist |
| Jason Lee Brown | .. | modeler |
| Tristan Brown | .. | digital compositor |
| Anthony Brunelle | .. | previs artist: NeoReel inc. |
| Page Buckner | .. | visual effects consultant |
| Odemaris Burgos | .. | visual effects artist |
| Paul Butterworth | .. | visual effects supervisor: visual effects supervisor: Animal Logic VFX |
| Meagan Byrt | .. | prep lead |
| Serena Cacciato | .. | animator |
| Andrew Cadey | .. | visual effects technical director |
| Francesco Cadoni | .. | compositor: Luma Pictures |
| Moray Caldwell | .. | digital compositor |
| Josh Callahan | .. | stereo artist: Legend 3D |
| Sean Callahan | .. | lead stereo artist: Legend 3D |
| Sarah Canale | .. | stereo compositor: Legend 3D |
| Alexandre Cancado | .. | 2d supervisor: Luma Pictures |
| Eric Cardenas | .. | stereo compositor |
| Dan Carnegie | .. | matchmove supervisor: Gener8 |
| Thiago Carneiro | .. | stereo compositor: Legend 3D |
| Dan Carpenter | .. | compositor: Gener8 |
| Ean Carr | .. | compositor |
| Antonio Carrasco Liadskikh | .. | stereo compositor: Legend 3D |
| Owen Cartagena | .. | stereo compositor: Gener8 |
| Steve Casa | .. | visual effects photographer |
| Nicolás Casanova | .. | stereo compositor: Legend 3D |
| Ethan Casper | .. | visual effects coordinator: credited |
| Gerardo Castro | .. | visual effects artist: roto artist - Gener8 |
| Joe Censoplano | .. | lighting/compositing: Luma pictures |
| Josè Cervera | .. | fx artist: Genialogic FX s.u. |
| Craig Cesareo | .. | lead pipeline td: Legend3D |
| Julien Chagnon-Zimmerly | .. | stereo compositor: Legend 3D |
| Caroline Chai | .. | roto artist |
| Matthew Chan | .. | stereo artist: Legend 3D |
| Wayne Chan | .. | digital compositor: Double Negative |
| Tiffany Chang | .. | junior stereo artist: Legend 3D |
| Romain Charoy | .. | visual effects artist |
| Peter Charron | .. | lead stereo artist: Legend 3D |
| Kathy Chasen-Hay | .. | visual effects consultant |
| Shirin Chawla | .. | rotoscope artist: stereoscopic conversion |
| Cookie Chee | .. | rotoscope artist |
| Jonathan Cheetham | .. | compositing supervisor: Method Studios |
| John Abraham Chempil | .. | digital artist: double negative |
| Alexander Chen | .. | Visual Effects Data Asset Coordinator |
| Teddy Cheong | .. | compositor |
| Ricky Cheung | .. | prep artist |
| Cheow Hong Chia | .. | paint/prep artist: double negative |
| Kunal Chindarkar | .. | compositor: Double Negative Visual Effects |
| Laurence Chong | .. | matchmove artist: animal logic |
| Caleb Choo | .. | visual effects artist |
| Tim Chou | .. | stereo supervisor: Gener8 |
| Razack Chris | .. | stereo artist: Legend 3D |
| Kenneth Chua | .. | machmove artist: double negative |
| Vincent Cirelli | .. | visual effects supervisor: Luma Pictures |
| Jimi Clark | .. | stereoscopic compositor |
| Erik Classen | .. | digital compositor |
| Jeff Clifford | .. | research and development: Double Negative |
| Christine Clippinger | .. | senior stereo compositor: Legend 3D |
| Nicolae-Gheorghe Cojocaru | .. | effects technical director: Double Negative |
| Tom Collier | .. | digital compositor: Animal Logic |
| Aaron Colman-Hayes | .. | model & texture artist: Luma Pictures |
| Brian Connor | .. | digital compositor: double negative |
| Tristan Connors | .. | modelling supervisor |
| J. Todd Constantine | .. | previs artist: The Third Floor Inc. / previsualization lead: The Third Floor |
| Katharine Watford Cook | .. | director: 360º/VR EPK / producer: 360º/VR EPK |
| Agustin Andres Cortes | .. | visual effects (as Augustin Andres Cortes) |
| David Costello | .. | roto/paint artist |
| Maurice Cox | .. | stereoscopic compositor |
| Sarah Cripps | .. | visual effects line producer |
| Matt Crispo | .. | stereo compositor: Legend 3D |
| Andres Cuervo | .. | stereoscopic compositor: Legend 3D |
| Ryan Cummins | .. | lead stereo compositor |
| Rusty Currier | .. | visual effects artist: Luma Pictures |
| Nicole D'Cotta | .. | roto artist: double negative |
| Nyssa Dalley | .. | stereo artist: Legend3D |
| Michaela Danby | .. | digital compositor |
| Cole Darby | .. | i/o coordinator: Luma Pictures |
| Samuel Darnell | .. | stereo compositor |
| Nicolas Darques | .. | pipeline supervisor: Method Studios London |
| Nic Davidson | .. | stereo artist |
| Jayson Davis | .. | compositor: Gener8 |
| Rikk Davis | .. | stereo artist: Legend 3D |
| Ruth Deane | .. | roto/prep artist: method studios |
| Robert Deas | .. | visual effects artist |
| Josh Deason | .. | stereoscopic compositor |
| Christophe Dehaene | .. | digital compositor |
| Vance Dehne | .. | prep artist |
| Zelko Dejanovic | .. | digital compositor |
| Matthew DeJohn | .. | stereoscopic supervisor: Legend 3D |
| Chris Del Conte | .. | vp of production: Legend3D |
| Leonardo Delaney | .. | stereo compositor: Legend 3D |
| Reyna Delaney | .. | stereoscopic compositor |
| Ruy Delgado | .. | visual effects artist |
| Marie Victoria Denoga | .. | digital compositor: Luma Pictures |
| Matías Derkacz | .. | compositor: Milk VFX / lead compositor |
| Harshal Deshpande | .. | team lead matchmove |
| Jyoti Bhalchandra Deshpande | .. | production manager |
| Iacopo Di Luigi | .. | lead artist: lighting |
| Alex Diaz | .. | stereo compositor: Legend 3D |
| Timothy Diem | .. | stereo artist: Legend3D |
| Kenneth Dietrich | .. | compositor |
| Eshan Dissanayake | .. | Stereo Artist L3D |
| Yoav Dolev | .. | digital compositor: Animal Logic |
| Tyson Donnelly | .. | digital compositor |
| Wes Dorough | .. | visual effects data wrangler: reshoots |
| James Douvinos | .. | jr. stereo artist |
| Tom Driscoll | .. | vfx editor: Legend 3D |
| Brian Ducharme | .. | digital compositor: Genialogic-fx |
| Olivier Dumont | .. | visual effects supervisor: Method Studios |
| Adam J. Dunn | .. | digital compositor |
| Jean-Paul Ear | .. | stereoscopic compositor: Legend 3D |
| Brandon Edgar | .. | compositing artist: legend 3d |
| Christopher Edwards | .. | previs creative supervisor: The Third Floor Inc |
| David Edwards | .. | compositor: Luma Pictures |
| Michael J. Egan | .. | visual effects artist |
| James Eggleston | .. | compositor |
| Kelsey Elias | .. | stereo compositor: Legend 3D |
| Tosh Elliott | .. | Build supervisor: Double Negative |
| Jordan Emerick | .. | previs artist: The Third Floor |
| Marlon Engel | .. | stereoscopic compositing supervisor: Gener8 |
| Joe Engelke | .. | digital compositor |
| Christopher Enloe | .. | stereo depth artist: Legend 3D |
| Jeremy Erb | .. | stereo artist: Legend3D: visual effects |
| Erick Escobales | .. | stereo artist: Legend3D |
| John Paul Escobar | .. | assistant: vfx editor: Legend 3D |
| Elena Espinosa | .. | visual effects |
| Jeffrey Esteban | .. | previs artist: NeoReel inc. |
| Verónica Granadero Estrada | .. | rotomation artist: stereoscopic conversion |
| James D. Etherington | .. | compositing supervisor: Double Negative |
| Duane Eues | .. | technical director |
| Devin Fairbairn | .. | visual effects producer: Match the Motion |
| Struan Farquhar | .. | visual effects editor |
| Joseph Farrant | .. | visual effects editor: Double Negative |
| Charlotte Farrell | .. | technology: Double Negative |
| James Farrington | .. | animator: Double Negative |
| Andrew Farris | .. | stereo compositor: Legend3D |
| Kathryn Fay | .. | stereo compositor: Legend 3D |
| Amy Felce | .. | matchmove artist (as Amy Lloyd) (milk-vfx) |
| Limas Uribe Fernando | .. | stereo artist: Legend 3D |
| David Fernández Girón | .. | digital artist |
| Rogiero Fernández | .. | rotoscope artist: Gener8 |
| Christopher Ferrari | .. | fx artist |
| Elisa Mar Ferre | .. | digital compositor |
| Judith Ferrer | .. | digital compositor |
| Mark Ferrer | .. | rotoscope artist: Gener8 |
| Alastair Ferris-Leak | .. | lighting artist |
| Juan Carlos Ferrá | .. | stereo compositor |
| Benjamin Figueroa | .. | stereo artist: Legend 3D |
| Tiku Roemello Fisher | .. | stereo coordinator (as Tiku Fisher) |
| Megan Flanagan | .. | lead stereo artist |
| Matt Flicker | .. | fx technical director |
| Anthony Florio | .. | 3d compositor |
| Heather Flynn | .. | previs lead: The Third Floor Inc. |
| Sarah Foff | .. | compositor: Legend 3D |
| David Forsbrey | .. | environment artist: double negative |
| Jenny Foster | .. | visual effects producer: Double Negative |
| Frederic Fourier | .. | cg artist: Method Studios |
| Camila Silveira Francisco | .. | rotomation artist: stereoscopic conversion |
| Alex Fry | .. | compositing lead |
| Amy Furey | .. | matchmove artist: animal logic |
| Akash Gade | .. | visual effects artist |
| Adam Gailey | .. | visual effects artist |
| Jennifer Gallaugher | .. | stereo compositor |
| Jason Gandhi | .. | r&d |
| Vikas Ganer | .. | assistant rotoscope lead: Stereoscopic Conversion: Gener8 |
| Riddhima Garatikar | .. | stereo artist: Legend 3D |
| Magali Garceau | .. | previs artist: NeoReel inc. |
| Anthony Garcia | .. | lead stereo compositor: Legend 3D |
| Lloyd Garcia | .. | stereo artist: Legend 3D |
| Manuel Gomez Garcia | .. | rotoscope artist |
| Yazmin Garcia | .. | stereo compositor |
| Nathan Gardner | .. | roto prep supervisor |
| Prag Gargatte | .. | compositor: Double Negative |
| Brannek Gaudet | .. | stereoscopic compositor |
| Rino George | .. | compositor |
| Tomi George | .. | stereo roto/paint artist |
| Mohamed Ghouse | .. | digital compositor: Double Negative |
| Filippo Giansante | .. | vfx supervisor: Genialogic FX s.u. |
| Laurent Gillet | .. | visual effects supervisor |
| Sam Girdler | .. | stereo coordinator: Double Negative |
| Henning Glabbart | .. | digital compositor: Milk Visual Effects |
| Cyrus Jay Gladstone | .. | conversion stereographer (as Cyrus Gladstone) |
| Blake Goedde | .. | digital compositor (visual effects) |
| Aylwyn Goh | .. | visual effects production coordinator |
| Walter Goh | .. | matchmove artist: double negative |
| Harrison Goldstein | .. | visual effects line producer: Double Negative |
| Kyle Goodsell | .. | compositing sequence supervisor: double negative |
| Lenny Gordon | .. | tracker: Luma Pictures |
| Philip Gordon | .. | stereo compositor: Legend 3D |
| Yash Gowda | .. | stereographer |
| Trevor Graciano | .. | compositing supervisor: Legend 3D |
| Alvin Grado | .. | visual effects |
| Cody Graham | .. | stereoscopic artist |
| Duane Granger | .. | io production supervisor: Legend 3D |
| Anthony Grant | .. | lead modeler/texture artist: Luma Pictures |
| Pasquale Anthony Greco | .. | visual effects data wrangler |
| Neil Greenberg | .. | visual effects editor |
| Anthony Gregory | .. | masking artist: Legend 3D |
| Nicolas Grenier | .. | previs artist: NeoReel inc. |
| Turlo Griffin | .. | digital matte painter: Milk VFX |
| Steve Griffith | .. | visual effects producer: luma pictures |
| Meghan Grube | .. | animator: Luma Pictures |
| Christopher Grutzmacher | .. | system administrator: Legend 3D |
| Araceli Guerrero | .. | stereo compositor: Legend 3D |
| Emmanuel Guevarra | .. | prep lead: Gener8 |
| Marc-André Guindon | .. | previs supervisor: NeoReel inc. |
| Vikas Gusain | .. | senior prep artist |
| Gil Hacco | .. | previs artist: The Third Floor Inc. |
| Sharna Hackett | .. | visual effects line producer: double negative |
| Bryan Haines | .. | visual effects artist |
| Andrew J. Hall | .. | stereo artist: Legend 3D |
| Jeremy Hall | .. | stereo artist |
| Miles Hall | .. | lead stereo artist: Legend 3D |
| Jamie Hallett | .. | visual effects supervisor: capital T |
| Lindsay Hallett | .. | director: business relations - luma pictures |
| Ryan Hamar | .. | prep artist: assets (stereoscopic conversion) |
| Rob Hamilton | .. | paint/roto artist: Luma Pictures |
| Kelsey Hammerton | .. | stereo compositor: Legend 3D |
| Adam Hammond | .. | digital compositor:double negative |
| H Haden Hammond | .. | freelance compositor: capital T |
| Lisa Hansen | .. | visual effects line producer: double negative |
| Pete Hanson | .. | studio manager: Double Negative |
| Ryu Harada | .. | character look development artist |
| Aleksandar Hardi | .. | rotoscope artist |
| Andrew Harris | .. | stereo artist: Legend 3D |
| Shizue Harrison | .. | senior stereoscopic artist: Legend 3D |
| John Hasbrook | .. | previs artist: The Third Floor |
| Syuhada Hassan | .. | visual effects production assistant |
| Corinna Hatlestad | .. | stereo artist: Legend 3D |
| Kyle Hause | .. | previs artist: The Third Floor Inc. |
| Eric Heaton | .. | lead stereoscopic compositor: Legend 3D |
| Jason Hebert | .. | senior stereo compositor |
| Samson Heffernan | .. | support engineer: animal logic |
| Ewoud Heidanus | .. | digital compositor: Double Negative |
| Kimberly Henry | .. | lead stereoscopic compositor: Legend 3D |
| Marla Neto Henshaw | .. | business relations associate: Luma Pictures (as Marla Neto) |
| Mario Escudero Hern | .. | rotomator, 3D stereoscopy (as Mario Escuardo Hern) |
| Nicolas Hernandez | .. | visual effects supervisor: Milk Visual Effects |
| Ashton Hertz | .. | data i/o: Method |
| Kimberley Hickey | .. | stereo compositor: Legend 3D |
| Demitri Hidalgo | .. | stereo compositor: Legend 3D |
| Jose Manuel Hidalgo | .. | matchmove artist |
| Wilson Ho | .. | stereo compositor: Legend 3D |
| James Hoang | .. | junior stereo artist |
| Tom Hocking | .. | digital effects artist: at DNEG |
| Justin C. Holden | .. | stereo artist: Legend3D |
| Oliver Hollingdale | .. | motion editor |
| Mike Hopkinson | .. | technical director: Legend 3D |
| Sam Horgan | .. | assistant colourist: Double Negative |
| Shailey Horton | .. | stereoscopic compositor (as Shailey Horne) |
| Yuka Hosomi | .. | digital compositor |
| Craig Houston | .. | lead stereo compositor: stereoscopic conversion |
| Jeremy Houtz | .. | stereo artist |
| Heather Howell | .. | python developer: Legend 3D |
| Cosmin Hrincu | .. | model & texture artist: luma pictures |
| Levon Hudson | .. | motion tracker |
| Josh Hulands | .. | roto/prep artist: animal logic |
| Mark Hunter | .. | visual effects editor: double negative |
| Drew Huntley | .. | digital compositor |
| Zameer Hussain | .. | senior compositor: Double Negative |
| Jacqueline Hutchinson | .. | supervising technical director: Legend 3D |
| Amanda Hyland | .. | stereo artist: Legend 3D |
| Ken Imura | .. | compositing technical director: Legend 3D |
| Insurgent | .. | prep artist |
| Neh Jaiswal | .. | vfx line producer |
| Bhakar James | .. | matchmove and layout supervisor |
| Phillip James | .. | stereographic depth artist: Legend 3d |
| Jaeyoung Jang | .. | rotomation artist: Gener8 |
| Rennie Jayasekera | .. | masking artist: Legend 3d |
| Nathan Jennings | .. | matchmove artist: Animal Logic |
| Kundan Kumar Jha | .. | roto line producer: Double Negative Mumbai |
| Quan Jiang | .. | senior stereo compositor: Legend 3D |
| Jorge Jimenez | .. | i/o coordinator: Gener8 (as Jorge Miguel Jimenez Quintanilla) |
| Michael Jimenez | .. | compositor: Gener8 |
| Martin Johansson | .. | cg supervisor: Double Negative |
| Helen Johnson | .. | visual effects artist |
| Justin Johnson | .. | digital effects supervisor: luma pictures |
| Nicholas Johnson | .. | digital compositior: Crafty Apes |
| Amanda Johnstone-Batt | .. | visual effects artist: double negative |
| Jacob Jared Jones | .. | stereo compositor: Legend 3D |
| Megan Kay Jordan | .. | previs coordinator: The Third Floor Inc (as Megan Jordan) |
| Marc Joubert-Nederveen | .. | modeling technical director |
| Caroline Journo | .. | digital compositor |
| Daniel A. Judah | .. | production coordinator |
| Luc Julien | .. | lead digital compositor: Double Negative |
| Mark Justison | .. | compositor |
| Dinesh K. Bishnoi | .. | matchmove lead: Prime focus |
| Bradley Kaiser | .. | lead stereo artist |
| Dong Hun Kang | .. | matte painter |
| Vivek Karmarkar | .. | compositor: double negative |
| Olya Karnes-Lotterhos | .. | rotoscope artist |
| Jeff Kasunic | .. | visual effects artist: Double Negative |
| Ashley Keeler | .. | digital coordinator: Luma Pictures |
| Matthew Kemper | .. | compositing supervisor |
| Abbie Kennedy | .. | matchmove supervisor (as Abbie Smith) |
| Daniel Kepler | .. | technical coordinator: Luma Pictures |
| Dulshan Keragala | .. | model & texture artist: luma pictures |
| Christopher Kerr | .. | stereo compositor |
| Alex Khan | .. | digital compositor: Luma Pictures |
| Kendrick Khoo | .. | model & texture artist: luma pictures |
| Haetsal Kim | .. | tracking/matchmove artist: luma pictures |
| Jeehyun Kim | .. | stereo artist: Legend 3D |
| Ji Eung Kim | .. | prep artist: stereoscopic conversion |
| Jun Eun Kim | .. | lighting and compositing artist |
| Zachary Kinney | .. | lead compositor |
| Ranjith Kizakkey | .. | matchmover |
| Rory Knight-Jones | .. | visual effects coordinator (as Rory Jones) |
| Alana Kochno | .. | compositor |
| Keith Kolod | .. | composting supervisor: Legend 3D |
| Robin Konieczny | .. | environments supervisor |
| Elicia Koo | .. | paint artist |
| Dean Koonjul | .. | compositor: Double Negative |
| Allie Koppel | .. | previs accountant: The Third Floor |
| Stephanie Ku | .. | stereo artist: Legend 3D |
| Duncan Boon Kwang Kuah | .. | technical director |
| Amit Kumar | .. | matchmove artist |
| Nirmal Kumar | .. | compositor: gener8 |
| Raneshkumar Kumboji | .. | roto supervisor: SBL India |
| Puneeth Kunnatha | .. | compositor: Gener8 |
| Dave Ladner | .. | stereo compositor |
| Damien Lam | .. | vfx generalist: Animal Logic |
| Serena Lam | .. | digital compositor |
| Hugo Lamontagne | .. | previs artist: NeoReel inc. |
| Warren Larkam | .. | visual effects coordinator |
| Michael Launder | .. | digital compositor |
| Adam Lauwers | .. | lead artist: Legend 3D: credited |
| Alex Lay | .. | digital compositor |
| Brian Le Hong | .. | stereo artist: Legend 3D |
| Nha Hoan Le | .. | tracking/matchmove artist |
| Matthew Leach | .. | r&d |
| Tracey Leadbetter | .. | production manager: visual effects |
| Chris LeDoux | .. | visual effects supervisor (Crafty Apes) |
| Mark LeDoux | .. | compositing supervisor |
| Tim LeDoux | .. | visual effects supervisor: Crafty Apes |
| Daniel Chunghwan Lee | .. | compositor: Luma pictures (as Daniel Lee) |
| Ji Young Lee | .. | stereoscopic compositor: Legend 3D |
| Keiran Lee | .. | vfx editorial |
| Daniel Lee-Poy | .. | stereo compositor: Legend 3D |
| Steven Lees-Smith | .. | support engineering supervisor: animal logic |
| Andrew Leeuwenberg | .. | pipeline technical director: Double Negative |
| Erika Lehner | .. | visual effects: stereoscopic |
| Max Leonard | .. | visual effects producer: Lola Visual Effects |
| Shae Lepere | .. | stereo compositor: Legend 3D |
| Jean-François Leroux | .. | lead compositor: Double Negative |
| Xavier Lestourneaud | .. | fx td: DNEG |
| Benoit Leveau | .. | head of software |
| Didier Levy | .. | visual effects artist |
| Matthew Lim | .. | stereo artist: Legend 3 D |
| Nicolas Lim | .. | prep artist: Double Negative |
| Wayne Lim | .. | matchmove artist: Double Negative |
| Adam Lima | .. | compositor |
| Alexander Limpin | .. | stereo compositor: Legend 3D |
| Tong Jason Lin | .. | senior effects artist: Method Studios LA |
| Cedric Ling | .. | machmove artist: double negative: double negative |
| Lei Liu | .. | Prep Artiist |
| Roger Liu | .. | previs artist: The Third Floor Inc. |
| Shenyan Liu | .. | assistant vfx editor: Gener8 |
| Brendan Llave | .. | lead stereo compositor |
| Marc Llorin | .. | senior stereo artist |
| Jason Lodas | .. | stereo artist: Legend 3d |
| Gian Ignacio Lombardi | .. | compositing & lighting: Luma Pictures |
| Giles Longman | .. | stereo compositor |
| Daniel Lopez | .. | support engineer: animal logic |
| Zoe Lord | .. | Texture Artist / Matte Painter |
| Caydenn Louw | .. | visual effects (Animal Logic: Data Operations) / visual effects: Data Operations |
| Will Lovett | .. | lighting and compositing artist: Luma Pictures |
| Leah Low | .. | environment technical director |
| Sam Lucas | .. | modelling supervisor: Milk Visual Effects |
| Russell MacKenzie | .. | stereographic engineer |
| Kendrick MacNaughton | .. | stereo artist: legend 3d |
| Patrick Madden | .. | support engineer: animal logic |
| Garry Maddison | .. | colourist: Double Negative |
| James Madigan | .. | visual effects supervisor |
| David Magee | .. | stereoscopic compositor |
| Brett Magnuson | .. | previs artist: The Third Floor Inc. |
| Felicia Mah | .. | stereo compositor: Legend 3D |
| Khoi Mai | .. | stereoscopic compositor: Legend 3D |
| Krisztian Majdik | .. | pre-visualization editor |
| Timothy Eustace Major | .. | cg artist |
| Jeffrey Manchester | .. | 3D conversion department manager: legend 3D / stereoscopic department supervisor: Legend 3D |
| Michael Mansueto | .. | stereo artist |
| Marco Manzini | .. | digital artist: Double Negative |
| Paul Maples | .. | motion control operator |
| Sam Marchant | .. | render wrangler |
| Dida Marinova | .. | stereo artist: Legend 3D (as Dida Tosheva) |
| Ariel Martian | .. | visual effects artist |
| Francisco Martinez | .. | lighting and compositing artist (Luma Pictures) |
| Juan Martinez | .. | rotomator, 3D stereoscopy |
| Kimberly Martinez | .. | lead stereo compositor: Legend 3D |
| Joseph Marut | .. | stereo compositor: Gener8 |
| Giovanni Mascherpa | .. | lighting td |
| Daniel James Mason | .. | matchmove artist: stereoscopic conversion |
| Guy Masonwells | .. | digital artist |
| Tadao Masuyama | .. | modeler & texture artist: Luma Pictures |
| Nathan Mateo | .. | stereo artist: Legend 3D |
| Dexter Matias | .. | stereo compositor: Legend3D |
| Richard Matsushita | .. | 3d generalist |
| Giacomo Matteucci | .. | digital compositor |
| Keith Matz | .. | previs artist: The Third Floor Inc. |
| Stefan Mayr | .. | cg artist: Method Studios |
| Martinez Mayra | .. | stereo artist: Legend 3D |
| Cody McCaig | .. | masking artist |
| Brian McCann | .. | compositor: gener8 |
| Sean McCarty | .. | lead stereo compositor: Legend 3D |
| Jonathan McClintic | .. | compositor |
| Matt McClurg | .. | previsualization artist: The Third Floor |
| Steven McCreanor | .. | stereo artist: Legend 3D |
| Owen McGonigle | .. | visual effects artist |
| Robert McInnis | .. | general manger: Legend3D |
| Erika A. McKee | .. | visual effects producer |
| Kyle McKernon | .. | stereo compositor: Legend 3D |
| Brandon McMenamin | .. | stereo compositor: Legend 3D |
| Wanamas Meevasana | .. | stereo compositor: Legend 3D |
| Crisanta Melendez | .. | digital coordinator (Luma Pictures) |
| Jesse Meler | .. | compositor |
| Taylor Meraz | .. | stereo artist |
| Sheetal Meshram | .. | stereo compositor-Legend 3D |
| John Meyers | .. | visual effects coordinator: The Third Floor Inc. |
| Thomas Middleton | .. | digital compositor: Animal Logic |
| Ivanna Mikhaylova | .. | digital compositor |
| Shane Miles | .. | rotomation artist |
| Kirsty Millar | .. | visual effects superviser: Animal Logic |
| Lex Millena | .. | stereo compositor: Gener8 |
| James A.J. Miller | .. | visual effects artist |
| Bradley Millford | .. | data coordinator |
| Kyoungsoo Min | .. | model / texture artist: luma pictures |
| Eric A. Mitchell | .. | compositor: stereoscopic: Gener8 |
| Riley Mitchison | .. | stereoscopic compositor |
| Souvik Mitra | .. | matchmove supervisor: prime focus |
| Nafisah Mohamed | .. | matchmove artist: Double Negative |
| Vikram Mohan | .. | machmove artist: double negative |
| Paul Molodowitch | .. | lead pipeline technical director: Luma Pictures |
| Summyr Montesanto | .. | senior stereo compositor: Legend 3D |
| Glenn Morris | .. | roto/paint supervisor |
| Vicky Morris | .. | visual effects coordinator |
| Bastien Mortelecque | .. | lookdev/lighting td: milk-vfx |
| King Mugabi | .. | stereo artist |
| Andrew Mukama | .. | Stereo Artist: Legend 3D |
| Jay Murray | .. | roto artist: Milk Visual Effects |
| Nathalia Ruiz Murray | .. | previs coordinator: The Third Floor Inc |
| Ajith Kumar N. | .. | Paint/Prep artist: Pixstone images Pvt ltd (as Ajithkumar) |
| Arslan Naqvi | .. | compositor |
| Amit Narwani | .. | matchmove artist: Double Negative |
| Livi Naylor | .. | visual effects coordinator: Double Negative |
| Anton Nazareth | .. | effects technical director |
| Gregory Nazarian | .. | compositor |
| Malcolm Neailey | .. | lighting td: Double Negative |
| Jason Negreiff | .. | prep artist: stereoscopic conversion |
| Patrick Neighly | .. | visual effects production manager |
| Brian Neil | .. | stereo compositor: Legend 3D |
| Charlotte Nelson | .. | previs production manager: The Third Floor Inc. |
| Kenneth Nelson | .. | visual effects supervisor |
| Adrian Neub | .. | systems administrator: Legend 3D |
| Thomas Newbury | .. | model & texture artist: luma pictures |
| Eric Ng | .. | stereo artist: Legend 3D |
| Gregory Ng | .. | lighting & compositing artist: Luma Pictures |
| Jia-Hao Ng | .. | matte painter: Env Artist |
| Kevin Ng | .. | senior systems engineer: Animal Logic / support engineer: animal logic |
| Gloria Nguyen | .. | lead stereo artist: Legend 3D |
| Nhi Wendy Nguyen | .. | stereo artist: LEGEND3D |
| Vincent Vu Nguyen | .. | stereo compositor: Legend 3D |
| Habib Niazi | .. | modelling td: double negative |
| Aaron Noordally | .. | paint/prep artist |
| Kevin Norris | .. | senior paint/prep artist: Double Negative |
| Richard Noun | .. | masking artist: Legend3D |
| Josh Novak | .. | animation director |
| Collette Nunes | .. | visual effects editor: Milk VFX |
| Monique O'Halloran | .. | roto/paint artist |
| John O'Lone | .. | digital compositor |
| Daniel O'Shaughnessy | .. | rotoscope artist |
| Carlos Oceguera | .. | rotomation artist: Gener8 |
| Yvonne Oh | .. | prep artist: double negative |
| Sami Oms | .. | stereoscopic compositor |
| Cyrus Ongg | .. | machmove artist: double negative |
| Jonathan Opgenhaffen | .. | vfx concept artist: Double Negative |
| Alban Orlhiac | .. | matte painter: double negative |
| Jon Ossitt | .. | cg artist: Method Studios London |
| Benjamin Pablo | .. | stereo artist: Legend 3D |
| Liana Padilla | .. | stereo artist |
| Prashant M. Padol | .. | rotomation lead: Rotomation Artist |
| Roberto Palomeque | .. | stereoscopic compositor |
| Amey Panchal | .. | matchmove lead: prime focus |
| Nicholas Papworth | .. | fx td |
| Om Parab | .. | matchmove lead: primefocus |
| Rajendra Parab | .. | matchmove artist |
| David Parada | .. | rotoscope artist: Gener8 |
| Marc Paragua | .. | stereo compositor |
| Joo-Hwan Park | .. | lead stereo compositor: Legend 3D |
| Ryan Parker | .. | stereo artist |
| Eduardo Pasaoa | .. | junior stereo artist: Legend 3D |
| Bhavik B. Patel | .. | roto artist: double negative visual effects |
| Joshil Patel | .. | digital compositor |
| Radhika Patel | .. | matchmove artist: Double Negative |
| Riaz Patel | .. | digital compositor |
| Allison Paul | .. | visual effects coordinator: Lola Visual Effects |
| Caprice Paxton | .. | stereo production coordinator: Legend 3D |
| Negin Paydarfar | .. | roto artist |
| Robert D. Pearson | .. | visual effects artist |
| Philip Pendlebury | .. | studio: double negative |
| Michael Perdew | .. | visual effects producer: luma pictures |
| Angelo Perrotta | .. | senior digital compositor: Animal Logic |
| Vardan Petrosyan | .. | previs artist: The Third Floor Inc. |
| Jessica Petrunti | .. | masking artist: Legend3D |
| Leo Pettersson | .. | visual effects artist |
| Sandy Phetchamphone | .. | lead stereo artist: legend 3D |
| Melvin Padiparampil Philip | .. | Stereo Artist: Legend 3D |
| Kilou Picard | .. | visual effects producer: double negative |
| Tricia Pifer | .. | visual effects executive producer |
| Ryan Pilcher | .. | matchmove artist |
| Raphael A. Pimentel | .. | animation supervisor |
| George Plakides | .. | visual effects artist |
| Leonel Plasencia | .. | stereo artist: Legend 3D |
| Ann Podlozny | .. | executive visual effects producer: double negative |
| Joel Pollack | .. | visual effects: luma pictures |
| Ipyana Ponder | .. | compositor |
| Justin Porter | .. | lead digital coordinator: Luma Pictures |
| Travis Porter | .. | 2d sequence lead |
| Andy Potter | .. | technical director |
| Jenna Powell | .. | visual effects producer: Milk Visual Effects |
| Daniel Powter | .. | data lead |
| Lucas Pozzey | .. | lighter/compositor: Luma Pictures |
| Brian Praamsma | .. | stereo artist: Legend 3D |
| Nestor Prado | .. | look development |
| Khatal Prajakta | .. | digital compositor: Double Negative |
| Pavel Pranevsky | .. | cg supervisor: Luma Pictures |
| Andrew Prescott | .. | visual effects assistant coordinator |
| Aaron Providence | .. | stereo compositor: Legend 3D |
| Carl Prud'homme | .. | surfacing lead |
| Jakub Pruszkowski | .. | digital compositor: Method Studios |
| Erich Prutzman | .. | junior stereo artist |
| Giorgia Pulvirenti | .. | compositor: Method Studios |
| Vivek Pundir | .. | producer: vfx |
| Katherine Pursey | .. | visual effects artist |
| Eugene Purugganan | .. | senior systems engineer: Animal Logic |
| Simon Pynn | .. | matchmove supervisor: double negative |
| Adam Quattrociocchi | .. | stereo artist: Legend3D |
| Shane Rabey | .. | compositor: animal logic |
| Pedro Raffalli | .. | rotomation artist |
| Nazma Raichuri | .. | double negative: technology |
| Harish Rajan | .. | junior stereoscopic artist: Legend 3D |
| Vikas Rajput | .. | asset supervisor |
| Johanna Ramos Santiago | .. | prep artist |
| Jason Ramsey | .. | stereoscopic production manager |
| Ryan Ramsey | .. | lead stereoscopic compositor: Legend 3D |
| Tina Rangel | .. | stereo artist |
| Daniel Rauchwerger | .. | compositing sequence supervisor: double negative |
| Jonathan Ravagnani | .. | digital artist |
| Oded Raz | .. | lead texture/shader artist: Luma Pictures |
| Chris Razack | .. | stereo artist: Legend 3D |
| Robert Reategui | .. | compositor |
| Jason Reese | .. | it help desk manager: Legend 3D |
| Tyagi Reetuj | .. | compositor: Double Negative |
| Taryn Reetz | .. | stereo artist: Legend 3D |
| Josiah Reeves | .. | stereo compositor |
| Brett Reyenger | .. | senior compositor: Double Negative |
| Andrew Rhinehart | .. | lead stereo artist: Legend 3D |
| Paul W Richards | .. | information technology manager: Method Studios |
| Daniel Ricwulf | .. | production coordinator: Legend 3D |
| Daniel Riddle | .. | modeler & texture artist: luma pictures |
| Alessandro Righi | .. | modeler |
| John Rix | .. | art supervisor: Gener8 |
| Neil Roche | .. | rigging lead: Milk VFX |
| Matt Roe | .. | roto/prep artist: Animal Logic |
| Karl Rogovin | .. | dynamics effects animator: Luma |
| Erasmo P. Romero III | .. | lead stereo compositor: Legend 3D (as Erasmo Romero) |
| Ryan D. Romero | .. | stereoscopic compositor |
| Steve Romero | .. | stereo compositor: Legend 3D |
| Aaron Holmlund Rosapepe | .. | previs editor: The Third Floor |
| Sean Rourke | .. | previs editor: The Third Floor Inc |
| Alejandro Rubio | .. | stereo compositor: Legend 3D |
| Tim Rudolph | .. | stereo artist: Legend 3D |
| Rebecca Ruether | .. | previs artist: The Third Floor Inc. |
| Christy Runyon | .. | stereo coordinator: Legend 3D (as Christy Williams) |
| Jack Runyon | .. | visual effects editor: Legend 3D |
| Nathan Rusch | .. | pipeline technical director: Luma Pictures |
| John Russell | .. | technical director: Legend 3D |
| Leigh Russell | .. | visual effects artist |
| Ash Ryan | .. | digital compositor: double negative (as Ashley Ryan) |
| Jonathan Sabella | .. | organic modeler texture artist: Luma Pictures |
| Matt Sadler | .. | effects technical director: Double Negative |
| Corin Sadlier | .. | matchmove artist |
| Shawn Sahara | .. | roto & paint artist: Luma Pictures |
| Salar Salahi | .. | depth artist |
| Thomas Salama | .. | digital compositor: Double Negative |
| Ruben Salazar | .. | digital compositor |
| Avi Salem | .. | compositor |
| Faozan Salman | .. | prep artist |
| Lucy Salter | .. | look dev artist |
| Theodore M. Sandifer | .. | prep supervisor |
| Daniel Sandoval-Guillen | .. | lead compositor: legend3d |
| Jason Sanford | .. | visual effects producer: Crafty Apes |
| Tejas Sanghavi | .. | cloth td: double negative visual effects |
| Marie Sanginesi | .. | junior stereo artist: Legend3D |
| Julius Padilla Santos | .. | stereo compositor: Legend 3D |
| Benjamin Scabell | .. | digital compositor: double negative |
| Marc Schoenbeck | .. | compositing artist: Luma Pictures (as Marc Schönbeck) |
| David Schott | .. | digital compositor: Double Negative |
| Camille Schubert | .. | stereo compositor: Legend 3D |
| Jan Schubert | .. | lighting technical director: milk-vfx |
| Kate Schultz | .. | stereo compositor: Legend 3D |
| Elaina Scott | .. | previs artist: The Third Floor Inc. |
| Andrew E. Scrase | .. | generalist technical director: Double Negative |
| Brendan Seals | .. | lighting supervisor: Luma Pictures |
| Alexander Seaman | .. | visual effects: cg supervisor: Double Negative |
| Federico Sella | .. | visual effects artist: stereoscopic conversion |
| Beth Senn | .. | digital coordinator: Luma Pictures |
| Vanessa Seow | .. | visual effects coordinator: Double Negative |
| David Serrano | .. | compositor: Gener8 |
| Khizar Shabir | .. | stereo artist: Legend 3D |
| See Shae Lyn | .. | clean-up artist |
| Upasana Shanker | .. | prep artist: Double Negative |
| Mohak Sharma | .. | visual effects coordinator |
| Virat Sharma | .. | vfx production assistant: visual effects unit, Chicago |
| Alyssia Sharpe | .. | production accountant: Animal Logic |
| Kerry Shea | .. | vp of production: The Third Floor Inc |
| Rob Shears | .. | visual effects production manager: Double Negative |
| Cameron Shepler | .. | stereo compositor: Legend 3D |
| Natalia Shevcun | .. | stereo compositor: Legend 3D |
| Rick Shine | .. | vfx data wrangler |
| Michelle Shoukralla | .. | stereo compositor: Legend 3D |
| Lynn Sibley | .. | production coordinator |
| Matthew Sidebottom | .. | stereo artist |
| Alonso Sierra | .. | stereoscopic matte artist: Gener8 |
| Jia Yi Siew | .. | roto/prep artist: double negative |
| Joey Sila | .. | lighting and compositing artist: Luma Pictures |
| Jared Simeth | .. | associate vfx supervisor: Luma Pictures |
| Sheida Sims | .. | stereo compositor / stereo compositor: Legend 3D |
| Mrityunjay Singh | .. | digital compositor: Double Negative |
| Thanapoom Siripopungul | .. | Character TD Supervisor: Luma Pictures |
| Kris Sison | .. | senior stereo artist: Legend 3D |
| Billy Smith | .. | compositor: gener8 digital media corps |
| Jessica Clare Smith | .. | digital compositor |
| Joshua Smith | .. | stereo artist |
| Natalie Smith | .. | rotoscope artist: Gener8 |
| Stephen J. Smith | .. | roto/prep artist: Method Studios |
| Mark Soraci | .. | senior stereo artist |
| Anna Sou | .. | stereo compositor |
| Henry South | .. | Texture Supervisor |
| Bernardo Andrea Spadafora | .. | lighting and compositing artist (Luma Pictures) |
| Mat Stace | .. | senior systems engineer: Method Studios |
| Paul Stark | .. | stereographic engineer |
| Richard Stay | .. | senior compositor: double negative |
| Jim Steel | .. | senior digital compositor (Double Negative) |
| Daniel Stein | .. | compositing lead |
| Joshua D. Stevens | .. | compositor |
| Ken Stewart | .. | digital compositor |
| Yesod Stone | .. | io coordinator: Legend 3D |
| Perry Stoutt II | .. | stereo artist: Legend 3D |
| Grant Street | .. | senior systems engineer: Animal Logic |
| Dylan Streiff | .. | stereo compositor: Legend3D |
| Mary Stroumpouli | .. | digital compositor: Double Negative |
| Damien Stumpf | .. | cg supervisor: method studios |
| Errol Stussi | .. | i/o coordinator |
| Aline Sudbrack | .. | cg sequence supervisor: Double Negative |
| Mariangela Suma | .. | visual effects coordinator: milk-vfx |
| Wessley Summers | .. | stereoscopic compositor |
| Jenna Sunde | .. | stereoscopic compositor: Gener8 |
| Richard Sutherland | .. | cg supervisor: Luma Pictures |
| Daniel Svaboe | .. | compositor |
| Steven Swanson | .. | visual effects supervising producer: Luma Pictures |
| Matthew Swanton | .. | stereoscopic compositor: Legend 3D |
| Jeremiah Sweeney | .. | visual effects supervisor: Lola VFX |
| Michael J. Sweetser | .. | stereo artist: Legend3D |
| Daniele Tagliaferri | .. | senior lighting technical director: Method Studios |
| Lionel Taillens | .. | environment td: double negative |
| Jerrod Tan | .. | roto/paint artist |
| Randy R. Tecson | .. | stereoscopic roto artist: Gener8 |
| Natalie Tejada | .. | stereo coordinator: Legend 3D |
| Dan Tellwright | .. | data i/o |
| Olivier Thibaut | .. | research and development: Double Negative |
| Sunny Thipsidakhom | .. | stereo compositor: Legend 3D |
| Jason Thomas | .. | stereo compositor |
| Brian Thomason | .. | stereo compositor |
| Mike Thomson | .. | visual effects artist |
| Lee Tibbetts | .. | senior modeller: double negative |
| Justin Tirado | .. | animator |
| Shermaine Toh | .. | prep artist: Double Negative VFX |
| Syria Toliver | .. | lighting & compositing artist: Genialogic-fx s.u. |
| Craig Tonks | .. | visual effects artist |
| Viviana Torrellas | .. | visual effects artist |
| Oscar Torres | .. | stereo artist |
| Roger Tortosa | .. | senior technical director generalist: Double Negative |
| Dennis Toufexis | .. | visual effects artist |
| Ted Trabucco | .. | lead stereo artist: Legend 3D |
| Serina Trexler | .. | stereo artist: Legend 3D |
| Raymond Trimm | .. | junior stereo artist: Legend 3d |
| Ryan Trippensee | .. | lead compositor: Luma Pictures |
| Adam Trowse | .. | digital compositor |
| Oleg Troy | .. | cg lead |
| Sam Tull | .. | lighter/compositor: Luma Pictures |
| Abdul Ahad Tunio | .. | stereo compositor: Legend 3D |
| Parikshat Tyagi | .. | compositor: double negative (as Parikshit Tyagi) |
| Panida Umrapal | .. | stereo artist: Legend 3d |
| Chloe Valdecantos | .. | stereo compositor: Legend3D |
| Khrystyne Valena | .. | stereo compositor: Legend 3D |
| Kealani Vanderleest | .. | stereo artist: Legend 3D |
| Adam Vanner | .. | creature technical director |
| Christopher A. Vazquez | .. | stereo compositor: Legend 3D |
| Alejandro Vela-Castro | .. | roto artist: Double Negative |
| Lies Veldeman | .. | digital compositor: double negative |
| Ricardo Velez | .. | rotoscope artist: Gener8 |
| Nitya Venugopal | .. | roto/paint artist |
| Neall Verheyde | .. | production technology: Gener8 |
| Valeri Vidakovic | .. | stereo compositor: Legend 3D |
| Joseph Villa | .. | senior stereo compositor: Gener8 |
| Radu Vintila | .. | lead systems engineer: Animal Logic |
| Keven Viragh-Begert | .. | machmove artist: gener8 |
| Chuong Vu | .. | digital compositor |
| Nigel Wagner | .. | matte painter |
| Adam Walker | .. | visual effects artist |
| Nina Walsh | .. | operations manager (as Nina Egan) |
| Jenny Wan | .. | compositor |
| Nancy Wang | .. | supervising visual effects editor: Legend 3D |
| Thea Warren | .. | compositing department supervisor: Legend 3D |
| James Waterson | .. | lead compositor: Luma Pictures |
| Bret Watkins | .. | stereo compositor: Gener8 |
| Mark Webb | .. | visual effects producer: Method Studios |
| Jeremy Webber | .. | senior systems engineer: Animal Logic |
| Derek Weil | .. | digital coordinator: Luma Pictures |
| Erik Werlin | .. | compositor: visual effects |
| Nicole A. West | .. | effects technical director |
| Brittany Wetzel | .. | stereo compositor: gener8 |
| Dustin White | .. | stereo compositor: Legend 3D |
| Ian W.S. White | .. | rotomation lead: Gener8 |
| Matthew White | .. | stereo compositor: Legend 3D |
| Tom Whitehead | .. | visual effects artist |
| Kristofer Whitford | .. | roto artist: double negative |
| Tom Whittington | .. | digital compositor |
| Christopher Whittle | .. | visual effects artist: Double Negative |
| Bob Wiatr | .. | compositing supervisor: Feder8tion |
| Adam Will | .. | senior stereo artist |
| Lyndsey Will | .. | lighting and compositing: Genialogic FX s.u. / roto/prep artist: Genialogic FX s.u. |
| Aaron Williams | .. | lead stereo artist: Legend 3D |
| Adrian Eugene Daniel Williams | .. | visual effects artist |
| J. Adam Williams | .. | lead stereo artist: Legend 3D (as Jason Williams) |
| Katie Williams | .. | stereoscopic matte artist: Gener8 |
| Shanese Williams | .. | i/o technician: Legend 3D |
| Heather Willman | .. | stereo producer |
| Craig Wilson | .. | stereo production assistant: Legend 3D |
| Jessica Wolff | .. | stereoscopic compositor |
| Eddy Wolfson | .. | stereo compositor: Legend 3d |
| David Wong | .. | junior digital compositor |
| Jason Wong | .. | stereo compositor: Legend 3D |
| Sauyan Wong | .. | data i/o manger |
| Anthony Wonsoff | .. | digital matte painter: Double Negative |
| John Wootton | .. | stereo compositor |
| Ben Wotton | .. | roto/prep artist: Animal Logic |
| Ged Wright | .. | visual effects supervisor: double negative |
| Nicholas Martin Wright | .. | compositor |
| Peter M. Wu | .. | previsualization artist: The Third Floor |
| Garrett Wycoff | .. | compositor: luma pictures |
| Anna Yamazoe | .. | texture artist: double negative |
| Cheng Yang | .. | machmove artist: double negative |
| Ryan Yeung | .. | stereo compositor: Legend 3D |
| Sarah K. Young | .. | stereoscopic supervisor: Gener8 |
| Ahmed Yousry | .. | visual effects artist |
| Cobol Yu | .. | stereo depth artist: Gener8 |
| Jenna Yu | .. | stereo compositor |
| Sonia Yu | .. | lighter & compositor: Luma Pictures |
| Jun Xian Yue | .. | roto artist: double negative |
| Aslan Zamaev | .. | matchmove artist |
| Lye Zechari | .. | matchmove artist: double negative |
| Eva Zemaitis | .. | stereo artist: Legend3D |
| Russel Zenarosa | .. | stereo compositor: legend 3d |
| Alvaro Zendejas | .. | stereoscopic artist |
| Nathan Zeppel | .. | paint/roto artist: Luma Pictures |
| Hao Zhang | .. | stereo compositor: Legend 3D |
| Lei Zhang | .. | visual effects coordinator |
| Donaji Zuniga Rojas | .. | stereoscopic rotoscope artist |
| Ruben Gerardo Alfaro Moreno | .. | visual effects (uncredited) |
| Marcus Bain | .. | Matchmove Artist: Animal Logic (uncredited) |
| Daniel Baker | .. | technology: Double Negative (uncredited) |
| Sreyans Bardia | .. | head of production (uncredited) / visual effects head of production: BOTVFX (uncredited) |
| Joshua Bristow | .. | stereo compositor: Legend 3D (uncredited) |
| Justin Brunett | .. | animator: Luma Pictures (uncredited) |
| Rachel Cadden | .. | visual effects production assistant: Double Negative (uncredited) |
| Rafael Echegaray | .. | stereo compositor (uncredited) |
| Manuel Gomez Garcia | .. | rotoscope artist: Gener8 (uncredited) |
| Isabelle Gilbert | .. | rotoscope artist: Gener8 (uncredited) |
| Geoffrey Harlos | .. | stereoscopic compositor (uncredited) |
| Alex Holcombe | .. | VFX Editor: Animal Logic (uncredited) |
| Hetal Jain | .. | visual effects producer: BOTVFX (uncredited) |
| Kareem K.H. | .. | Mist VFX Studio (uncredited) |
| Joe Lewis | .. | motion control rigs (uncredited) |
| Prashanth Narayanan | .. | production manager: visual effects: 5Elements Entertainment (uncredited) |
| Glenn Osgood | .. | lead stereo artist: Legend 3D (uncredited) |
| Prakash Pathak | .. | production assistant: vfx (uncredited) |
| Shreyas Patil | .. | visual effects executive producer: supernovafx studios (uncredited) |
| Radhakrishnan | .. | prep artist: BOT VFX (uncredited) |
| Sandesh Ramdev | .. | visual effects supervisor (uncredited) |
| Emmanuel Rojas | .. | matchmove artist (uncredited) |
| Dale Rostron | .. | build artist: Double Negative (uncredited) |
| Sankarasubramanian | .. | roto/prep supervisor: Botvfx (uncredited) |
| Kristine Schmitt | .. | stereo artist (uncredited) |
| Daniel Scott | .. | research and development (uncredited) |
| Flavio Segal | .. | stereoscopic compositor: Gener8 (uncredited) |
| Srikanth | .. | 2D(Roto/Paint) Supervisor: BOT VFX (uncredited) |
| Vanessa Velasquez | .. | technology: Double Negative (uncredited) |
| Greg Wadsworth | .. | digital compositor (uncredited) |
Stunts
| Wade Allen | .. | stunt coordinator: second unit |
| William G. Ambrose | .. | utility stunts |
| Raven-Danielle Baker | .. | stunt performer / utility stunts |
| Kelly Bellini | .. | stunts / utility stunts |
| Joanna Bennett | .. | stunt double / stunts (as Joanna Bennett) / utility stunts |
| Matt Berberi | .. | stunt performer / utility stunts |
| Tamiko Brownlee | .. | stunt double: Maggie Q / utility stunts |
| Rico Burgos | .. | stunt rigger / utility stunts |
| Elisabeth P. Carpenter | .. | stunt double: Shailene Woodley |
| Kevin Chase | .. | utility stunts |
| Anis Cheurfa | .. | stunts / utility stunts |
| Marcelle Coletti | .. | stunt performer / utility stunts |
| Jeremy Conner | .. | stunt performer / utility stunts |
| Stephen Conroy | .. | stunts / utility stunts |
| Brandon Cornell | .. | utility stunts |
| Scott Cosgrove | .. | utility stunts |
| Elizabeth Davidovich | .. | stunts / utility stunts |
| Keith Splinter Davis | .. | utility stunts (as Keith Davis) |
| Matthew L. Davis | .. | utility stunts |
| Nick DeKay | .. | stunt double: Jonny Weston / utility stunts |
| Greg Dela Riva | .. | utility stunts |
| Jacob Dewitt | .. | utility stunts |
| Rockey Dickey Jr. | .. | stunt rigger / utility stunts |
| Arturo Dickey | .. | stunt rigging coordinator / stunts |
| Yan Dron | .. | utility stunts |
| Seth Duhame | .. | stunts / utility stunts |
| Alex Duke | .. | nd stunts |
| Adam C. Edwards | .. | utility stunts |
| Ian Eyre | .. | stunt rigger / utility stunts |
| Troy Faruk | .. | stunt performer |
| Bob Fisher | .. | utility stunts |
| Alessandro Folchitto | .. | stunt performer / utility stunts |
| Shauna Galligan | .. | stunt double: shailene woodley |
| Justin Gant | .. | stunt performer / stunt rigger |
| Jacob Garcia | .. | stunts / utility stunts |
| Duffy Gaver | .. | utility stunts |
| Anthony Genova | .. | utility stunts |
| Daniel Graham | .. | stunts / utility stunts |
| David P. Griffith | .. | utility stunts |
| Tad Griffith | .. | utility stunts |
| Dante Ha | .. | stunts (as W. Dante Ha) / utility stunts |
| Daniel Hargrave | .. | stunt double: Miles Teller / utility stunts |
| Nicholas Hayner | .. | stunt performer / utility stunts |
| Randy Haynie | .. | stunts / utility stunts |
| Crystal Hooks | .. | stunts (Darrin Prescott) / utility stunts |
| Robert Houillion | .. | utility stunts |
| John Hudson | .. | technical advisor |
| Scott Hunter | .. | stunts |
| Brendon Huor | .. | stunts |
| C.C. Ice | .. | utility stunts |
| Duke Jackson | .. | stunt performer / utility stunts |
| Bobby Jordan | .. | stunt performer / utility stunts |
| Antal Kalik | .. | stunt performer / utility stunts |
| John Kap | .. | stunts |
| David Kilde | .. | stunt performer / utility stunts |
| Keone Kim | .. | utility stunts |
| Ralf Koch | .. | stunts / utility stunts |
| Paul Lacovara | .. | stunt double: Theo James / utility stunts |
| Jasi Cotton Lanier | .. | stunt double: Emjay Anthony / utility stunts |
| Scott Loeser | .. | stunts / utility stunts |
| Maggie Macdonald | .. | stunt performer / utility stunts |
| Jeremy Marinas | .. | fight coordinator / utility stunts |
| Nicole Marines | .. | stunt performer / utility stunts |
| Aby Martin | .. | utility stunts |
| Nicholas Martin | .. | stunt double |
| Michael McGuire | .. | utility stunts |
| Michael McGuire | .. | utility stunts |
| Kyle Mclean | .. | stunt double: Theo James / utility stunts |
| Jessica Merideth | .. | stunt performer / utility stunts |
| T. Ryan Mooney | .. | stunts |
| Chris Moore | .. | utility stunts |
| Dino Muccio | .. | stunt performer / utility stunts |
| Spencer Mulligan | .. | stunts / utility stunts |
| Matthew Austin Murray | .. | stunts |
| Mark Norby | .. | stunts / utility stunts |
| Haley Nott | .. | stunt performer / utility stunts |
| Marque Ohmes | .. | stunt rigger / utility stunts |
| Jane Oshita | .. | utility stunts |
| Jim Palmer | .. | stunt driver / utility stunts |
| Richard Pis | .. | stunt performer |
| Darrin Prescott | .. | stunt coordinator |
| Derick Pritchard | .. | stunts / utility stunts |
| Rebecca Ray | .. | stunt double: Shailene Woodley / utility stunts |
| Mark Rayner | .. | stunts / utility stunts |
| Bayland Rippenkroeger | .. | stunts |
| Cody Robinson | .. | stunt double: Jai Courtney / utility stunts |
| Corrina Roshea | .. | stunt performer / utility stunts |
| John Ross | .. | stunt rigger / utility stunts |
| Marvin Ross | .. | stunt double: Keiynan Lonsdale / stunt performer / utility stunts |
| Steve Rummenie | .. | stunt performer / utility stunts |
| Elena Sanchez | .. | stunt double: Suki Waterhouse / utility stunts |
| Maya Santandrea | .. | stunts / utility stunts |
| Todd Schneider | .. | stunts / utility stunts |
| Jordan Scott | .. | utility stunts |
| Josh Seifert | .. | utility stunts |
| John J. Shim | .. | stunt performer / utility stunts |
| Karin Silvestri | .. | stunt double: Kate Winslett / utility stunts |
| Remington Steele | .. | stunts / utility stunts |
| Christopher Tardieu | .. | stunt double: Miles Teller |
| Sean Taylor | .. | stunt double: Ansel Elgort / utility stunts |
| Aaron Toney | .. | utility stunts |
| Carol Tresan | .. | utility stunts |
| Ashley Rae Trisler | .. | stunt double: Ashley Judd / utility stunts |
| Michael Trisler | .. | utility stunts |
| Amy Lynn Tuttle | .. | utility stunts |
| Jaye Tyroff | .. | stunts / utility stunts |
| Vanessa Vander Pluym | .. | stunts (as Van Vander Pluym) |
| Diego Ward | .. | utility stunts |
| Willie Weber | .. | stunt rigger / utility stunts |
| Kyle Weishaar | .. | stunt double: Caleb / utility stunts |
| Danny Wynands | .. | utility stunts |
Camera and Electrical Department
| Charlotte Acker | .. | grip |
| Brian Adams | .. | lighting technician |
| Sebastián Almeida | .. | libra head tech |
| Charles Arnold | .. | grip |
| Grant Babbitt | .. | camera operator: promo shoot / director of photography: promo shoot |
| Justin Bernhard | .. | grip: rigging grip |
| Joseph Blankinship | .. | technocrane technician |
| Marek Bojsza | .. | lighting technician |
| Theodore Y. Bott | .. | cheif lighting technician: second unit |
| Jermaine Brantley | .. | rigging electric |
| Mark Carlile | .. | lighting technician |
| Marc Casey | .. | second assistant camera |
| Kevin Chase | .. | cable camera system: Batcam |
| Jason Clairy | .. | additional electrician |
| Josh Cleland | .. | production assistant: camera |
| Christopher Cooley | .. | grip |
| Andrew Cooper | .. | still photographer |
| Justin Cowart | .. | electrician |
| Catherine Cravens | .. | company fixtures technician |
| Chris Culliton | .. | gaffer |
| Joseph Czerw | .. | key grip: Chicago VFX Unit |
| David Deever | .. | video assist |
| Kyler Dennis | .. | camera operator: second unit |
| Sagar Desai | .. | digital utility: Main Unit |
| Danny Durr | .. | lighting technician |
| Justin Elder | .. | electrician |
| Travis Elkins | .. | electrician: second unit / fixtures technician |
| Joe Elrom | .. | digital imaging technician: vfx unit |
| Ryan Ferguson | .. | best boy |
| Lance Flowers | .. | rigging grip |
| Linton Flowers | .. | grip |
| Donny Fowler | .. | rigging best boy electrician |
| David R. Galindo | .. | rigging electric / set lighting tech |
| Joey Gandolfi | .. | additional grip: second unit |
| Nicholas R. Gianneschi | .. | loader: re-shoots |
| Peter Graf | .. | aerial camera system tech shotover |
| Jared Greenstein | .. | additional lighting console programmer |
| Stephen Grum | .. | rigging electrician: addl. photography |
| Cristi Lyn Hahn | .. | utility: additional photography |
| Nick Haines-Stiles | .. | best boy: grip |
| John Hale | .. | camera operator: promo shoot |
| Jeff Harkes | .. | additional electrician |
| Geoffrey Harper | .. | set lighting technician: day player |
| Kent Harvey | .. | camera operator: second unit: a camera |
| Matthew Haskins | .. | second assistant camera: 'a' camera |
| Eric Henson | .. | digital imaging technician: second unit |
| Sammy Ray Hill | .. | grip: second unt / rigging grip |
| Zach Hilton | .. | digital imaging technician: vfx unit |
| Jason Hindman | .. | fixtures technician |
| Kelley Hood | .. | electrician |
| Jason Hooper | .. | rf technician second unit |
| Grayson Hunter | .. | rigging electrician |
| Ronald H. Hynson | .. | electrician |
| Kevin Jackson | .. | key rigging grip: GA |
| Matthew Kelly Jackson | .. | second assistant camera: 'a' camera additional photography |
| Violet Jackson | .. | loader |
| Lukasz Jogalla | .. | director of photography: second unit |
| Bess Johnson | .. | camera film loader: second unit |
| Alexander A. Joseph | .. | scorpio head technician: second unit |
| Callum Just | .. | digital imaging technician: additional photography |
| Jay Kemp | .. | gaffer |
| Matthew J. Klann | .. | dimmer technician |
| Kurt Kornemann | .. | key grip: second unit |
| John Lally | .. | electrician: second unit |
| Thomas Lappin | .. | camera operator: 'a' camera |
| Ted Lichtenheld | .. | director of photography: ground unit, Chicago |
| Jon Locke | .. | grip |
| J'mme Love | .. | loader: Chicago VFX/Aerial |
| Charlie Marroquin | .. | key grip |
| Christopher Mattox | .. | rigging grip |
| Daniel McDowell | .. | electrician |
| Hanna McGugan | .. | dimmer technician |
| David McLendon | .. | electrician: second unit |
| Saul McSween | .. | camera loader |
| Adam Meadows | .. | video assist operator |
| Trevor Metscher | .. | second assistant camera: second unit |
| Lea E. Miller | .. | dolly grip |
| Evan Nelson | .. | technocrane technician |
| Tristan Noelle | .. | camera operator: promo shoot |
| Heather Norton | .. | first assistant camera: 'a' camera |
| David B. Nowell | .. | aerial director of photography: Chicago |
| Meiklejohn Pate | .. | grip and dolly grip |
| Matthew Pebler | .. | libra head operator: second unit |
| Nathaniel Peirson | .. | fixtures technician |
| Kenny Rivenbark | .. | oculus head tech |
| Manuel Manny Rivera | .. | best boy rig grip (as Manuel Rivera Jr.) |
| Mike Robertson | .. | rigging electric |
| Allen Robinson | .. | grip: second unit (as Allen Christopher Robinson) |
| Kevin M. Rowe | .. | day player: grip |
| Benjamin Rowland | .. | aerial cinematographer |
| Josh Saideman | .. | grip: additional |
| P. Scott Sakamoto | .. | camera operator: 'b' camera |
| Allen Sanders | .. | camera operator: promo shoot |
| Michael Sannuti | .. | grip / grip: second unit |
| David Satin | .. | digital imaging technician |
| Charles Schner | .. | camera operator: second unit |
| Chad Schroeder | .. | best boy electric: local |
| Cory Schulthies | .. | digital imaging technician: second unit |
| David Scott | .. | set lighting fixtures foreman |
| Dennis Seawright | .. | first assistant camera: 'b' camera |
| James C. Sharpe | .. | rigging grip |
| Matt Shearer | .. | rigging grip gang boss |
| Thom Shepard | .. | grip |
| Pierson Silver | .. | libra head operator |
| John Slade | .. | technocrane technician |
| David W. Slodki | .. | lighting console programmer |
| Andy Smith | .. | video assist: Chicago vfx |
| Basil Smith | .. | first assistant camera: second unit |
| Trisha Solyn | .. | second assistant camera: second unit |
| Lamar Still | .. | grip rigger |
| James Stockton | .. | electrician |
| Tony Summerlin | .. | first assistant camera |
| Jason Sutton | .. | libra head tech |
| Jeff C. Sutton | .. | assistant chief lighting technician: second unit |
| James Swartz | .. | grip: promo shoot |
| Andrew Sweeney | .. | dolly grip |
| Zach Tharp | .. | lighting technician |
| David J. Thompson | .. | 'b' camera operator / steadicam operator |
| Nick Thompson | .. | video assist: second unit |
| Eric Townsend | .. | grip |
| Jordan Tyson | .. | lighting technician |
| Mike Tyson | .. | rigging gaffer |
| Craig Vaccaro | .. | key rigging grip |
| Danny Vanzura | .. | second assistant camera: 'b' camera: re-shoots |
| Steven Walker | .. | electrician |
| Joel C. Warren | .. | lighting technician |
| Victoria K. Warren | .. | second assistant camera: 'b' camera |
| Jeremy Woods | .. | electrician |
| William D. Wynn | .. | b dolly grip |
Animation Department
| Stewart Alves | .. | animator |
| Patricio Ducaud | .. | animator |
| Monika Gelbmann | .. | animator |
| Tamas Molnar | .. | animator |
| Neil Roche | .. | rigging supervisor: Milk VFX |
| John Sung | .. | animator: Double Negative |
Casting Department
| Ranjani Brow | .. | adr voice casting |
| Ressie Burtley | .. | extras casting |
| Riva Cahn-Thompson | .. | casting assistant (as Riva Winningham) |
| Jamie Lynn Catrett | .. | extras casting |
| Taylor Cruz | .. | extras casting assistant |
| Ashley Lambert | .. | adr voice casting |
| Rose Locke | .. | extras casting (as Jennifer Rose Locke) |
| Jack Montague | .. | extras casting assistant |
| Joseph C. Nelson | .. | extras casting assistant |
| Dana Salerno | .. | casting associate |
| Justin Tucker | .. | extras casting assistant |
| Edward Zo | .. | casting intern |
Costume and Wardrobe Department
| Dana Joel Bogdanski | .. | set costumer |
| Phillip Boutte Jr. | .. | costume concept artist |
| Kinsey Boydstone | .. | costume production assistant / costume production assistant: additional photography |
| April J. Brown-Traquina | .. | assistant textile artist (as April Brown) |
| Aimee Campolucci | .. | costumer |
| Michael Cohen | .. | production assistant |
| Christian Cordella | .. | costume concept artist |
| Shelby Davis | .. | costumer |
| Corey Deist | .. | costumer |
| Lynne Duggins | .. | costumer |
| Shayne Allen Duhon | .. | key set costumer: second unit |
| Rhonda Earick | .. | ager/dyer |
| Ani Ferrara | .. | costume production assistant (as Ani Babayan) |
| Sandi Figueroa | .. | costumer: Ms. Winslet |
| Myra N. Foy | .. | table person |
| Melanie Ghisays | .. | costumer |
| Sean Haley | .. | costumer |
| Jamie Hiney | .. | costumer |
| Empress Holley | .. | set costumer |
| Greg Hopwood | .. | costume production assistant |
| Keith Hudson | .. | costume ager/dyer |
| Nancy Jarzynko | .. | costumer |
| Amanda Jenkins | .. | costumer: Ms. Woodley |
| Briana Lamb | .. | costumer |
| Robin McMullan | .. | key costumer |
| Helen Monaghan | .. | key costumer |
| Bob Moore Jr. | .. | set costumer |
| Les Morgan | .. | set costumer |
| Daniel Grant North | .. | costume supervisor |
| Christopher Opopo | .. | set costumer |
| Margaret Palmer | .. | costume fitter |
| Jonathan Parra | .. | costumer |
| Meghann Plummer | .. | shopper |
| Melissa Pope | .. | production assistant |
| Cheri Reed | .. | costumer |
| Molleshia Robinson | .. | costumer |
| Marla Star | .. | costumer |
| Fatima Stripling | .. | set costumer |
| Hans Georg Struhar | .. | key on-set costumer |
| Michael Ann Swan | .. | seamstress |
| Chandra Telfer | .. | head ager and dyer (as Chandra Moore-Telfer) |
| Paula Truman | .. | costumer |
| Tim Wegman | .. | costumer |
| Kim Wilkins | .. | production assistant |
| Korii Young | .. | set costumer |
| Allison Choi Braun | .. | milliner/sewer (uncredited) |
Editorial Department
| Tony Bacigalupi | .. | first assistant editor |
| Laura G. Chirinos | .. | digital intermediate assistant producer |
| Christine Choi | .. | editorial production assistant |
| Marisa Clayton | .. | digital intermediate producer |
| Alexis Corrigan | .. | post-production assistant |
| Valance Eisleben | .. | digital data conformist |
| Rebecca Goodeve | .. | colourist: dailies UK shoot |
| Nicholas Hasson | .. | digital intermediate editor |
| Fred Hudson | .. | dailies operator |
| Madelaine Jereczek | .. | assistant editor |
| Jeremy-Voissem | .. | colorist: dailies |
| Jeff Mack | .. | dailies colorist: on location |
| Adam Nazarenko | .. | digital colorist: Marketing |
| Carrie Oliver | .. | digital colorist assistant |
| Wayan Blue Palmieri | .. | stereoscopic editor |
| Justin Powell | .. | senior post production coordinator |
| Kimi Rosenthal | .. | post-production coordinator |
| Steven J. Scott | .. | supervising digital colorist |
| Mike Sowa | .. | digital intermediate colorist |
| Brian Spirnak | .. | co-first assistant editor |
| John St. Laurent | .. | dailies engineer |
| Jeff Stroot | .. | international editor |
| Tashi Trieu | .. | digital colorist assistant |
| Chris Van Duyn | .. | post-production: dailies operations-Technicolor |
| Kenny Vicent | .. | dailies engineer |
| Amanda Weir | .. | post-production coordinator |
| Denise Woodgerd | .. | dailies producer |
| Trudy Yee | .. | assistant editor |
| Daniel André | .. | digital cinema mastering: IMAX (uncredited) |
| Tom Forletta | .. | additional digital intermediate colorist (uncredited) |
| Karen Maish | .. | dailies producer (uncredited) |
Location Management
| Lori A. Balton | .. | location scout |
| Adam Boor | .. | key assistant location manager |
| John Coughlin | .. | location assistant |
| Josh Dillard | .. | location assistant |
| Brian L. Fairley | .. | assistant location manager |
| Julie Hannum | .. | location manager |
| Nicholas Jamison | .. | key assistant location manager |
| Richard Klotz | .. | location scout |
| William Maursky | .. | location assistant |
| Gilbert B. Morales | .. | location assistant (as Gil Morales) |
| Ralph Moran | .. | assistant location manager |
| Mary Angela Munez | .. | location third assistant |
| Ryan Neal | .. | location assistant |
| Janice Polley | .. | supervising location manager |
| Joseph Raines | .. | location assistant |
| Julia Renner | .. | location assistant |
| Maria C. Roxas | .. | location manager: Chicago |
| Ian Simpson | .. | location production assistant |
| Keomanee Vilaythong | .. | key assistant location manager |
| Elizabeth A. Wright | .. | key assistant location manager |
Music Department
| Carter Armstrong | .. | executive in charge of music |
| Mark Berrow | .. | musician: violin |
| Rachel Bolt | .. | viola |
| Thomas Bowes | .. | orchestral leader |
| David Butterworth | .. | orchestrator |
| David Channing | .. | scoring editor |
| Judson Crane | .. | music sound design |
| Michael Daniels | .. | scoring assistant (as Mike Daniels) |
| Dave Elitch | .. | musician |
| Eskmo | .. | musical sound design (as Brendan Angelides) / musical sound design |
| Jennifer Hammond | .. | orchestrator |
| Trevon Kezios | .. | music executive |
| Bryan Lawson | .. | supervising music editor |
| Jason Lazarus | .. | additional music arranger / score technical coordinator |
| Erich Lee | .. | composer trailer music |
| John Lenehan | .. | soloist: piano |
| Roger Linley | .. | musician: double bass |
| Colleen M. Lutz | .. | score mixing assistant |
| Frank Macchia | .. | music preparation |
| Steve Mair | .. | musician: double bass |
| Dorina Markoff-McNulty | .. | musician |
| Adam Miller | .. | score recordist |
| Al Nelson | .. | Musical Sound Designer |
| Daniel Nielsen | .. | composer: trailer music |
| Satoshi Mark Noguchi | .. | score recorded and mixed by |
| Brian Parkhurst | .. | musical sound designer |
| Mark Petrie | .. | composer: trailer music |
| Randall Poster | .. | music supervisor |
| Keir Schmidt | .. | scoring assistant |
| Dylan Shyka | .. | score technical coordinator |
| Karen Sidlow | .. | Manager, Music Business Affairs |
| Ryan Svendsen | .. | music coordinator |
| Booker White | .. | head of music preparation |
| Michael White | .. | modular synthesizer |
| Sam Zeines | .. | music editor |
Transportation Department
| Ryan Allen | .. | driver |
| Mauricio J. Alvarez | .. | driver |
| Tim Barker | .. | transportation |
| Robert Brubaker | .. | transportation captain: Ga |
| Cammie Caira | .. | driver |
| Denny Caira | .. | transportation coordinator |
| Kevin Caira | .. | driver |
| Jayson Chang | .. | dispatcher |
| Kaiser Clark | .. | driver: Naomi Watts |
| Pamela Hovies-Ivey | .. | driver (as Pamela Hovies) |
| Melissa LaFon | .. | driver |
| William P. Lafon | .. | production van driver operator |
| Tim McGaughy | .. | driver |
| Fitzathor L. Miller | .. | driver |
| Vince Pecora | .. | transportation co-captain |
| Craig Vogel | .. | dot compliance administrator |
| Rebecca White | .. | dispatcher |
| Ronald C. Young | .. | driver |
Other crew
| Mackenzie 'Micki' Wheeler | .. | production assistant |
| Garrett Able | .. | double: Miles Teller / stand-in |
| Alicia Accardo | .. | script supervisor |
| Luan Agostinho | .. | stand-in |
| Kimberly Aikman | .. | additional set production assistant: aerial unit |
| Caellum Allan | .. | physical production |
| Kyle Allgood | .. | production assistant |
| Lexy Altman | .. | assistant: Ms. Fisher, additional photography |
| Ana Alvarez | .. | stand-in |
| Zack Annesty | .. | production assistant |
| Lauren Aparicio | .. | craft service |
| Cynthia Appleby | .. | production assistant |
| Chaun Archer | .. | stand-in: Octavia Spencer |
| Diana Ascher | .. | post production accountant: trevanna post |
| Toni Atterbury | .. | unit publicist |
| Eddie Avinashi | .. | production assistant |
| Mahzad Babayan | .. | assistant: Ms. Fisher |
| Matthew J. Bakal | .. | assistant: Ms. Bohrer |
| Louisa Ballhaus | .. | production assistant |
| Vincent F. Baran | .. | production assistant |
| Chandler Barbee | .. | additional production assistant |
| Nayisha Bargblor | .. | production assistant |
| Alexandra Bartee | .. | double: Marlene |
| Dave Bennett | .. | completion bond rep |
| Cliff Berns | .. | art department: scenic foreman |
| Christian Bersani | .. | production assistant |
| Hayden Bilson | .. | armorer |
| John Biondo | .. | executive vice president of business and legal affairs: Lionsgate |
| Ben Bloom | .. | production assistant |
| Genona Blue | .. | production assistant |
| Wren Boney | .. | medic |
| Danielle Bowes | .. | additional production assistant |
| Heather Box | .. | stand in: Shailene Woodley (as Heather Witherill) |
| Tracy Browne | .. | first assistant accountant |
| Ellie Bryan | .. | production assistant: second unit, basecamp |
| David Buehrle | .. | production coordinator: visual effects shoot chicago |
| Bobby Burks | .. | medic / set medic: second unit |
| Candice D. Campos | .. | production supervisor |
| Dea Cantu | .. | script supervisor: second unit |
| Alex Capaldi | .. | assistant production coordinator: second unit |
| Amanda Cape | .. | craft service assistant: day player |
| Emily Cardone-Dennis | .. | production assistant |
| Josh Carlascio | .. | production assistant |
| Evan Chester | .. | production assistant |
| Alexander Cirillo | .. | production assistant |
| Rachael Clarke | .. | assistant: Ms. Winslet |
| David Clayton | .. | title designer |
| Jonathan Coffin | .. | production assistant |
| Ami Cohen | .. | production department director |
| Rachel Coscia | .. | additional production assistant: 2nd unit |
| Catherine A. Cospelich | .. | production assistant (as Catherine Cospelich) |
| Jennifer Kristin Cox | .. | assistant to robert melnik: Lionsgate |
| Chelsea Craig | .. | production production assistant |
| Eric Croas | .. | production assistant |
| Al Daniel | .. | stand-in |
| Timothy Daniel | .. | stand-in |
| Jeff Dash | .. | vice president: production accounting, Lionsgate |
| Dan Delage | .. | set medic: second unit |
| Brandon Doty | .. | production io/vfx |
| Curtis Drafton | .. | stand-in |
| Rebecca Drummond | .. | housing secretary |
| Robert John Dubiel | .. | assistant: Mr. Lieberman |
| Geoffrey Dukes | .. | production assistant |
| Kyle Dunleavy | .. | production assistant |
| Samantha Durkan | .. | cast assistant |
| Matthew Eldridge | .. | stand-in: Theo James |
| Hannah English | .. | assistant: Mr. Wick |
| Erik Feig | .. | production executive |
| Chase Fein | .. | adr loop group |
| Cara Ferguson | .. | production assistant |
| Amanda Finley | .. | medic |
| Alessandro Folchitto | .. | military coordinator |
| Brandon Folsom | .. | production assistant |
| Pablo Gambetta | .. | production assistant |
| Christie Gangnath | .. | technology production supervisor |
| Robert George | .. | production consultant |
| Sarah Blue Winslow Gerber | .. | office production assistant |
| Michael Giannoni | .. | production assistant |
| Larry Gilbert | .. | police security |
| Dana Gills | .. | assistant: Mr. Paseornek |
| Jeffrey Gladu | .. | payroll accountant |
| Matthew Gowan | .. | production assistant |
| Adrienne L. Graves | .. | second assistant accountant |
| Matthew K. Grigsby | .. | production accountant |
| Andrea Guerrero | .. | stand-in |
| Danielle Halagarda | .. | production assistant |
| Brandon Michael Hale | .. | extras |
| Clare Halstead | .. | stand- in |
| Adam Hamilton | .. | assistant craft service |
| Austin Harpole | .. | additional set production assistant: aerial unit |
| Hannah Harris | .. | assistant: Mr. Janzen & Ms. Munford |
| Trent Harris | .. | additional production assistant |
| Sara Lou Hartman | .. | production assistant (as Sara Hartman) |
| Sanford Hatcher | .. | craft service |
| Jodi Hayes | .. | assistant: Ms. Woodley |
| David Heffler | .. | assistant production coordinator |
| Susan Hegarty | .. | dialect coach: Ms. Winslet |
| Tavia Henderson | .. | production assistant |
| Matt Hibbard | .. | key set production assistant |
| Elizabeth Himelstein | .. | dialect coach: Ms. Watts |
| Nick Hore | .. | recruiter |
| Rares Hornet | .. | systems admin |
| Ray Horta | .. | Digital Intermediate Assistant |
| Eunita Isaac | .. | production assistant |
| Jerry P. Jacobs | .. | production executive: Summit Entertainment |
| Stephanie Jeter | .. | assistant production coordinator: visual effects unit chicago |
| Adam R Jones | .. | production assistant |
| Leah Kaina | .. | production secretary |
| Mitch Kessler | .. | production assistant |
| Michael Khouri | .. | Assistant Construction Accountant |
| Jessica Kivnik | .. | script coordinator |
| Lizzy Jane Klein | .. | researcher |
| Robert Kreiling | .. | aerial unit key production assistant |
| Amanda Kruse | .. | assistant: Mr. Feig |
| Patricia Kung | .. | recruiting supervisor |
| Molly Laughlin | .. | office production assistant: 2nd Unit |
| Cass Lawson | .. | craft service |
| Thuy Le | .. | compositor |
| Ellexa Lemarie | .. | assistant: Mr. Wick & Ms. Fisher, additional photography (as Ellexa Marie) |
| Ashley Brooke Lewis | .. | production assistant |
| Beth Li | .. | title & logo design |
| Dominique Libungan | .. | production assistant: Legend3D |
| Dani Light | .. | production coordinator |
| Alisha Lillion | .. | production assistant |
| Dale Liner | .. | Military technical advisor |
| Jon Locke | .. | craft service |
| Hayley Luhrs | .. | set production assistant |
| Caitlin MacBride | .. | office production assistant |
| Esteban Ali Camacho Macias | .. | compositor (as Esteban Camacho) |
| Brian Magwood | .. | production assistant |
| Jeffrey J. Marks | .. | main titles producer |
| Tanera Marshall | .. | dialect coach |
| Gary A. Martin | .. | production assistant |
| Gustavo Martin | .. | production assistant: chicago unit |
| Anthony N. Martinez | .. | production assistant |
| Anthony N. Martinez | .. | production assistant |
| Nicole Mason | .. | production assistant |
| Jesse Mattson | .. | epk assistant |
| Eddie May | .. | additional production assistant / miscellanious crew |
| Dan McDonough | .. | production assistant |
| Brian McGovern | .. | production assistant (as Brian Mcgovern) |
| Sarah McKenzie | .. | production assistant (as Sarah Plunkett) |
| Taylor McPherson | .. | production assistant |
| Robert M. Melnik | .. | executive vice president of business and legal affairs |
| Cole Messutta | .. | production assistant |
| Curtis A. Miller | .. | vice president of production: Lions Gate Films Inc. |
| Danial Miller | .. | underwater key grip |
| Kurt J. Miner | .. | production safety |
| Max Molinaro | .. | production assistant |
| Harrison Moore | .. | production assistant |
| Lucas Moore | .. | studio teacher |
| Valerie Morasso | .. | office production assistant: visual effects unit Chicago (as Valerie I. Morasso) |
| Mae Moreno | .. | aerial unit |
| Brian Morgan | .. | production assistant |
| Adrien Moscovici | .. | assistant: Ms. Watts, additional photography |
| Brady Mutch | .. | catering manager |
| Matthew H. O'Connor | .. | marine coordinator |
| Nate O'Neil | .. | production assistant |
| Shannon O'Neill | .. | assistant: Mr. Waldman |
| Deborah Ortega | .. | assistant: Mr. Wachsberger |
| Tim Palen | .. | chief marketing officer: Lionsgate |
| Nate Patterson | .. | additional set production assistant (as Nathaniel 'Nate' Patterson IV) |
| Julie Pechanek | .. | production secretary: reshoots/additional photography |
| Carl Pedregal | .. | head of feature post production |
| Alexander Phoenix | .. | systems administrator |
| David Albert Pierce | .. | additional legal services |
| Jose F. Pineda Garcia | .. | utility |
| Callie Powers | .. | production assistant |
| Alan D. Purwin | .. | aerial coordinator / helicopter pilot |
| Carl S. Pyrdum Jr. | .. | police security |
| Timothy Scott Ralston | .. | screening operations executive |
| Nirokhi Raychaudhuri | .. | assistant: Mr. Feig |
| Angelo Renardo | .. | production assistant |
| Lance Resch-Anger | .. | additional production assistant |
| Joey Reyes | .. | production assistant |
| Jay Ridge | .. | production assistant |
| Bruce Roberts | .. | production asst |
| John Robling | .. | production assistant |
| Carmen Perez-Marsa Roca | .. | Production Supervisor |
| Rufus Rosendo | .. | second assistant accountant |
| Christina Rudd | .. | accountant: Animal Logic |
| Rachel Scheer | .. | assistant: Mr. Friedman |
| Dana Scott | .. | production coordinator: visual effects unit, Chicago |
| Noah Sellman | .. | production assistant |
| A.J. Sexton | .. | utility stand in |
| Iman Sharabash | .. | production assistant: chicago unit |
| Alana Shaw | .. | stand-in |
| Randy Shoemaker | .. | marketing/home entertainment/consumer products |
| Jason Simmonds | .. | assistant production coordinator: chicago unit |
| Donna Sloan | .. | Executive in Charge of Production / President, Physical Production, Motion Picture Group: Lionsgate Entertainment |
| Coalin Smith | .. | production staff |
| K.T. Smith | .. | set production assistant: second unit |
| Kimberly S. Smith | .. | assistant accountant |
| Michael C. Smith | .. | police coordinator |
| Andrew Sorgie | .. | assistant: Mr. Lieberman (as Andy Sorgie) |
| Kevin Speights | .. | production assistant |
| Jacob Staffaroni | .. | production assistant |
| Michael Steedley | .. | stand-in |
| Terence V. Steele | .. | production assistant |
| Michelle Stegall | .. | production assistant |
| Gabrielle Stein | .. | additional production assistant |
| Derek Steiner | .. | assistant: Mr. Hoberman |
| Paula Stier | .. | production coordinator / production coordinator: additional photography |
| Kelly Strawinski | .. | production assistant |
| Mark Swenson | .. | travel coordinator |
| Steve Swisher | .. | set production assistant: teaser unit (as Stephen Swisher) |
| Jada Taylor | .. | stand-in (as Jada Taylor) |
| Lauren Taylor | .. | assistant payroll accountant / payroll accountant: additional photography |
| Gabriella Teixeira | .. | set production assistant |
| Martin Torchia | .. | production assistant |
| Greg Tresan | .. | animal coordinator |
| Abraham Trevathan | .. | chef de partie |
| Taylor Vaughn | .. | production assistant |
| Miguel Victorio | .. | production assistant |
| Amber Waters | .. | payroll clerk: Visual Effects Unit Chicago |
| Cameron T. White | .. | production assistant |
| Georgia Williams | .. | assistant: Ms. Watts |
| Scott Willman | .. | stereographer |
| Jeff Wisniewski | .. | production assistant |
| Nellie Bly Workman | .. | production assistant (as Matt Pniewski) |
| Ariana Young | .. | manager: Post Production |
| Valerie Zabriski | .. | production assistant |
| Jamy Zink | .. | head of culture: luma pictures |
| Kim Zoe | .. | stand-in |
| Mallory DeGolian | .. | on-set food stylist (uncredited) |
| Emerick Martin | .. | stand-in/photo double for Ansel Elgort (uncredited) |
Thanks
| Robert S. Kaufmann | .. | special thanks |
| John Raulet | .. | special thanks |
Sonar (originally an acronym for sound navigation ranging) is a technique that uses sound propagation (usually underwater, as in submarine navigation) to navigate, communicate with or detect objects on or under the surface of the water, such as other vessels.[2] Two types of technology share the name 'sonar': passive sonar is essentially listening for the sound made by vessels; active sonar is emitting pulses of sounds and listening for echoes. Sonar may be used as a means of acoustic location and of measurement of the echo characteristics of 'targets' in the water. Acoustic location in air was used before the introduction of radar. Sonar may also be used for robot navigation,[3] and SODAR (an upward-looking in-air sonar) is used for atmospheric investigations. The term sonar is also used for the equipment used to generate and receive the sound. The acoustic frequencies used in sonar systems vary from very low (infrasonic) to extremely high (ultrasonic). The study of underwater sound is known as underwater acoustics or hydroacoustics.
The first recorded use of the technique was by Leonardo da Vinci in 1490 who used a tube inserted into the water to detect vessels by ear.[4] It was developed during World War I to counter the growing threat of submarine warfare, with an operational passive sonar system in use by 1918.[2] Modern active sonar systems use an acoustic transponder to generate a sound wave which is reflected back from target objects.[2]
- 1History
- 2Active sonar
- 3Passive sonar
- 4Performance factors
- 5Military applications
- 6Civilian applications
- 7Scientific applications
- 8Effect of sonar on marine life
- 13Bibliography
History
Although some animals (dolphins, bats, some shrews, and others) have used sound for communication and object detection for millions of years, use by humans in the water is initially recorded by Leonardo da Vinci in 1490: a tube inserted into the water was said to be used to detect vessels by placing an ear to the tube.[4]
In the late 19th century an underwater bell was used as an ancillary to lighthouses or light ships to provide warning of hazards.[5]
The use of sound to 'echo-locate' underwater in the same way as bats use sound for aerial navigation seems to have been prompted by the Titanic disaster of 1912.[6] The world's first patent for an underwater echo-ranging device was filed at the British Patent Office by English meteorologist Lewis Fry Richardson a month after the sinking of the Titanic,[7] and a German physicist Alexander Behm obtained a patent for an echo sounder in 1913.[8]
The Canadian engineer Reginald Fessenden, while working for the Submarine Signal Company in Boston, built an experimental system beginning in 1912, a system later tested in Boston Harbor, and finally in 1914 from the U.S. Revenue (now Coast Guard) Cutter Miami on the Grand Banks off Newfoundland.[7][9] In that test, Fessenden demonstrated depth sounding, underwater communications (Morse code) and echo ranging (detecting an iceberg at 2 miles (3 km) range).[10][11] The 'Fessenden oscillator', operated at about 500 Hz frequency, was unable to determine the bearing of the iceberg due to the 3-metre wavelength and the small dimension of the transducer's radiating face (less than 1/3 wavelength in diameter). The ten Montreal-built British H-class submarines launched in 1915 were equipped with Fessenden oscillators.[12]
During World War I the need to detect submarines prompted more research into the use of sound. The British made early use of underwater listening devices called hydrophones, while the French physicist Paul Langevin, working with a Russian immigrant electrical engineer Constantin Chilowsky, worked on the development of active sound devices for detecting submarines in 1915. Although piezoelectric and magnetostrictive transducers later superseded the electrostatic transducers they used, this work influenced future designs. Lightweight sound-sensitive plastic film and fibre optics have been used for hydrophones (acousto-electric transducers for in-water use), while Terfenol-D and PMN (lead magnesium niobate) have been developed for projectors.
ASDIC
In 1916, under the British Board of Invention and Research, Canadian physicist Robert William Boyle took on the active sound detection project with A. B. Wood, producing a prototype for testing in mid-1917. This work, for the Anti-Submarine Division of the British Naval Staff, was undertaken in utmost secrecy, and used quartz piezoelectric crystals to produce the world's first practical underwater active sound detection apparatus. To maintain secrecy, no mention of sound experimentation or quartz was made – the word used to describe the early work ('supersonics') was changed to 'ASD'ics, and the quartz material to 'ASD'ivite: 'ASD' for 'Anti-Submarine Division', hence the British acronym ASDIC. In 1939, in response to a question from the Oxford English Dictionary, the Admiralty made up the story that it stood for 'Allied Submarine Detection Investigation Committee', and this is still widely believed,[13] though no committee bearing this name has been found in the Admiralty archives.[14]
By 1918, Britain and France had built prototype active systems. The British tested their ASDIC on HMS Antrim in 1920 and started production in 1922. The 6th Destroyer Flotilla had ASDIC-equipped vessels in 1923. An anti-submarine school HMS Osprey and a training flotilla of four vessels were established on Portland in 1924. The U.S. Sonar QB set arrived in 1931.
By the outbreak of World War II, the Royal Navy had five sets for different surface ship classes, and others for submarines, incorporated into a complete anti-submarine attack system. The effectiveness of early ASDIC was hampered by the use of the depth charge as an anti-submarine weapon. This required an attacking vessel to pass over a submerged contact before dropping charges over the stern, resulting in a loss of ASDIC contact in the moments leading up to attack. The hunter was effectively firing blind, during which time a submarine commander could take evasive action. This situation was remedied by using several ships cooperating and by the adoption of 'ahead-throwing weapons', such as Hedgehogs and later Squids, which projected warheads at a target ahead of the attacker and thus still in ASDIC contact. Developments during the war resulted in British ASDIC sets that used several different shapes of beam, continuously covering blind spots. Later, acoustic torpedoes were used.
Early in World War II (September 1940), British ASDIC technology was transferred for free to the United States. Research on ASDIC and underwater sound was expanded in the UK and in the US. Many new types of military sound detection were developed. These included sonobuoys, first developed by the British in 1944 under the codenameHigh Tea, dipping/dunking sonar and mine-detection sonar. This work formed the basis for post-war developments related to countering the nuclear submarine.
Work on sonar had also been carried out in the Axis countries, notably in Germany, which included countermeasures. At the end of World War II, this German work was assimilated by Britain and the U.S. Sonars have continued to be developed by many countries, including the USSR, for both military and civil uses. In recent years the major military development has been the increasing interest in low-frequency active sonar.
SONAR
During the 1930s American engineers developed their own underwater sound-detection technology, and important discoveries were made, such as the existence of thermoclines and their effects on sound waves, that would help future development.[15] After technical information was exchanged between the two countries[clarification needed] during the Second World War, Americans began to use the term SONAR for their systems, coined by Frederick Hunt to be the equivalent of RADAR.
US Navy Underwater Sound Laboratory
In 1917, the US Navy acquired J. Warren Horton's services for the first time. On leave from Bell Labs, he served the government as a technical expert, first at the experimental station at Nahant, Massachusetts, and later at US Naval Headquarters, in London, England. At Nahant he applied the newly developed vacuum tube, then associated with the formative stages of the field of applied science now known as electronics, to the detection of underwater signals. As a result, the carbon button microphone, which had been used in earlier detection equipment, was replaced by the precursor of the modern hydrophone. Also during this period, he experimented with methods for towing detection. This was due to the increased sensitivity of his device. The principles are still used in modern towed sonar systems.
To meet the defense needs of Great Britain, he was sent to England to install in the Irish Sea bottom-mounted hydrophones connected to a shore listening post by submarine cable. While this equipment was being loaded on the cable-laying vessel, World War I ended and Horton returned home.
During World War II, he continued to develop sonar systems that could detect submarines, mines, and torpedoes.He published Fundamentals of Sonar in 1957 as chief research consultant at the US Navy Underwater Sound Laboratory. He held this position until 1959 when he became technical director, a position he held until mandatory retirement in 1963.[16][17]
Materials and designs
There was little progress in development from 1915 to 1940. In 1940, the US sonars typically consisted of a magnetostrictive transducer and an array of nickel tubes connected to a 1-foot-diameter steel plate attached back-to-back to a Rochelle salt crystal in a spherical housing. This assembly penetrated the ship hull and was manually rotated to the desired angle. The piezoelectric Rochelle salt crystal had better parameters, but the magnetostrictive unit was much more reliable. Early World War II losses prompted rapid research in the field, pursuing both improvements in magnetostrictive transducer parameters and Rochelle salt reliability. Ammonium dihydrogen phosphate (ADP), a superior alternative, was found as a replacement for Rochelle salt; the first application was a replacement of the 24 kHz Rochelle-salt transducers. Within nine months, Rochelle salt was obsolete. The ADP manufacturing facility grew from few dozen personnel in early 1940 to several thousands in 1942.
One of the earliest application of ADP crystals were hydrophones for acoustic mines; the crystals were specified for low-frequency cutoff at 5 Hz, withstanding mechanical shock for deployment from aircraft from 3,000 m (10,000 ft), and ability to survive neighbouring mine explosions. One of key features of ADP reliability is its zero aging characteristics; the crystal keeps its parameters even over prolonged storage.
Another application was for acoustic homing torpedoes. Two pairs of directional hydrophones were mounted on the torpedo nose, in the horizontal and vertical plane; the difference signals from the pairs were used to steer the torpedo left-right and up-down. A countermeasure was developed: the targeted submarine discharged an effervescent chemical, and the torpedo went after the noisier fizzy decoy. The counter-countermeasure was a torpedo with active sonar – a transducer was added to the torpedo nose, and the microphones were listening for its reflected periodic tone bursts. The transducers comprised identical rectangular crystal plates arranged to diamond-shaped areas in staggered rows.
Passive sonar arrays for submarines were developed from ADP crystals. Several crystal assemblies were arranged in a steel tube, vacuum-filled with castor oil, and sealed. The tubes then were mounted in parallel arrays.
The standard US Navy scanning sonar at the end of World War II operated at 18 kHz, using an array of ADP crystals. Desired longer range, however, required use of lower frequencies. The required dimensions were too big for ADP crystals, so in the early 1950s magnetostrictive and barium titanate piezoelectric systems were developed, but these had problems achieving uniform impedance characteristics, and the beam pattern suffered. Barium titanate was then replaced with more stable lead zirconate titanate (PZT), and the frequency was lowered to 5 kHz. The US fleet used this material in the AN/SQS-23 sonar for several decades. The SQS-23 sonar first used magnetostrictive nickel transducers, but these weighed several tons, and nickel was expensive and considered a critical material; piezoelectric transducers were therefore substituted. The sonar was a large array of 432 individual transducers. At first, the transducers were unreliable, showing mechanical and electrical failures and deteriorating soon after installation; they were also produced by several vendors, had different designs, and their characteristics were different enough to impair the array's performance. The policy to allow repair of individual transducers was then sacrificed, and 'expendable modular design', sealed non-repairable modules, was chosen instead, eliminating the problem with seals and other extraneous mechanical parts.[18]
The Imperial Japanese Navy at the onset of World War II used projectors based on quartz. These were big and heavy, especially if designed for lower frequencies; the one for Type 91 set, operating at 9 kHz, had a diameter of 30 inches (760 mm) and was driven by an oscillator with 5 kW power and 7 kV of output amplitude. The Type 93 projectors consisted of solid sandwiches of quartz, assembled into spherical cast iron bodies. The Type 93 sonars were later replaced with Type 3, which followed German design and used magnetostrictive projectors; the projectors consisted of two rectangular identical independent units in a cast iron rectangular body about 16 by 9 inches (410 mm × 230 mm). The exposed area was half the wavelength wide and three wavelengths high. The magnetostrictive cores were made from 4 mm stampings of nickel, and later of an iron-aluminium alloy with aluminium content between 12.7% and 12.9%. The power was provided from a 2 kW at 3.8 kV, with polarization from a 20 V, 8 A DC source.
The passive hydrophones of the Imperial Japanese Navy were based on moving-coil design, Rochelle salt piezo transducers, and carbon microphones.[19]
Magnetostrictive transducers were pursued after World War II as an alternative to piezoelectric ones. Nickel scroll-wound ring transducers were used for high-power low-frequency operations, with size up to 13 feet (4.0 m) in diameter, probably the largest individual sonar transducers ever. The advantage of metals is their high tensile strength and low input electrical impedance, but they have electrical losses and lower coupling coefficient than PZT, whose tensile strength can be increased by prestressing. Other materials were also tried; nonmetallic ferrites were promising for their low electrical conductivity resulting in low eddy current losses, Metglas offered high coupling coefficient, but they were inferior to PZT overall. In the 1970s, compounds of rare earths and iron were discovered with superior magnetomechanic properties, namely the Terfenol-D alloy. This made possible new designs, e.g. a hybrid magnetostrictive-piezoelectric transducer. The most recent such[clarification needed] material is Galfenol.
Other types of transducers include variable-reluctance (or moving-armature, or electromagnetic) transducers, where magnetic force acts on the surfaces of gaps, and moving coil (or electrodynamic) transducers, similar to conventional speakers; the latter are used in underwater sound calibration, due to their very low resonance frequencies and flat broadband characteristics above them.[20]
Active sonar
Active sonar uses a sound transmitter and a receiver. When the two are in the same place it is monostatic operation. When the transmitter and receiver are separated it is bistatic operation. When more transmitters (or more receivers) are used, again spatially separated, it is multistatic operation. Most sonars are used monostatically with the same array often being used for transmission and reception. Active sonobuoy fields may be operated multistatically.
Active sonar creates a pulse of sound, often called a 'ping', and then listens for reflections (echo) of the pulse. This pulse of sound is generally created electronically using a sonar projector consisting of a signal generator, power amplifier and electro-acoustic transducer/array. A beamformer is usually employed to concentrate the acoustic power into a beam, which may be swept to cover the required search angles. Generally, the electro-acoustic transducers are of the Tonpilz type and their design may be optimised to achieve maximum efficiency over the widest bandwidth, in order to optimise performance of the overall system. Occasionally, the acoustic pulse may be created by other means, e.g. chemically using explosives, airguns or plasma sound sources.
To measure the distance to an object, the time from transmission of a pulse to reception is measured and converted into a range by knowing the speed of sound. To measure the bearing, several hydrophones are used, and the set measures the relative arrival time to each, or with an array of hydrophones, by measuring the relative amplitude in beams formed through a process called beamforming. Use of an array reduces the spatial response so that to provide wide cover multibeam systems are used. The target signal (if present) together with noise is then passed through various forms of signal processing, which for simple sonars may be just energy measurement. It is then presented to some form of decision device that calls the output either the required signal or noise. This decision device may be an operator with headphones or a display, or in more sophisticated sonars this function may be carried out by software. Further processes may be carried out to classify the target and localise it, as well as measuring its velocity.
The pulse may be at constant frequency or a chirp of changing frequency (to allow pulse compression on reception). Simple sonars generally use the former with a filter wide enough to cover possible Doppler changes due to target movement, while more complex ones generally include the latter technique. Since digital processing became available pulse compression has usually been implemented using digital correlation techniques. Military sonars often have multiple beams to provide all-round cover while simple ones only cover a narrow arc, although the beam may be rotated, relatively slowly, by mechanical scanning.
Particularly when single frequency transmissions are used, the Doppler effect can be used to measure the radial speed of a target. The difference in frequency between the transmitted and received signal is measured and converted into a velocity. Since Doppler shifts can be introduced by either receiver or target motion, allowance has to be made for the radial speed of the searching platform.
One useful small sonar is similar in appearance to a waterproof flashlight. The head is pointed into the water, a button is pressed, and the device displays the distance to the target. Another variant is a 'fishfinder' that shows a small display with shoals of fish. Some civilian sonars (which are not designed for stealth) approach active military sonars in capability, with quite exotic three-dimensional displays of the area near the boat.
When active sonar is used to measure the distance from the transducer to the bottom, it is known as echo sounding. Similar methods may be used looking upward for wave measurement.
Active sonar is also used to measure distance through water between two sonar transducers or a combination of a hydrophone (underwater acoustic microphone) and projector (underwater acoustic speaker). A transducer is a device that can transmit and receive acoustic signals ('pings'). When a hydrophone/transducer receives a specific interrogation signal it responds by transmitting a specific reply signal. To measure distance, one transducer/projector transmits an interrogation signal and measures the time between this transmission and the receipt of the other transducer/hydrophone reply. The time difference, scaled by the speed of sound through water and divided by two, is the distance between the two platforms. This technique, when used with multiple transducers/hydrophones/projectors, can calculate the relative positions of static and moving objects in water.
In combat situations, an active pulse can be detected by an enemy and will reveal a submarine's position.
A very directional, but low-efficiency, type of sonar (used by fisheries, military, and for port security) makes use of a complex nonlinear feature of water known as non-linear sonar, the virtual transducer being known as a parametric array.
Recording of active sonar pings. | |
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Project Artemis
Project Artemis was a one-of-a-kind low-frequency sonar for surveillance that was deployed off Bermuda for several years in the early 1960s. The active portion was deployed from a World War II tanker, and the receiving array was built into a fixed position on an offshore bank.
Transponder
This is an active sonar device that receives a stimulus and immediately (or with a delay) retransmits the received signal or a predetermined one.
Performance prediction
A sonar target is small relative to the sphere, centred around the emitter, on which it is located. Therefore, the power of the reflected signal is very low, several orders of magnitude less than the original signal. Even if the reflected signal was of the same power, the following example (using hypothetical values) shows the problem: Suppose a sonar system is capable of emitting a 10,000 W/m2 signal at 1 m, and detecting a 0.001 W/m2 signal. At 100 m the signal will be 1 W/m2 (due to the inverse-square law). If the entire signal is reflected from a 10 m2 target, it will be at 0.001 W/m2 when it reaches the emitter, i.e. just detectable. However, the original signal will remain above 0.001 W/m2 until 3000 m. Any 10 m2 target between 100 and 3000 m using a similar or better system would be able to detect the pulse, but would not be detected by the emitter. The detectors must be very sensitive to pick up the echoes. Since the original signal is much more powerful, it can be detected many times further than twice the range of the sonar (as in the example).
Active sonar have two performance limitations: due to noise and reverberation. In general, one or other of these will dominate, so that the two effects can be initially considered separately.
In noise-limited conditions at initial detection:
- SL − 2PL + TS − (NL − AG) = DT,
where SL is the source level, PL is the propagation loss (sometimes referred to as transmission loss), TS is the target strength, NL is the noise level, AG is the array gain of the receiving array (sometimes approximated by its directivity index) and DT is the detection threshold.
In reverberation-limited conditions at initial detection (neglecting array gain):
- SL − 2PL + TS = RL + DT,
where RL is the reverberation level, and the other factors are as before.
Hand-held sonar for use by a diver
- The LIMIS (limpet mine imaging sonar) is a hand-held or ROV-mounted imaging sonar for use by a diver. Its name is because it was designed for patrol divers (combat frogmen or clearance divers) to look for limpet mines in low visibility water.
- The LUIS (lensing underwater imaging system) is another imaging sonar for use by a diver.
- There is or was a small flashlight-shaped handheld sonar for divers, that merely displays range.
- For the INSS (integrated navigation sonar system)
Passive sonar
Passive sonar listens without transmitting. It is often employed in military settings, although it is also used in science applications, e.g., detecting fish for presence/absence studies in various aquatic environments – see also passive acoustics and passive radar. In the very broadest usage, this term can encompass virtually any analytical technique involving remotely generated sound, though it is usually restricted to techniques applied in an aquatic environment.
Identifying sound sources
Passive sonar has a wide variety of techniques for identifying the source of a detected sound. For example, U.S. vessels usually operate 60 Hzalternating current power systems. If transformers or generators are mounted without proper vibration insulation from the hull or become flooded, the 60 Hz sound from the windings can be emitted from the submarine or ship. This can help to identify its nationality, as all European submarines and nearly every other nation's submarine have 50 Hz power systems. Intermittent sound sources (such as a wrench being dropped), called 'transients,' may also be detectable to passive sonar. Until fairly recently,[when?] an experienced, trained operator identified signals, but now computers may do this.
Passive sonar systems may have large sonic databases, but the sonar operator usually finally classifies the signals manually. A computer system frequently uses these databases to identify classes of ships, actions (i.e. the speed of a ship, or the type of weapon released), and even particular ships.
Noise limitations
Passive sonar on vehicles is usually severely limited because of noise generated by the vehicle. For this reason, many submarines operate nuclear reactors that can be cooled without pumps, using silent convection, or fuel cells or batteries, which can also run silently. Vehicles' propellers are also designed and precisely machined to emit minimal noise. High-speed propellers often create tiny bubbles in the water, and this cavitation has a distinct sound.
The sonar hydrophones may be towed behind the ship or submarine in order to reduce the effect of noise generated by the watercraft itself. Towed units also combat the thermocline, as the unit may be towed above or below the thermocline.
The display of most passive sonars used to be a two-dimensional waterfall display. The horizontal direction of the display is bearing. The vertical is frequency, or sometimes time. Another display technique is to color-code frequency-time information for bearing. More recent displays are generated by the computers, and mimic radar-type plan position indicator displays.
Performance prediction
Unlike active sonar, only one-way propagation is involved. Because of the different signal processing used, the minimal detectable signal-to-noise ratio will be different. The equation for determining the performance of a passive sonar is
- SL − PL = NL − AG + DT,
where SL is the source level, PL is the propagation loss, NL is the noise level, AG is the array gain and DT is the detection threshold. The figure of merit of a passive sonar is
- FOM = SL + AG − (NL + DT).
Performance factors
The detection, classification and localisation performance of a sonar depends on the environment and the receiving equipment, as well as the transmitting equipment in an active sonar or the target radiated noise in a passive sonar.
Sound propagation
Sonar operation is affected by variations in sound speed, particularly in the vertical plane. Sound travels more slowly in fresh water than in sea water, though the difference is small. The speed is determined by the water's bulk modulus and massdensity. The bulk modulus is affected by temperature, dissolved impurities (usually salinity), and pressure. The density effect is small. The speed of sound (in feet per second) is approximately:
- 4388 + (11.25 × temperature (in °F)) + (0.0182 × depth (in feet)) + salinity (in parts-per-thousand ).
This empirically derived approximation equation is reasonably accurate for normal temperatures, concentrations of salinity and the range of most ocean depths. Ocean temperature varies with depth, but at between 30 and 100 meters there is often a marked change, called the thermocline, dividing the warmer surface water from the cold, still waters that make up the rest of the ocean. This can frustrate sonar, because a sound originating on one side of the thermocline tends to be bent, or refracted, through the thermocline. The thermocline may be present in shallower coastal waters. However, wave action will often mix the water column and eliminate the thermocline. Water pressure also affects sound propagation: higher pressure increases the sound speed, which causes the sound waves to refract away from the area of higher sound speed. The mathematical model of refraction is called Snell's law.
If the sound source is deep and the conditions are right, propagation may occur in the 'deep sound channel'. This provides extremely low propagation loss to a receiver in the channel. This is because of sound trapping in the channel with no losses at the boundaries. Similar propagation can occur in the 'surface duct' under suitable conditions. However, in this case there are reflection losses at the surface.
In shallow water propagation is generally by repeated reflection at the surface and bottom, where considerable losses can occur.
Sound propagation is affected by absorption in the water itself as well as at the surface and bottom. This absorption depends upon frequency, with several different mechanisms in sea water. Long-range sonar uses low frequencies to minimise absorption effects.
The sea contains many sources of noise that interfere with the desired target echo or signature. The main noise sources are waves and shipping. The motion of the receiver through the water can also cause speed-dependent low frequency noise.
Scattering
When active sonar is used, scattering occurs from small objects in the sea as well as from the bottom and surface. This can be a major source of interference. This acoustic scattering is analogous to the scattering of the light from a car's headlights in fog: a high-intensity pencil beam will penetrate the fog to some extent, but broader-beam headlights emit much light in unwanted directions, much of which is scattered back to the observer, overwhelming that reflected from the target ('white-out'). For analogous reasons active sonar needs to transmit in a narrow beam to minimise scattering.
Target characteristics
The sound reflection characteristics of the target of an active sonar, such as a submarine, are known as its target strength. A complication is that echoes are also obtained from other objects in the sea such as whales, wakes, schools of fish and rocks.
Passive sonar detects the target's radiated noise characteristics. The radiated spectrum comprises a continuous spectrum of noise with peaks at certain frequencies which can be used for classification.
Countermeasures
Cast Software Vs Sonar Converter
Active (powered) countermeasures may be launched by a submarine under attack to raise the noise level, provide a large false target, and obscure the signature of the submarine itself.
Passive (i.e., non-powered) countermeasures include:
Cast Software Vs Sonar Converter
- Mounting noise-generating devices on isolating devices.
- Sound-absorbent coatings on the hulls of submarines, for example anechoic tiles.
Military applications
Modern naval warfare makes extensive use of both passive and active sonar from water-borne vessels, aircraft and fixed installations. Although active sonar was used by surface craft in World War II, submarines avoided the use of active sonar due to the potential for revealing their presence and position to enemy forces. However, the advent of modern signal-processing enabled the use of passive sonar as a primary means for search and detection operations. In 1987 a division of Japanese company Toshiba reportedly sold machinery to the Soviet Union that allowed their submarine propeller blades to be milled so that they became radically quieter, making the newer generation of submarines more difficult to detect.
The use of active sonar by a submarine to determine bearing is extremely rare and will not necessarily give high quality bearing or range information to the submarines fire control team. However, use of active sonar on surface ships is very common and is used by submarines when the tactical situation dictates it is more important to determine the position of a hostile submarine than conceal their own position. With surface ships, it might be assumed that the threat is already tracking the ship with satellite data as any vessel around the emitting sonar will detect the emission. Having heard the signal, it is easy to identify the sonar equipment used (usually with its frequency) and its position (with the sound wave's energy). Active sonar is similar to radar in that, while it allows detection of targets at a certain range, it also enables the emitter to be detected at a far greater range, which is undesirable.
Since active sonar reveals the presence and position of the operator, and does not allow exact classification of targets, it is used by fast (planes, helicopters) and by noisy platforms (most surface ships) but rarely by submarines. When active sonar is used by surface ships or submarines, it is typically activated very briefly at intermittent periods to minimize the risk of detection. Consequently, active sonar is normally considered a backup to passive sonar. In aircraft, active sonar is used in the form of disposable sonobuoys that are dropped in the aircraft's patrol area or in the vicinity of possible enemy sonar contacts.
Passive sonar has several advantages, most importantly that it is silent. If the target radiated noise level is high enough, it can have a greater range than active sonar, and allows the target to be identified. Since any motorized object makes some noise, it may in principle be detected, depending on the level of noise emitted and the ambient noise level in the area, as well as the technology used. To simplify, passive sonar 'sees' around the ship using it. On a submarine, nose-mounted passive sonar detects in directions of about 270°, centered on the ship's alignment, the hull-mounted array of about 160° on each side, and the towed array of a full 360°. The invisible areas are due to the ship's own interference. Once a signal is detected in a certain direction (which means that something makes sound in that direction, this is called broadband detection) it is possible to zoom in and analyze the signal received (narrowband analysis). This is generally done using a Fourier transform to show the different frequencies making up the sound. Since every engine makes a specific sound, it is straightforward to identify the object. Databases of unique engine sounds are part of what is known as acoustic intelligence or ACINT.
Another use of passive sonar is to determine the target's trajectory. This process is called target motion analysis (TMA), and the resultant 'solution' is the target's range, course, and speed. TMA is done by marking from which direction the sound comes at different times, and comparing the motion with that of the operator's own ship. Changes in relative motion are analyzed using standard geometrical techniques along with some assumptions about limiting cases.
Passive sonar is stealthy and very useful. However, it requires high-tech electronic components and is costly. It is generally deployed on expensive ships in the form of arrays to enhance detection. Surface ships use it to good effect; it is even better used by submarines, and it is also used by airplanes and helicopters, mostly to a 'surprise effect', since submarines can hide under thermal layers. If a submarine's commander believes he is alone, he may bring his boat closer to the surface and be easier to detect, or go deeper and faster, and thus make more sound.
Examples of sonar applications in military use are given below. Many of the civil uses given in the following section may also be applicable to naval use.
Anti-submarine warfare
Until recently, ship sonars were usually with hull mounted arrays, either amidships or at the bow. It was soon found after their initial use that a means of reducing flow noise was required. The first were made of canvas on a framework, then steel ones were used. Now domes are usually made of reinforced plastic or pressurized rubber. Such sonars are primarily active in operation. An example of a conventional hull mounted sonar is the SQS-56.
Because of the problems of ship noise, towed sonars are also used. These also have the advantage of being able to be placed deeper in the water. However, there are limitations on their use in shallow water. These are called towed arrays (linear) or variable depth sonars (VDS) with 2/3D arrays. A problem is that the winches required to deploy/recover these are large and expensive. VDS sets are primarily active in operation while towed arrays are passive.
An example of a modern active-passive ship towed sonar is Sonar 2087 made by Thales Underwater Systems.
Torpedoes
Modern torpedoes are generally fitted with an active/passive sonar. This may be used to home directly on the target, but wake homing torpedoes are also used. An early example of an acoustic homer was the Mark 37 torpedo.
Torpedo countermeasures can be towed or free. An early example was the German Sieglinde device while the Bold was a chemical device. A widely used US device was the towed AN/SLQ-25 Nixie while the mobile submarine simulator (MOSS) was a free device. A modern alternative to the Nixie system is the UK Royal Navy S2170 Surface Ship Torpedo Defence system.
Mines
Mines may be fitted with a sonar to detect, localize and recognize the required target. An example is the CAPTOR mine.
Mine countermeasures
Mine countermeasure (MCM) sonar, sometimes called 'mine and obstacle avoidance sonar (MOAS)', is a specialized type of sonar used for detecting small objects. Most MCM sonars are hull mounted but a few types are VDS design. An example of a hull mounted MCM sonar is the Type 2193 while the SQQ-32 mine-hunting sonar and Type 2093 systems are VDS designs.
I highly recommend this book. Essentials of 80x86 assembly language 2nd edition. The author provides a working copy of MASM and a Windows Debugger to trace the execution of your code. But, I believe it would be an excellent test to learn from. I bought this book not to learn but to review Intel 80x86 assembly language programming.
Submarine navigation
Submarines rely on sonar to a greater extent than surface ships as they cannot use radar at depth. The sonar arrays may be hull mounted or towed. Information fitted on typical fits is given in Oyashio class submarine and Swiftsure class submarine.
Aircraft
Helicopters can be used for antisubmarine warfare by deploying fields of active-passive sonobuoys or can operate dipping sonar, such as the AQS-13. Fixed wing aircraft can also deploy sonobuoys and have greater endurance and capacity to deploy them. Processing from the sonobuoys or dipping sonar can be on the aircraft or on ship. Dipping sonar has the advantage of being deployable to depths appropriate to daily conditions. Helicopters have also been used for mine countermeasure missions using towed sonars such as the AQS-20A.
Underwater communications
Dedicated sonars can be fitted to ships and submarines for underwater communication.
Ocean surveillance
For many years, the United States operated a large set of passive sonar arrays at various points in the world's oceans, collectively called sound surveillance system (SOSUS) and later integrated undersea surveillance system (IUSS). A similar system is believed to have been operated by the Soviet Union. As permanently mounted arrays in the deep ocean were utilised, they were in very quiet conditions so long ranges could be achieved. Signal processing was carried out using powerful computers ashore. With the ending of the Cold War a SOSUS array has been turned over to scientific use.
In the United States Navy, a special badge known as the Integrated Undersea Surveillance System Badge is awarded to those who have been trained and qualified in its operation.
Underwater security
Sonar can be used to detect frogmen and other scuba divers. This can be applicable around ships or at entrances to ports. Active sonar can also be used as a deterrent and/or disablement mechanism. One such device is the Cerberus system.
Hand-held sonar
Limpet mine imaging sonar (LIMIS) is a hand-held or ROV-mounted imaging sonar designed for patrol divers (combat frogmen or clearance divers) to look for limpet mines in low visibility water.
The LUIS is another imaging sonar for use by a diver.
Integrated navigation sonar system (INSS) is a small flashlight-shaped handheld sonar for divers that displays range.[21][22]
Intercept sonar
This is a sonar designed to detect and locate the transmissions from hostile active sonars. An example of this is the Type 2082 fitted on the British Vanguard class submarines.
Civilian applications
Fisheries
Fishing is an important industry that is seeing growing demand, but world catch tonnage is falling as a result of serious resource problems. The industry faces a future of continuing worldwide consolidation until a point of sustainability can be reached. However, the consolidation of the fishing fleets are driving increased demands for sophisticated fish finding electronics such as sensors, sounders and sonars. Historically, fishermen have used many different techniques to find and harvest fish. However, acoustic technology has been one of the most important driving forces behind the development of the modern commercial fisheries.
Sound waves travel differently through fish than through water because a fish's air-filled swim bladder has a different density than seawater. This density difference allows the detection of schools of fish by using reflected sound. Acoustic technology is especially well suited for underwater applications since sound travels farther and faster underwater than in air. Today, commercial fishing vessels rely almost completely on acoustic sonar and sounders to detect fish. Fishermen also use active sonar and echo sounder technology to determine water depth, bottom contour, and bottom composition.
Companies such as eSonar, Raymarine UK, Marport Canada, Wesmar, Furuno, Krupp, and Simrad make a variety of sonar and acoustic instruments for the deep sea commercial fishing industry. For example, net sensors take various underwater measurements and transmit the information back to a receiver on board a vessel. Each sensor is equipped with one or more acoustic transducers depending on its specific function. Data is transmitted from the sensors using wireless acoustic telemetry and is received by a hull mounted hydrophone. The analog signals are decoded and converted by a digital acoustic receiver into data which is transmitted to a bridge computer for graphical display on a high resolution monitor.
Echo sounding
Echo sounding is a process used to determine the depth of water beneath ships and boats. A type of active sonar, echo sounding is the transmission of an acoustic pulse directly downwards to the seabed, measuring the time between transmission and echo return, after having hit the bottom and bouncing back to its ship of origin. The acoustic pulse is emitted by a transducer which receives the return echo as well. The depth measurement is calculated by multiplying the speed of sound in water(averaging 1,500 meters per second) by the time between emission and echo return.[23][24]
The value of underwater acoustics to the fishing industry has led to the development of other acoustic instruments that operate in a similar fashion to echo-sounders but, because their function is slightly different from the initial model of the echo-sounder, have been given different terms.
Net location
The net sounder is an echo sounder with a transducer mounted on the headline of the net rather than on the bottom of the vessel. Nevertheless, to accommodate the distance from the transducer to the display unit, which is much greater than in a normal echo-sounder, several refinements have to be made. Two main types are available. The first is the cable type in which the signals are sent along a cable. In this case there has to be the provision of a cable drum on which to haul, shoot and stow the cable during the different phases of the operation. The second type is the cable-less net-sounder – such as Marport's Trawl Explorer – in which the signals are sent acoustically between the net and hull mounted receiver-hydrophone on the vessel. In this case no cable drum is required but sophisticated electronics are needed at the transducer and receiver.
The display on a net sounder shows the distance of the net from the bottom (or the surface), rather than the depth of water as with the echo-sounder's hull-mounted transducer. Fixed to the headline of the net, the footrope can usually be seen which gives an indication of the net performance. Any fish passing into the net can also be seen, allowing fine adjustments to be made to catch the most fish possible. In other fisheries, where the amount of fish in the net is important, catch sensor transducers are mounted at various positions on the cod-end of the net. As the cod-end fills up these catch sensor transducers are triggered one by one and this information is transmitted acoustically to display monitors on the bridge of the vessel. The skipper can then decide when to haul the net.
Modern versions of the net sounder, using multiple element transducers, function more like a sonar than an echo sounder and show slices of the area in front of the net and not merely the vertical view that the initial net sounders used.
The sonar is an echo-sounder with a directional capability that can show fish or other objects around the vessel.
ROV and UUV
Small sonars have been fitted to remotely operated vehicles (ROVs) and unmanned underwater vehicles (UUVs) to allow their operation in murky conditions. These sonars are used for looking ahead of the vehicle. The Long-Term Mine Reconnaissance System is a UUV for MCM purposes.
Vehicle location
Sonars which act as beacons are fitted to aircraft to allow their location in the event of a crash in the sea. Short and long baseline sonars may be used for caring out the location, such as LBL.
Prosthesis for the visually impaired
In 2013 an inventor in the United States unveiled a 'spider-sense' bodysuit, equipped with ultrasonic sensors and haptic feedback systems, which alerts the wearer of incoming threats; allowing them to respond to attackers even when blindfolded.[25]
Scientific applications
Biomass estimation
Detection of fish, and other marine and aquatic life, and estimation their individual sizes or total biomass using active sonar techniques. As the sound pulse travels through water it encounters objects that are of different density or acoustic characteristics than the surrounding medium, such as fish, that reflect sound back toward the sound source. These echoes provide information on fish size, location, abundance and behavior. Data is usually processed and analysed using a variety of software such as Echoview.
Wave measurement
An upward looking echo sounder mounted on the bottom or on a platform may be used to make measurements of wave height and period. From this statistics of the surface conditions at a location can be derived.
Water velocity measurement
Special short range sonars have been developed to allow measurements of water velocity.
Bottom type assessment
Sonars have been developed that can be used to characterise the sea bottom into, for example, mud, sand, and gravel. Relatively simple sonars such as echo sounders can be promoted to seafloor classification systems via add-on modules, converting echo parameters into sediment type. Different algorithms exist, but they are all based on changes in the energy or shape of the reflected sounder pings. Advanced substrate classification analysis can be achieved using calibrated (scientific) echosounders and parametric or fuzzy-logic analysis of the acoustic data.
Cast Software Vs Sonar Configuration
Bathymetric mapping
Side-scan sonars can be used to derive maps of seafloor topography (bathymetry) by moving the sonar across it just above the bottom. Low frequency sonars such as GLORIA have been used for continental shelf wide surveys while high frequency sonars are used for more detailed surveys of smaller areas.
Sub-bottom profiling
Powerful low frequency echo-sounders have been developed for providing profiles of the upper layers of the ocean bottom.
Synthetic aperture sonar
Various synthetic aperture sonars have been built in the laboratory and some have entered use in mine-hunting and search systems. An explanation of their operation is given in synthetic aperture sonar.
Parametric sonar
Parametric sources use the non-linearity of water to generate the difference frequency between two high frequencies. A virtual end-fire array is formed. Such a projector has advantages of broad bandwidth, narrow beamwidth, and when fully developed and carefully measured it has no obvious sidelobes: see Parametric array. Its major disadvantage is very low efficiency of only a few percent.[26] P.J. Westervelt summarizes the trends involved.[27]
Sonar in extraterrestrial contexts
Use of sonar has been proposed for determining the depth of hydrocarbon seas on Titan.[28]
Effect of sonar on marine life
Effect on marine mammals
Research has shown that use of active sonar can lead to mass strandings of marine mammals.[29]Beaked whales, the most common casualty of the strandings, have been shown to be highly sensitive to mid-frequency active sonar.[30] Other marine mammals such as the blue whale also flee away from the source of the sonar,[31] while naval activity was suggested to be the most probable cause of a mass stranding of dolphins.[32] The US Navy, which part-funded some of the studies, said that the findings only showed behavioural responses to sonar, not actual harm, but they 'will evaluate the effectiveness of [their] marine mammal protective measures in light of new research findings'.[29] A 2008 US Supreme Court ruling on the use of sonar by the US Navy noted that there had been no cases where sonar had been conclusively shown to have harmed or killed a marine mammal.[33]
Some marine animals, such as whales and dolphins, use echolocation systems, sometimes called biosonar to locate predators and prey. Research on the effects of sonar on blue whales in the Southern California Bight shows that mid-frequency sonar use disrupts the whales' feeding behavior. This indicates that sonar-induced disruption of feeding and displacement from high-quality prey patches could have significant and previously undocumented impacts on baleen whale foraging ecology, individual fitness and population health.[34]
A review of evidence on the mass strandings of beaked whale linked to naval exercises where sonar was used was published in 2019. It concluded that the effects of mid-frequency active sonar are strongest on Cuvier's beaked whales but vary among individuals or populations. The review suggested the strength of response of individual animals may depend on whether they had prior exposure to sonar, and that symptoms of decompression sickness have been found in stranded whales that may be a result of such response to sonar. It noted that in the Canary Islands where multiple strandings had been previously reported, no more mass strandings had occurred once naval exercises during which sonar was used were banned in the area, and recommended that the ban be extended to other areas where mass strandings continue to occur.[35][36]
Effect on fish
High-intensity sonar sounds can create a small temporary shift in the hearing threshold of some fish.[37][38][a]
Frequencies and resolutions
The frequencies of sonars range from infrasonic to above a megahertz. Generally, the lower frequencies have longer range, while the higher frequencies offer better resolution, and smaller size for a given directionality.
To achieve reasonable directionality, frequencies below 1 kHz generally require large size, usually achieved as towed arrays.[39]
Low frequency sonars are loosely defined as 1–5 kHz, albeit some navies regard 5–7 kHz also as low frequency. Medium frequency is defined as 5–15 kHz. Another style of division considers low frequency to be under 1 kHz, and medium frequency at between 1–10 kHz.[39]
American World War II era sonars operated at a relatively high frequency of 20–30 kHz, to achieve directionality with reasonably small transducers, with typical maximum operational range of 2500 yd. Postwar sonars used lower frequencies to achieve longer range; e.g. SQS-4 operated at 10 kHz with range up to 5000 yd. SQS-26 and SQS-53 operated at 3 kHz with range up to 20,000 yd; their domes had size of approx. a 60-ft personnel boat, an upper size limit for conventional hull sonars. Achieving larger sizes by conformal sonar array spread over the hull has not been effective so far, for lower frequencies linear or towed arrays are therefore used.[39]
Japanese WW2 sonars operated at a range of frequencies. The Type 91, with 30 inch quartz projector, worked at 9 kHz. The Type 93, with smaller quartz projectors, operated at 17.5 kHz (model 5 at 16 or 19 kHz magnetostrictive) at powers between 1.7 and 2.5 kilowatts, with range of up to 6 km. The later Type 3, with German-design magnetostrictive transducers, operated at 13, 14.5, 16, or 20 kHz (by model), using twin transducers (except model 1 which had three single ones), at 0.2 to 2.5 kilowatts. The simple type used 14.5 kHz magnetostrictive transducers at 0.25 kW, driven by capacitive discharge instead of oscillators, with range up to 2.5 km.[19]
The sonar's resolution is angular; objects further apart are imaged with lower resolutions than nearby ones.
Another source lists ranges and resolutions vs frequencies for sidescan sonars. 30 kHz provides low resolution with range of 1000–6000 m, 100 kHz gives medium resolution at 500–1000 m, 300 kHz gives high resolution at 150–500 m, and 600 kHz gives high resolution at 75–150 m. Longer range sonars are more adversely affected by nonhomogenities of water. Some environments, typically shallow waters near the coasts, have complicated terrain with many features; higher frequencies become necessary there.[40]
As a specific example, the Sonar 2094 Digital, a towed fish capable of reaching depth of 1000 or 2000 meters, performs side-scanning at 114 kHz (600m range at each side, 50 by 1 degree beamwidth) and 410 kHz (150m range, 40 by 0.3 degree beamwidth), with 3 kW pulse power.[41]
A JW Fishers system offers side-scanning at 1200 kHz with very high spatial resolution, optionally coupled with longer-range 600 kHz (range 200 ft at each side) or 100 kHz (up to 2000 ft per side, suitable for scanning large areas for big targets).[42]
See also
- Lead zirconate titanate or PZT, a piezoelectric material used for ultrasonic transducers
- Gordon Eugene Martin, sonar physicist
Cast Software Vs Sonar Construction
Notes
- ^Halvorsen et al. (2013) conclude that observed effects were 'typically small even though the fish were near the sonar and remained there for the full duration of three test signals'.
Citations
- ^Jürgen Rohwer; Mikhail Monakov; Mikhail S. Monakov (2001). Stalin's Ocean-going Fleet: Soviet Naval Strategy and Shipbuilding Programmes, 1935–1953. Psychology Press. p. 264. ISBN9780714648958.
- ^ abc'Sonar'. Encyclopaedia Britannica. Retrieved 18 January 2019.
- ^David Ribas; Pere Ridao; José Neira (26 July 2010). Underwater SLAM for Structured Environments Using an Imaging Sonar. Springer Science & Business Media. ISBN978-3-642-14039-6.
- ^ abFahy, Frank (1998). Fundamentals of noise and vibration. John Gerard Walker. Taylor & Francis. p. 375. ISBN978-0-419-24180-5.
- ^Thomas Neighbors, David Bradley (ed), Applied Underwater Acoustics: Leif Bjørnø , Elsevier, 2017 ISBN0128112476, page 8
- ^M. A. Ainslie (2010), Principles of Sonar Performance Modeling, Springer, p10
- ^ abHill, M. N. (1962). Physical Oceanography. Allan R. Robinson. Harvard University Press. p. 498.
- ^W. Hackmann (1984), Seek and Strike, pn
- ^Seitz, Frederick (1999). The cosmic inventor: Reginald Aubrey Fessenden (1866–1932). 89. American Philosophical Society. pp. 41–46. ISBN978-0-87169-896-4.
- ^Hendrick, Burton J. (August 1914). 'Wireless under the water: a remarkable device that enables a ship's captain to determine the exact location of another ship even en the densest fog'. The World's Work: A History of Our Time. XLIV (2): 431–434. Retrieved 2009-08-04.
- ^'Report of Captain J. H. Quinan of the U.S.R.C. Miami on the echo fringe method of detecting icebergs and taking continuous soundings'. Hydrographic Office Bulletin. 1914-05-13. (quoted in a NOAA transcript by Central Library staff April, 2002Archived 2010-05-10 at the Wayback Machine.
- ^'The rotary bowcap'. Archived from the original on 2007-06-26.
- ^'World War II Naval Dictionary'. USS Abbot(DD-629). Archived from the original on February 20, 2014. Retrieved February 19, 2014.
- ^W. Hackmann, Seek & Strike: Sonar, anti-submarine warfare and the Royal Navy 1914–54 (HMSO, London, 1984).
- ^Howeth: Chapter XXXIX. Washington. 1963.
- ^from Dr. Horton's autobiographical sketch and US Department of the Navy Undersea Warfare Center
- ^Horton, J. Warren (1957). Fundamentals of Sonar. U. S. Naval Institute, Annapolis, MD. p. 387.
- ^Frank Massa. Sonar Transducers: A HistoryArchived 2015-04-18 at the Wayback Machine
- ^ ab'Japanese Sonar and Asdic'(PDF). Archived from the original(PDF) on 2015-09-24. Retrieved 2015-05-08.
- ^Sherman, Charles H; Butler, John L; Brown, David A (2008). Transducers and Arrays for Underwater Sound. Acoustical Society of America Journal. 124. p. 1385. Bibcode:2008ASAJ.124.1385S. doi:10.1121/1.2956476. ISBN9780387331393. Archived from the original on 2018-04-26.
- ^Lent, K (2002). 'Very High Resolution Imaging Diver Held Sonar'. Report to the Office of Naval Research. Archived from the original on 2008-08-13. Retrieved 2008-08-11.
- ^Krueger, Kenneth L. (2003-05-05). 'Diver Charting and Graphical Display'. Texas Univ at Austin Applied Research Labs. Archived from the original on 2009-01-21. Retrieved 2009-01-21.
- ^'Fathometer'. Archived from the original on 2013-10-20.
- ^'NOAA Ocean Explorer: Echo Sounding Reading'. Archived from the original on 2015-09-10.
- ^'This Suit Gives You A Real Life Spider-Sense'. Forbes. 23 February 2013. Archived from the original on 27 February 2013. Retrieved 12 March 2013.
- ^H O Berktay, Some Finite Amplitude Effects in Underwater Acoustics in V M Albers 'Underwater Acoustics' 1967
- ^Westervelt, P. J. (1963). Parametric acoustic array. The Journal of the Acoustical Society of America, 35(4), 535-537.
- ^Arvelo & Lorenz (2013), J Acoust Soc Am
- ^ abDamian Carrington (3 July 2013). 'Whales flee from military sonar leading to mass strandings, research shows'. The Guardian. Archived from the original on 1 October 2017.
- ^Stacy L. DeRuiter; Brandon L. Southall; John Calambokidis; Walter M. X. Zimmer; Dinara Sadykova; Erin A. Falcone; Ari S. Friedlaender; John E. Joseph; David Moretti; Gregory S. Schorr; Len Thomas; Peter L. Tyack (2013). 'First direct measurements of behavioural responses by Cuvier's beaked whales to mid-frequency active sonar'. Biology Letters. 9 (4): 20130223. doi:10.1098/rsbl.2013.0223. PMC3730631. PMID23825085. Archived from the original on 2015-10-19. Retrieved 2013-07-16.
- ^Goldbogen J. A.; Southall B. L.; Deruiter S. L.; Calambokidis J.; Friedlaender A. S.; Hazen E. L.; Falcone E. A.; Schorr G. S.; Douglas A.; Moretti D. J.; Kyburg C.; McKenna M. F.; Tyack P. L. (Jul 3, 2013). 'Blue whales respond to simulated mid-frequency military sonar'. Proceedings of the Royal Society B. 280 (765): 20130657. doi:10.1098/rspb.2013.0657. PMC3712439. PMID23825206. Archived from the original on 2016-03-03.
- ^Jepson P. D.; Deaville R.; Acevedo-Whitehouse K.; Barnett J.; Brownlow A.; Brownell R. L. Jr.; Clare F. C.; Davison N.; Law R. J.; Loveridge J.; Macgregor S. K.; Morris S.; Murphy S.; Penrose R.; Perkins M. W.; Pinn E.; Seibel H.; Siebert U.; Sierra E.; Simpson V.; Tasker M. L.; Tregenza N.; Cunningham A. A.; Fernández A. (Apr 30, 2013). 'What caused the UK's largest common dolphin (Delphinus delphis) mass stranding event?'. PLoS ONE. 8 (4): e60953. Bibcode:2013PLoSO..860953J. doi:10.1371/journal.pone.0060953. PMC3640001. PMID23646103.
- ^Winter vs. National Resources Defense CouncilArchived 2017-12-09 at the Wayback Machine No. 07–1239., October term, 2008
- ^Goldbogen J. A.; Southall B. L.; Deruiter S. L.; Calambokidis J.; Friedlaender A. S.; Hazen E. L.; Falcone E. A.; Schorr G. S.; Douglas A.; Moretti D. J.; Kyburg C.; McKenna M. F.; Tyack P. L. (Jul 3, 2013). 'Blue whales respond to simulated mid-frequency military sonar'. Proceedings of the Royal Society B. 280 (765): 20130657. doi:10.1098/rspb.2013.0657. PMC3712439. PMID23825206. Archived from the original on 2016-03-03.
- ^Bernaldo de Quirós Y; Fernandez A; Baird RW; Brownell RL Jr; Aguilar de Soto N; Allen D, Arbelo M; Arregui M; Costidis A; Fahlman A; Frantzis A; Gulland FMD; Iñíguez M; Johnson M; Komnenou A; Koopman H; Pabst DA; Roe WD; Sierra E; Tejedor M; Schorr G. (30 January 2019). 'Advances in research on the impacts of anti-submarine sonar on beaked whales'. Proceedings of the Royal Society B. 286 (1895): 20182533. doi:10.1098/rspb.2018.2533. PMC6364578. PMID30963955.
- ^Batchelor, Tom (30 January 2019). 'Scientists demand military sonar ban to end mass whale strandings'. The Independent.
- ^Popper A. N.; Halvorsen M. B.; Kane A.; Miller D. L.; Smith M. E.; Song J.; Wysocki L. E. (2007). 'The effects of high-intensity, low-frequency active sonar on rainbow trout'. The Journal of the Acoustical Society of America. 122 (1): 623–635. Bibcode:2007ASAJ.122.623P. doi:10.1121/1.2735115. PMID17614519.
- ^Halvorsen M. B.; Zeddies D. G.; Chicoine D.; Popper A. N. (2013). 'Effects of low-frequency naval sonar exposure on three species of fish'. The Journal of the Acoustical Society of America. 134 (2): EL205–EL210. Bibcode:2013ASAJ.134L.205H. doi:10.1121/1.4812818. PMID23927226.
- ^ abcFriedman, Norman (1997). The Naval Institute Guide to World Naval Weapons Systems, 1997–1998. ISBN9781557502681. Archived from the original on 2018-04-26.
- ^Søreide, Fredrik (2011-04-28). Ships from the Depths. ISBN9781603442183. Archived from the original on 2018-04-26.
- ^http://www.km.kongsberg.com/ks/web/nokbg0397.nsf/AllWeb/99DDBE721D20AD5FC125775A002A2E60/$file/GeoAcoustics-2094-digital-data-sheet.pdf?OpenElement[dead link]
- ^'JW Fishers – High Frequency Side Scan Sonar'. Archived from the original on 2015-04-25.
Bibliography
- Dring, Thomas R. (March 2018). 'A Steep Learning Curve: The Impact of Sonar Technology, Training, and Tactics on the Initial Years of U.S. Navy Antisubmarine Warfare in World War II'. Warship International. LV (January 2018): 37–57. ISSN0043-0374.
- Hackmann, Willem. Seek & Strike: Sonar, anti-submarine warfare and the Royal Navy 1914–54. London: Her Majesty's Stationery Office, 1984. ISBN0-11-290423-8
- Hackmann, Willem D. 'Sonar Research and Naval Warfare 1914–1954: A Case Study of a Twentieth-Century Science'. Historical Studies in the Physical and Biological Sciences 16#1 (1986) 83–110.
- Urick, R. J. Principles of Underwater Sound, 3rd edition. (Peninsula Publishing, Los Altos, 1983).
Fisheries Acoustics References
- Fisheries Acoustics Research (FAR) at the University of Washington http://www.acoustics.washington.edu/
- NOAA Protocols for Fisheries Acoustics Surveys https://web.archive.org/web/20060718014532/http://www.st.nmfs.gov/st4/protocol/Acoustic_protocols.pdf
- Acoustics Unpacked—A 'how to' great reference for freshwater hydroacoustics for resource assessment
- 'ACOUSTICS IN FISHERIES AND AQUATIC ECOLOGY' https://web.archive.org/web/20060514165318/http://www.ifremer.fr/sympafae/
- 'Hydroacoustic Protocol – Lakes, Reservoirs and Lowland Rivers' (for fish assessment) https://web.archive.org/web/20060721124918/http://www.pnamp.org/web/workgroups/FPM/meetings/2005_1205/2005_1202Hydroacoustics-Lakes.doc
- Simmonds, E. John, and D. N. MacLennan. Fisheries Acoustics: Theory and Practice, second edition. Fish and aquatic resources series, 10. Oxford: Blackwell Science, 2003. ISBN978-0-632-05994-2.
Further reading
- Canada: Stable Sonics, Time Magazine, October 28, 1946. An interesting account of the 4,800 ASDIC sonar devices secretly manufactured at Casa Loma, Toronto, during World War II. Retrieved 25 Sept. 2009.
- 'Radar of the Deep - SONAR', November 1945, Popular Science one of the best general public articles on the subject
External links
| Wikimedia Commons has media related to Sonar. |
- Sonars and the marine environment by Norwegian Defence Research Establishment (FFI)