Industrial Light & Magic
Industrial Light & Magic, or ILM, is a visual effects (VFX) company, which over the course of its existence has achieved a near legendary status in the motion picture industry. Founded and owned in May 1975 by George Lucas as part of Lucasfilm Ltd., with the specific intent to provide the VFX for his, what turned out to be, first movie and cornerstone of the hugely successful Star Wars franchise, the company quickly became a renowned and prolific effects house, working on numerous feature films, including several stemming from the Star Trek franchise.

Star Trek
ILM started its longtime association with Star Trek in 1981 when the company was contracted for the VFX for . This came about as Paramount Pictures, the owner and producer of the Star Trek productions, became the production partner of Lucasfilm for the inception of the 1981  movie, the first outing of what was to become the successful Indiana Jones franchise. Paramount awarded ILM the Star Trek commission in order to cement the new relationship with Lucasfilm. For this Paramount was willing to sacrifice its own subsidiary effects house Future General Corporation (FGC), which had successfully provided the effects for the previous Star Trek movie, . According to its former operator, Douglas Trumbull, FGC had actually underbid ILM by US$1.5 million for the commission to no avail, as the studio claimed that they wanted to cement the relationship with ILM, with FGC subsequently phased out of existence. (Cinefantastique, Vol 12 #5/6, p. 65) Incidentally, Trumbull had also brought in John Dykstra's Apogee, Inc. on The Motion Picture; Dykstra and co-worker as well as  veteran Richard Edlund , along with Trumbull's father Don – who had also been contracted for The Motion Picture – Grant McCune and Bill Shourt, had been instrumental ILM VFX staffers and were part of the "Original Twelve" ILM founding staff with prior or later Star Trek affiliation. (The Making of Star Wars, pp. 51-52, ) Dykstra and Edlund shared a Academy Award for The Motion Picture, before subsequently striking out on their own. While Dykstra was not, Edlund was again employed by ILM, when the company started to work on its first two Star Trek films, but Edlund was not assigned to either, instead he worked on the Indiana Jones outings among others before leaving again, definitely this time.

An efficient and reliable company, ILM's contributions for the three subsequent  went off without any noticeable hitches, generally on time and on budget, much to the delight of Paramount, and a far cry from what the studio had to go through with Robert Abel & Associates (before FGC's involvement) on The Motion Picture. And indeed, the producers of  again wanted to employ the services of the company, but as its director, William Shatner clarified, "Having begun our search for magic at ILM, we were dismayed to find that most of that firm's best technicians, the A team, were already hard at work on the Steven Spielberg/Lucas collaboration Indiana Jones and the Last Crusade. At the same time, a good portion of the B team were putting together the effects for Ghostbusters II. We knew that the best ILM could offer simply wasn't their best, and for that reason, we tested the water by asking a number of companies all over Hollywood to audition for the job on Star Trek IV, fronting each of them $10,000 and asking that they do their best to create a striking and unusual image of God. We found our winner in... Hoboken, New Jersey." (Star Trek Movie Memories, 1995, pp. 298-300) A financial and critical failure, the disappointing VFX ILM's replacement, Associates and Ferren, had produced, were cited as one of the most important causes for the poor performance of The Final Frontier. 

For the next production, , ILM was also considered to be dropped as VFX vendor, but for entirely different reasons. A troubled production, struggling with a too tightly set production budget, the movie was facing cancellation if the producers could not come up with cost saving measures. A former "Trekkie", Producer Steven-Charles Jaffe, was so desperate to see the film come to fruition that he even went as far to suggest dropping ILM as the visual effects vendor for the movie, instead going for a cheaper company. However the Associates and Ferren visual effects debacle for the previous movie was still very much fresh on the minds of his colleagues, and no one was willing to go that far. Nevertheless, the planned 110 visual effects cuts were whittled down to just 51 to meet the tight budget. Yet, trimming down the visual effects cuts to 51 turned out to be too ambitious, as 30 of the originally jettisoned effects sequences had to be produced by ILM and inserted after all, in order to make the movie "cut" well. (Cinefantastique, Vol 22 #5, p. 35) It was now that the dedication of veteran ILM staffers to Star Trek came to the fore; While the studio had no budget from new studio models, one was actually constructed as something of a labor of love by ILM staffers John Goodson and Bill George, the SD-103-type. The script had a scene featured which both men felt needed embellishment, and so, out of their own volition, they constructed the model. (Cinefex, issue 49, p. 48) The model went on to later become the . It has made The Undiscovered Country the feature where the least new Star Trek starship designs were featured. George incidentally, turned out to be a stickler for detail; As he was aware that the  had now a new and smaller bridge set, he made the effort to replace the originally larger bridge module on the Excelsior-class filming model with a smaller one, in order to reflect the change. (American Cinematographer, January 1992, pp. 58-59)

When the Star Trek television franchise was relaunched in 1986 with , Producer Robert Justman put out bids to several VFX companies for the build of two new, differently sized,  hero Galaxy-class studio models, including ILM, not really expecting them to be able to make an offer on a television budget. However, Justman lucked out, as the company tendered a bid that was below par as the company was between jobs, "What they decided was to make a bare-bones bid, enough to keep their doors open and keep everyone on that they needed. Oh, it was a tremendous bid. I couldn´t believe it was so cheap! But it was ILM, you know? The best in the business!", an overjoyed Justman exclaimed. () As the build of the models progressed, ILM was subsequently able to secure an additional commission to shoot a library of effects sequences that consisted of 69 shots with some 300 elements. () Having only worked on the pilot episode of the new series, , the fact that their VFX footage had been used as stock-footage throughout the entire run of the series, warranted ILM the "Industrial Light & Magic, A Division of Lucasfilm Ltd." credit in the end credit roll of all seven seasons. Bill George also contributed the  studio model for use in the Next Generations series finale , but this he did on personal title, not as part of ILM.

Another unexpected contribution ILM made for the television franchise, occurred when key staffer John Knoll, working on the post-production of  at the time, was approached for the CGI build of the Bajoran lightship, to be featured in s third season episode , which he dutifully performed, but for which neither he nor his company received any credit. Incidentally, it had been Knoll who had constructed the very first CGI version of a Star Trek "hero" ship, that of the  for use in Generations. Very shortly thereafter he, again uncredited, contributed to the renewed title sequence for Deep Space Nine, shown from  onward, which consisted of a combination of  and CGI elements. At the time still a time intensive production method, Knoll pitched in with the CGI work out of courtesy, "I made about half a dozen little bits and pieces [rem: work bees and the welders on the pylons] for the sequence, including a generic alien ship with blue glowy engines." ()

While ILM has enjoyed a relative VFX monopoly during the production of the Original Crew movies, things started to change in the early 1990s with the advent of digital techniques of producing them, most conspicuously CGI. Somewhat counter-intuitively, as it were the classic methods of producing VFX that were traditionally considered labor-intensive, the exponentially progressive sophistication of the digital techniques warranted an ever growing number of specialized VFX staffers to such an extent that ILM already needed additional help from other VFX companies while they were involved with the The Next Generation movies. By the time the two alternate universe movies went into production, the size of the VFX staff had truly exploded, and ILM had become just one of several companies who were working on the VFX of Star Trek movies, or of any other motion picture production with a heavy VFX outlay for that matter. Exemplary of the growing sophistication of VFX production was that for the movies, The Search for Spock needed 42 staffers (the lowest staff outlay to date), whereas Star Trek (2009) required a staff of no less than 315 people, the vast majority of whom predominantly digital specialists.

Summary
Over the course of its existence, ILM has provided visual effects sequences for the following Star Trek live-action productions:
 (including reused footage from The Undiscovered Country)Star Trek television series

 (Company credit only, credit and footage reused throughout the entire series)
'Star Trek: Deep Space Nine
 (Bajoran lightship by John Knoll, otherwise uncredited)
 (CGI elements in new title sequence by John Knoll, otherwise uncredited)
Additionally, many Star Trek films and television episodes featured stock footage from these projects, done by ILM, including:
 Reused stock footage
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  (from ,  and )
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Star Trek staff
An ever increasing number of ILM employees have consecutively worked on the Star Trek productions and are listed below, for function where possible, as identified in the end credit rolls, as well as on the  motion picture and television website.

Star Trek: The Next Generation crew
For "Encounter at Farpoint" none of the ILM staffers received an individual credit, instead all their contributions were lumped together under the company name.
On the pilot episode "Encounter at Farpoint", the following ILM staffers worked on the visual effects.
Visual Effects Director of Photography
Pat Sweeney
Visual Effects Manager
Patricia Blau
Visual Effects Supervisor

Visual Effects Artists
John Knoll
Model Shop Supervisor
Jeff Mann
Modelmakers
Barbara Affonso
Sean Casey
Bill Concannom
Steve Gawley – Supervising Model Maker
Bill George
Gregory Jein – Subcontractor; Lead Modeler
Ease Owyeung – Lead Modeler
Wesley Seeds
Larry Tan
Howie Weed
Visual Effects Assistant Camera Man
Robert Hill
Assistant Lighting Camera Operator
Ray Gilberti
Technician
Michael Olague
Animator
Wes Takahashi

The Wrath of Khan crew
On the movie Star Trek II: The Wrath of Khan, the following ILM staffers worked on the visual effects.
Special Visual Effects Supervisors
Ken Ralston
Jim Veilleux
Effects Cameramen
Don Dow
Scott Farrar
Camera Operator
Stewart Barbee
Assistant Camera Operators
Selwyn Eddy III
David Hardberger
Robert Hill
Mike Owens
Michael Santy
Optical Photography Supervisor
Bruce Nicholson
Optical Printer Operators
David Berry
Keneth Smith
Mark Vargo
John Ellis
Donald Clark
Optical Line-up
Thomas Rosseter
Ed Jones
Ralph Gordon
Optical Laboratory Technicians
Tim Geideman
Duncan Myers
Bob Chrisoulis
General Manager
Tom Smith
Production Supervisor
Patricia Rose Duignan
Production Coordinator
Warren Franklin
Matte Painting Artists

Frank Ordaz
Matte Photography
Neil Krepela
Matte Photography Assistant
Craig Barron
Supervising Modelmaker
Steve Gawley
Modelmakers
William George
Sean Casey
Larry Tan
Jeff Mann
Steve Sanders
Brian Chinn
Bob Diepenbrock
Mike Fulmer
Model Electronics
Marty Brenneis
Animation Supervisor
Samuel Comstock
Animators
Kim Knowlton
Scott Caple
Jim Keefer
Kathryn Lenihan
Judy Elkins
Jay Davis
Additional Animation
Visual Concepts Engineering
Supervising Effects Editor
Arthur Repola
Effects Editor
Peter Amundson
Computer Database Management
Malcom Blanchard
Computer Graphics (Lucasfilm Graphics Group)
Loren Carpenter
Ed Catmull
Pat Cole
Rob Cook
Tom Duff
Thomas Porter
William Reeves
Alvy Ray Smith
Starfield Effects
Evans & Sutheland, Digstar System
Tactical Displays
Evans & Sutherland, Picture System
Brent Watson
Steve McAllister
Neil Harrington
Jeri Panek
Molecular Computer Graphics
Computer Graphics Laboratory, University of California, San Francisco, Dr. Robert Langridge
Still Photographer
Terry Chostner
Still Lab Technicians
Robert McGrath
Kerry Nordquist
Supervising Stage Technician
T.E. Moehnke
Stage Technicians
Dave Childers
Harold Cole
Dick Dova
Bobby Fink III
Patrick Fitzsimmons
Edward Hirsh
John McLeod
Peter Stolz
Pyrotechnics
Thaine Morris
Equipment Coordinator
Wade Childress
Ultra High Speed Camera
Bruce Hill Productions
Assistant to Tom Smith
Kyle Turner
Travel Arrangements
Kathy Shine

The Search for Spock crew
In the movie Star Trek III: The Search for Spock, the following ILM staffers worked on the visual effects.
Supervisor of Visual Effects
Kenneth Ralston
Visual Effects Art Directors
Nilo Rodis

Optical Photography Supervisor
Kenneth F. Smith
Visual Effects Cameraman
Donald Dow
Scott Farrar
Selwyn Eddy III
Assistant Cameramen
Peter Daulton
Robert Hill
Patrick McArdle
Ray Gilberti
Dave Hanks
Toby Heindel
Optical Camera Operators
James Linn
Donald Clark
Optical Line-Up
Ralph Gordon
David Berry
General Manager
Tom Smith
Production Supervisor
Warren Franklin
Production Coordinator
Laurie Vermont
Supervising Modelmaker
Steve Gawley
Additional Spacecraft Design
William George
Model Makers
William Beck
Sean Casey
Richard Davis
Michael Fulmer
Ira Keeler
Jeff Mann
Creature Supervisor
David Sosalla
Matte Painting Supervisor
Michael Pangrazio
Matte Artist

Frank Ordaz
Matte Camera Supervisor
Craig Barron
Animation Supervisor
Charles Mullen
Effects Animators
Bruce Walters
Phillip Norwood
Chief Visual Effects Editor
Bill Kimberlin
Visual Effects Editor
Jay Ignaszewski
Miniature Pyrotechnics and Fire Effects
Ted Moehnke
Stage Technicians
ILM Stage Crew
Still Photography Supervisor
Terry Chostner
Equipment Engineering Supervisor
Michael MacKenzie

The Voyage Home crew
On the movie Star Trek IV: The Voyage Home, the following ILM staffers worked on the visual effects.
Visual Effects Supervisor
Ken Ralston
Effects Director of Photography
Don Dow
Visual Effects Art Director
Nilo Rodis
Optical Supervisor
Ralph Gordon
Whale Design & Project Supervisor
Walt Conti
Visual Effects Editor
Mike Gleason
Matte Painting Supervisor

Model Shop Supervisor
Jeff Mann
Animation Supervisor
Ellen Lichtwardt
General Manager
Warren Franklin
Visual Effects Coordinator
Erik Jensen
Production Manager
Ed Hirsch
Storyboard Artist
John Bell
Cameraman Operators
Selwyn Eddy III
John V. Fante
Peter Daulton
Toby Heindel
Pat Sweeney
Assistant Camerapersons
Ray Gilberti
Jo Carson
Pete Kozachic
Marty Rosenberg
Optical Camera Operators
Don Clark
Dave McCue
Jim Hagedorn
Optical Lineup
Peg Hunter
Bruce Vecchitto
Optical Coordinator
Lori J. Nelson
Lab Technicians
Tim Geideman
Todd Heindel
Whale Mold Supervisor
Sean Casey
Whale Mechanical Designer
Rick Anderson
Whale Operators/Puppeteers
Tony Hudson
Mark Miller
Underwater Whale Photography
Pete Romano
Assistant Effects Editor
Terry Peck
Matte Artists
Frank Ordaz
Caroleen Green
Sean Joyce
Matte Photography
Randy Johnson
Chief Modelmaker
Larry Tan
Modelmakers
Eric Christensen
Paul Kraus
Animation Camera Operators
Bruce Walters
Jay Riddle
Rotoscope Artist
Ellen Ferguson
Visual Consultant
Ralph McQuarrie
Pyrotechnician
Bob Finley, Jr.
Stage Technicians
Brad Jerrell
Dick Dova
Mike Olague
Production Assistant
Ned Gorman
Time Travel
ILM Computer Graphics
Creatures Created by
Richard Snell Designs
Dale Brady
Craig Caton
Allen Feuerstein
Shannon Shea
Brian Wade
Nancy Nimoy

The Undiscovered Country crew
On the movie Star Trek VI: The Undiscovered Country, the following ILM staffers worked on the visual effects.
Visual Effects Supervisor
Scott Farrar
Visual Effects Editor
Thomas R. Bryant
Visual Effects Producer
Peter Takeuchi
Visual Effects Art Directors
William George
Mark Moore
Optical Photography Supervisor
Bradley Kuehn
Computer Graphics Supervisor
Jay Riddle
Visual Effects Coordinator
Jil-Sheree Bergin
Visual Effects Editor
Michael McGovern
Motion Control Camera Operators
Peter Daulton
Patrick Sweeny
Motion Control Camera Assistants
David Hanks
Katie O'Neill
Plate Camera operator
Patrick Turner
Plate Camera Assistant
Robert Hill
Computer Animation
Scott Anderson
Eric Armstrong
John Berton
Richard Cohen
Wade Howie
Joe Letteri
Jim Mitchell
Joe Pasquale
Alex Sieden
Computer Graphics Production Supervisor
Gail Curry
Optical Camera Operators
Jon Alexander
Donald Clark
Jefferey Doran
Selwyn Eddy III
Keith Johnson
Patrick Repola
Kenneth Smith
Optical Line Up
Peg Hunter
David Karpman
Jennifer Lee
Thomas Rosseter
John D. Whisnant
Debra Wolff
Optical Processing
Michael Ellis
Robert Fernley
Nelson Hall
Optical Scanning Coordinator
Lisa Vaughn
Effects Camera Supervisor
Bruce Walters
Effects Camera Operators
Charlie Clavadetscher
John Graves
Steven Reding
Eric Swenson
Rotoscope Supervisor
Thomas Bertino
Rotoscope Artist
Kathleen Beeler
Rebecca Petrulli-Heskes
Sandy Houston
Terry Molatore
Jack Monogovan
Ellen Mueller
Carolyn Rendu
Animation Supervisor
Wes Ford Takahashi
Animation Effects Animators
Gordon Baker
Christor Green
Peter Crosman
Animation Effects Coordinator
Shari Malyn
Scanning
Joshua Pines
Randall K. Bean
George Gambatta
Assistant Visual Effects Editor
Robin Lee
Negative Cutter/Projectionist
Timothy Greenwood
Preston Richards
Model Shop Supervisor
Lawrence Tan
Model Makers
Jon Foreman
Brian Gernand
Jon Goodson, Jr.
Jack Haye
Richard Miller
Alan Peterson
Susan Ross (Painter for space dock/ Klingon planet model)
Kim Smith
Eben Stromquist
Paul Theren
Wim Van Thilo
Charles Wiley
Stage
Richard Demolski
Robert Finley, Jr.
Ross Lorente
Craig Mohagen
David Morton
Charles Ray
Production Assistants
Carol Lee Griswald
Alia Almeida Agha
Nancy Luckoff
Tina Matthies
Production Accountant
Pam Kaye
Matte Painting Effects
Matte World, Marin County, California – Subcontractor
Supervising Matte Photographer
Craig Barron
Matte Artist Supervisor
Michael Pangrazio
Executive of Product Management
Krystyna Dekowicz
Camera Assistant
Paul Oehlke
Motion Control Camera
Joel Hladecek
Camera Operator
Wade Childress
VCE photographic Effects
Peter Kuran
Animation Effects
Al Magliochetti
Kevin Kutchaver
Optical Effects Line Up
Linda Henry
Tim Segulin
Optical Printing
Rick Hannigan
David Tucker
VCE Administration
Jacqueline Zietlow
Additional Digital Compostiting
Pacific Data Images
Optical Supervisor
Les Dittert
Animator
Barb Meier
Production Support
Karen Logan

Generations crew
On the movie Star Trek Generations, the following ILM staffers worked on the visual effects.
Visual Effects Supervisor
John Knoll
Visual Effects Co-Supervisor
Alex Seiden
Visual Effects Producer
Roni McKinley
Visual Effects Art Director
Bill George
Computer Graphics Supervisor
John Schlag
Visual Effects Coordinators
Alia Almeida Agha
Giner Theisen
Computer Graphics Sequence Supervisor
Bart Giovannetti
Computer Graphic Artists
Joel Aron
Barbara Brennan
Donald S. Butler
Rob Coleman
Scott Frankel
Peg Hunter
Henry LaBounta
Stewart W. Lew
Mary McCulloch
Pat Myers
Barbara L. Nellis
Doug Mythe
Ben Snow
Laurence Treweek
Dennis Turner
Habib Zargarpour
Concept Designer
Mark Moore
Visual Effects Editor
Michael McGovern
Visual Effects Camera Operator
Patrick Sweeny
Visual Effects Camera Assistants
Katie O'Neill
Joe Biggins
Visual Effects Chief Lighting Technician
Michael Olague
Model Supervisor
John Goodson
Model Department Supervisor
Jeff Olson
Chief Model Makers
Lorne Peterson
Jon Foreman
Larry Tan
Steve Gawley
Brian Gernand
Model Makers
Mark Anderson
Charlie Bailey
Michael Cummins (Veridian landscape model)
Giovanni Donovan
Nelson Hall
Michael Lynch
Scott McNamara
Richard Miller
Chris Reed
Kim Smith
Tony Sommers
Steve Walton
Howie Weed
Digital Matte Artists
Bill Mather
Yusei Uesugi
Miniature Crash Sequence Photography Unit
Director of Photography
Kim Marks
Stage Manager
Edward Hirsh
First Assistant Photographer
Pat McArdle
Key Rigging Technician
David Heron
Effects Riggers
Geoff Heron
Joseph Fulmer
First Company Grip
Dick Dova
Grip
Carl Assmus
Camera Engineer
Duncan Sutherland
Supervising Stage Technician
Pat Fitzsimmons
Optical Supervisor
Bruce Vecchitto
CG Software Developer
Zoran Kacic-Alesic
Scanning Supervisor
Joshua Pines
Scanning Operator
Mike Ellis
Optical Line-Up
Tim Geideman
CG Technical Assistants
Chris Chaplin
Michael Min
Systems Support Specialist
Ken Corvino
CG Production Assistant
John Stillman
Production Assistant
Margaret Lynch
Payroll Supervisor
Sylte
Executive in Charge of Production
Patricia Blau
ILM President
Jim Morris

First Contact crew 
On the movie Star Trek: First Contact, the following ILM staffers worked on the visual effects.
Visual Effects Producers
John Knoll
Jeff Olson
Associate Visual Effects Supervisor
George Murphy
Visual Effects Art Director
Alex Jaeger
CG Supervisor/Animator
Habib Zargarpour
CG Sequence Supervisor
Dennis Turner
Digital Effects Artists
Joakin Arnesson
Mike Bauer
Steve Braggs
Kyeng-Im Chung
Marc Cooper
Mitch Deoudes
Jeremey Goldman
Matt Hendershot
Stu Maschwitz
Steve Molin
Pat Myers
Eric Texter
Ken Wesley
Assistant Digital Effects Artist
Doug Smith
Sabre Compositing Artists
Pablo Helman
Chad Taylor
Production Coordinators
Luke O'Byrne
Heather Smith
Art Consultant
Bill George
Digital Matte
Noel Brevick
Tad Leckman
Chris Stillman
Digital Animatic Artist
Jonathan Rothbart
Digital Modelers
Larry Tan
Paul Theren
Digital Compositors
Tim Alexander
Kathleen Beeler
Don Butler
Betsy Cox
Jeff Doran
Scott Frankel
Greg Maloney
Tom Rosseter
Digital Rotoscope and Paint
Cathy Burrow
Kate Elsen
Deb Fought
Susan Kelly Andrews
Heidi Zabit
Digital Matchmovers
Selwyn Eddy III
Dave Hanks
Jodie Maier
Patrice D. Saenz
Visual Effect Editors
Mike McGovern
Mike Gleason
Assistant Visual Effects Editors
Anastasia Emmons
Ladd MacPhartland
Projectionist
Tim Greenwood
Optical Supervisor
Kenneth Smith
Negative Supervisor

Film Scanning/Recording Supervisor
Joshua Pines
Senior Scanning Operator
George Gambetta
Scanning Operators
Todd Mitchell
Earl Beyer
Optical Scanning Department Coordinator
Amanda Micheli
Optical Scanning Department PA
Jodi Birdsong
Negative Line-up
Andrea Biklian
Timothy Geidman
Dirt Removal
Nancy Jencks
Gaffer
Michael Olague (uncredited)
Motion Control and Pyrotechnics Unit
Visual Effects Director of Photography:
Marty Rosenberg
Additional Visual Effects Photography
Patrick Sweeney
Visual Effects Camera Assistant
Robert Hill
Camera Assistant
John Gadzik
Model Support
Keith London
Key Grip/Lighting Technician
Brad Jerrell
Key Pyrotechnician
Geoff Heron
Key Grip
Bill Barr
Electric Gaffer
Tim Morgan
Best Boy Grip
Chuck Biagio
Electricians
Berny Demolski
David Murphy
Effects Technicians
Adam Bennes
Dan Nelson
Plate Coordinator
David Dranitzke
Model Project Supervisor
John Goodson
Chief Modelmakers
Barbara Affonso
Jon Foreman
Kim Smith
Mechanical Engineer
Bryan Dewe
Modelmakers
Rick Anderson
Jeff Brewer
Giovanni Donovan
John Duncan
Ira Keeler
Ed Miarecki
CG Resource Manager
Nancy Luckoff
CG Production Manager
Suzie Vissotzky Tooley
CG Resource Assistant
Amanda Montgomery
Digital Technical Assistants
Heidi Schmidt
Anthony Pitone
CG Software
Rodney Bogart
Jeffery Yost
CG Technical Assistants
Dugan Beach
Dan Shumaker
Christa Starr
Lam Van To
Electronic Editor
Angela Leaper
Still Photo
David Owen
Production Assistant
Heather McCurdy
ILM Senior Staff
Patricia Blau Price
Gail Currey
Jeff Mann
Jim Morris

Star Trek (2009) crew
On the movie Star Trek (2009), the following ILM staffers worked on the visual effects.
Visual Effects Supervisor
Roger Guyett
Visual Effects Editor:
Greg Hyman
Visual Effects Assistant Editor:
Elana Livneh Lessem
Visual Effects Supervisor:
Russell Earl
Animation Supervisor:
Paul Kavanagh
Visual Effects Producers:
Jeff Olson
Jill Brooks
Associate Visual Effects Supervisor:
Eddie Pasquarello
Digital Production Supervisor:
Michael Dicomo
CG Supervisors:
Joakim Arnesson
Thomas Fejes
Hilmar Koch
Nigel Sumner
Visual Effects Art Director:
Alex Jaeger
Digital Matte Supervisor:
Chris Stoski
Digital Model Supervisors:
Bruce Holcomb
Giovanni Nakpil
Viewpaint Supervisor:
Ron Woodall
Creature Supervisors:
James Tooley
Karin Cooper
Layout Supervisor:
Terry Chostner
Roto and Paint Supervisor:
Beth D'Amato
Sequence Supervisors:
Richard Bluff
Matt Brumit
Grady Cofer
Brian Connor
Jay Cooper
Raul Essig
Leandro Estebecorena
Conny Fauser
Gerald Gutschmidt
Jeff Grebe
Jen Howard
Polly Ing
Cyrus Jam
Katrin Klaiber
Francois Lambert
Tory Mercer
Mark Nettleton
Daniel Pearson
Jason Rosson
Greg Salter
Damian Steel
Chad Taylor
Todd Vaziri
John Walker
David Weitzberg
Animation Sequence Leads:
Steve Aplin
Colin Benoit
Derrick Carlin
Senior Production Manager:
Jessica Teach
Production Manager:
Lisa Todd
Visual Effects Editor:
Martin Allan Kloner
Additional Visual Effects Art Direction:
Yanick Dusseault
Concept Artists:
Warren Fu
Jerome Moo
David Yee
Digital Artists:
Dan Akers
Jon Alexander
Okan Ataman
Trang Bach
Al Bailey
Katharine Baird
Christopher Balog
Daniel Bayona
Chris Bayz
Kevin Bell
Jill Berger
Jason Billington
Matthew Blackwell
Jeremy Bloch
Aron Bonar
Daniel Bornstein
Amanda Braggs
Steve Braggs
James Brown
Kela Cabrales
Michaela Calanchini-Carter
Owen Calouro
Marshall Candland
Tami Carter
Mark Casey
Lanny Cermak
Kien Geay Chan
Kai Chang
Cheah Chin Chi
Peter Chesloff
Paul Churchill
Michael Conte
Michael Cordova
Christopher Crowell
Peter Demarest
Eran Dinour
Kalene Dunsmoor
Selwyn Eddy III
Katharine Evans
Dan Feinstein
Simon Fillat
Shine Fitzner
Jason Fleming
Tim Fortenberry
Christian Foucher
David Fuhrer
Robb Gardner
Grantland Gears
Tau Gerber
Angela Giannoni
Timothy Gibbons
Bill Gilman
David Gottlieb
Bryant Griffin
David Gutman
Christian Haley
Tyler Ham
Craig Hammack
Giles Hancock
David Hanks
Jeff Hatchel
Wendy Hendrickson
Neil Herzinger
Shawn Hillier
David Hirschfield
David Hisanaga
Sherry Hitch
Zain Homer
Ryan Hopkins
Christopher Horvath
David Howe
Jiri Jacknowitz
Danny Janevski
Patrick Jarvis
Jeff A. Johnson
Stephen Kennedy
Michael Kennen
Drew Klausner
Susan Klausner
Justin Kosnikowski
Matt Krentz
Marshall Krasser
Kimberly Lashbrook
Asier Hernaez Lavina
John Legrande
Melissa Lin
Noll Linsangan
Michael Logan
Jennifer Mackenzie
Dev Mannemela
Patrik Marek
David Marsh
Tia Marshall
Marcel Martinez
Didier Mathieu
Kevin May
Regan McGee
Vicky McCann
Scott Mease
Joseph Metten

Jack Mongovan
Carlos Monzon
Katie Morris
Michelle Motta
Betsy Mueller
Timothy Mueller
Melissa Mullin
Brett Northcutt
Ben O'Brien
Saro Orfali
Akira Orikasa
Kevin Page
Scott Palleiko
Frank Losasso Petterson
Phil Pham
Zoltan Pogonyi
Jason Porter
Pedro Pozo
Scott Prior
Ricardo Ramos
Satish Ratakonda
Michael Rich
Anthony Rispoli
Shane Roberts
Matthew Robinson
Elsa Rodriguez
Barry Safley
Jeff Saltzman
Sean Schur
Frederick Schmidt
Eric Schweickert
Misty Segura
Paul Sharpe
Amy Shepard
John Sigurdson
Ken Sjogren
Ryan Smith
Sam Stewart
Russ Sueyoshi
David Sullivan
Andre Surya
Jeff Sutherland
Masahiko Tani
Stephanie Taubert
Alan Travis
Alex Tropiec
Yusei Uesugi
Lee Uren
Bruce Vecchitto
David Washburn
Talmage Watson
Ronnie Williams, Jr.
Dan Wheaton
John Whisnant
Jeff Wozniak
Mark Youngren
Dean Yürke
Rita Zimmerman
Animators:
Michael Bomgat
C. Michael Easton
Jean-Denis Haas
Geoff Hemphill
Makoto Koyama
Chris Mitchell
Erik Morgansen
Marla Newall
Rick O'Connor
Steve Rawlins
Greg Towner
Delio Tramontozzi
Chi Chung Tse
Tim Waddy
Andy Wong
Digital Models and Simulation:
Ken Bailey
Leigh Barbier
Tim Brakensiek
Bradford De Caussin
Brian Clark
Rene Garcia
Maurizio Giglioli
Bridget Goodman
John Goodson
Greg Jonkajtys
Greg Killmaster
Robert Kosai
Jean-Claude Langer
Scott May
James Orara
Brian Paik
Steve Sauers
Renita Taylor
Howie Weed
Associate Production Managers:
Katherine Farrar
Chrysta Burton
Dale Taylor
Production Coordinators:
Stacy Bissell
Joseph Bell
Hui Ling Chang
Melanie Cussac
Cheng Peishan
Production Support:
Matt Baume
Terran Benveniste
Cathleen Carden
Marilyn Chan
Benjamin Chua
Jennifer Coronado
Rachel Galbraith
George Gambetta
John Giang
Larry Hoki
Christine Loo
Alejandro Melendez
David Owen
Erik Pampel
Nikita Patel
Andrew Russell
Michael Sanders
Marci Velando
Technical Support:
Sean Bittinger
Peter Bogatsky
Leah Brooks
Chantell Brown
Brian Cantwell
Jayesh Dalal
Jason Griger
Maura Hogan
Mark Kayfez
Charlie Ledogar
Brian McGraw
Kaz Mori
Elona Musha
Selma Sabera
Toh Zijing
Research & Development:
Tommy Burnette
Andre Mazzone
Dan Piponi
Jeff Smith
Jennifer Suter
Vivek Verma
ILM Executive Producer:
Gretchen Libby
ILM Senior Staff:
Chrissie England
Lynwen Brennan
Miles Perkins
Janet Lewin
Vicki Dobbs Beck
Curt Miyashiro
Uncredited crew
Ling Chen – Digital Compositor
Robert Hoffmeister – Visual Effects Artist
Unconfirmed crew
Kai Cheng – Digital Artist
Sam Lee – Digital Artist
John M. Levin – Layout Artist
Ryan Martin – Technical Assistant
Benjamin Mattress – Digital Artist
Spencer Reynolds – Clonecam Operator
Craig Rowe – Digital Compositor
James Soukup – On-Set Matchmover
Teh-wei Yeh – Digital Artist

Star Trek Into Darkness crew
this list is currently incomplete
On the movie Star Trek Into Darkness, the following ILM staffers worked on the visual effects.
San Francisco Unit
Executive Staff
Vicki Beck
FX Technical Director
Noel Hocquet
Lighting & Effects Technical Director
Mark Chataway
Visual Effects Production Manager
Brian Barlettani
Digital Production Supervisor
Michael Bauer
Lead Animator
Jean-Denis Haas
Animators
Stephen King
Jeff Vacanti
Digital Matte Painter
Jérémie Touzery
Digital Artist
Jessica Alcorn
Gianni Aliotti
Michael James Allen
Natalie Baillie
Santhoshi Balasubramanian
Chris Bayz
Sean Bittinger
John Goodson
Chad Taylor
Senior Generalist Artist
Jacobo Barreiro
Technical Support
Alexander Bess
Production Assistants
Chris Bonura
Andrew Ewert
Derek A. Johnson
Singapore Unit
Creature Technical Director
Natapon Huangsakuncharoen
Senior Texture / Lookdev Artist
Michael Peter
Texture Painter / Look Development Artist
Dongjin Seo
ENV / DMP
Antoine Goncalves
Digital Artists
Chin Chee Cheah
Siau Yene Ang
Azzard Gordon
Digital Matte Painters
Shuwan Mok
Lionel Taillens
Lead Compositor
Jamie Wood
Compositors
Santhoshi Bala
Woon Chi Ong
Amit Sharma
Digital Compositor
Sam Bassett
Lead Assets Artist
Adam Walker
Texture Artist
Daniil Alikov
Visual Effects Animator
Maureen Seng
Hard Surface Modeler & Texturer
Ted Moowon Kim
Uncredited (Names and functions confirmed in Cinefex issue 134 article)
James Clyne – Concept Artist
Karin Cooper – Creature Lead
Yanick Dusseaux – Art Director
Branco Grujcic – Digital Effects Artist
Roger Guyett – Senior VFX Supervisor
Bruce Holcomb – Digital Model Supervisor
Paul Kavanagh – Animation Supervisor
Ben O'Brian – Compositor
Luke O'Byrne – VFX Producer
Eddie Pasquarello – VFX Co-Supervisor
Daniel Pearson – CG Simulation Supervisor
Patric Roos – Visual Effects Supervisor (Singapore Unit)
Pat Tubach – VFX Co-Supervisor
Lee Uren – Technical Director
Todd Vazari – Compositor
Robert Weaver – Lighting Technical Director
Barry Williams – Environments Supervisor
Unconfirmed crew
Owen Calouro – Layout Artist
Christian Castaneda – Digital Compositor
Karhoe Chan – Layout Artist
Sonia Contreras – Layout Artist
Devin Fairbairn – Layout Artist
Bridgette Foo – Digital Artist
Mei Gangwen – Effects Technical Director
Jeff Grebe – FX Technical Director
Sherry Hitch – Sequence Supervisor
Dean Koonjul – Digital Compositor – Singapore
David Larochelle – Compositor
Yann Larochette – Senior Compositor
Chulev Marko – Modeler / Texture Artist
Timothy Mueller – Digimatte Sequence Lead
 Jia-Hao Ng – Digital Matte Artist
Sheau Horng Ng – Digital Artist
Christin Quek – Digital Artist
Wajid Raza – Assistant Technical Director
Ryan Rubi – Creature Technical Director
Geoff Sayer – Digital Compositor
Lai Lin Tang – Layout Artist
Dennis Trutanic – Senior Layout Artist
Marion Voignier – Digital Artist
Vong Yonghow – Lighting Technical Director

General history
ILM has provided "special visual effects" (an intermediate term they themselves invented in the mid-1980s to begin discriminating between visual effects and special effects) for over three hundred films and television series. In addition to the Star Trek films listed above and all of the Star Wars films, their motion picture credits include Raiders of the Lost Ark, E.T. the Extra-Terrestrial, Poltergeist, Indiana Jones and the Temple of Doom, Cocoon, Back to the Future and its sequels (starring Christopher Lloyd), Who Framed Roger Rabbit (also starring Christopher Lloyd), Field of Dreams, Ghostbusters II, Indiana Jones and the Last Crusade, The Abyss, The Hunt for Red October, Total Recall, Die Hard 2, Ghost, Terminator 2: Judgment Day, Jurassic Park and its sequels, Forrest Gump, Twister, Mission: Impossible, Men in Black and its sequel, Titanic, Saving Private Ryan, Galaxy Quest, The Mummy, Pearl Harbor, The Bourne Identity, Minority Report, all of the Harry Potter movies, all three Pirates of the Caribbean films, The Day After Tomorrow, The Bourne Supremacy, and the J.J. Abrams-directed Mission: Impossible III. Follow-up projects included Indiana Jones and the Kingdom of the Crystal Skull and Iron Man for Paramount as well as Speed Racer and Harry Potter and the Half-Blood Prince for Warner Bros. Pictures.

A major account ILM has secured from 2006 onward, are the various Marvel Comics franchise movie installments, in size rivaling that of their own Star Wars franchise, and perhaps not that surprising as both franchises are as of 2012 owned by the .

John Knoll is one of the leading members of ILM. Star Trek: Deep Space Nines visual effects coordinator Judy Elkins worked at ILM as an animator on films such as Raiders of the Lost Ark and Poltergeist. Other past and present members of ILM who worked on Star Trek include Marty Brenneis, Loren Carpenter, Sean Casey, Ed Catmull, Brian Chin, Bob Diepenbrock, John Duncan, Scott Farrar, John Goodson, Mike Fulmer, Steve Gawley, Bill George, Alex Jaeger, Stewart Lew, Jeff Mann, Mark Miller, Steve Sanders, and Larry Tan.

ILM was, and is, arguably the most influential VFX company the motion picture industry has ever spawned. From its very inception in 1975 and by being a vigorously pioneering company, ILM continuously pushed the technological possibilities in creating VFX (both produced in the traditional methods, as well as later on in the computerized methods) to their outermost boundaries, either by developing the technologies (computerized motion control photography) themselves, or by making the fullest use as pioneers of new technologies (CGI), developed by others.

In 2005, ILM moved their digital effects departments from Kerner Blvd. in San Rafael, California, to the Presidio in San Francisco. In that year Lucasfilm, Inc. made the conscious decision to split off the traditional visual effects departments from the CGI effects departments, as it decided to concentrate on the latter. The departments responsible for the physical aspects of ILM's visual effects (models and miniatures, pyrotechnics, etc.) remained in the original San Rafael facility and became their own independent company, Kerner Optical. ILM has a non-exclusive agreement with Kerner Optical which allows the two companies to work together on projects, including 2009's Star Trek. 

In 2012, ILM, as part of Lucasfilm Ltd., was acquired by the The Walt Disney Company in the process reuniting the company with Pixar.  Pixar started out as the former Lucasfilm company "The Graphics Group", the company that was responsible for the creation of the very first full-textured CGI effect ever shown in the motion picture industry, the Genesis Device effect in The Wrath of Khan.

On 9 May 2018 it was announced that Rob Bredow was appointed CEO of ILM, which he had joined in 2014.  Bredow started out his career at VisionArt Design & Animation, the VFX company that provided the first CGI elements, including several from Bredow's hand, for Deep Space Nine in its first four seasons.

Appendices

See also
Star Wars
note: listed are only those documentaries and further reading that have Star Trek connotations.

Documentaries and special features
Computer Graphics in Star Trek: The Wrath of Khan – documentary short (1982)
Computer Aided Design T363 – documentary short (1987)
ILM Special Visual Effects, Star Trek The Next Generation – documentary short (1987)
"The Beginning", TNG Season 1 DVD (2002) and Blu-ray (2012) special feature
"The Visual Effects of Star Trek II: The Wrath of Khan", Star Trek II: The Wrath of Khan (The Director's Edition) DVD (2002) and Blu-ray (2009) special feature
"Space Docks and Birds of Prey", Star Trek III: The Search for Spock (Special Edition) DVD (2002) and Blu-ray (2009/2013) special feature
"Ken Ralston on the Visual Effects by ILM", Star Trek III: The Search for Spock (Special Edition) DVD special/hidden feature (2002)
"From Outer Space to the Ocean", Star Trek IV: The Voyage Home (Special Edition) DVD (2003) and Blu-ray (2009) special feature
"Inside ILM: Models And Miniatures" and "Crashing The Enterprise", Star Trek Generations (Special Edition) DVD (2004) and Blu-ray (2009/2013) special features
"Industrial Light & Magic: The Visual Effects of Star Trek", Star Trek III: The Search for Spock (Blu-ray) special feature (2009/2013)
"Industrial Light & Magic – The Next Generation", Star Trek: First Contact (Blu-ray) special feature (2009)

Further reading
Cinefantastique
Vol 12 #5/6, 1982: "Star Trek: The Wrath of Khan", Kay Anderson, pp. 50-55, 57-61, 63-68, 70-74
Vol 17 #3/4, 1987:
"Special Effects; Industrial Light & Magic", Ron Magid, pp. 40-47
"Star Trek's ILM Look", Allen Malmquist, pp. 64-67
American Cinematographer
October 1982:
"Warp Speed and Beyond", Jim Veilleux, pp. 1030-1034, 1054-1058
"Mama Eel and the Nebulae", Ken Ralston, pp. 1035-1037, 1052
"The Genesis Demo", Alvy Ray Smith, pp. 1038-1039, 1048-1050
August/September 1984: "Star Trek III: The Search for Spock", Nora Lee, pp. 54-63
December 1986: "Blue Skies and Starfields", Ron Magid, pp. 62-74
January 1992:,  "ILM Gets 'Piece of the Action'", Ron Magid, pp. 58-65
April 1995: "ILM Creates New Universe of Effects for Star Trek: Generations", Ron Magid, pp. 78-88
Cinefex
August 1984: "The Last Voyage of the Starship 'Enterprise'", Brad Munson, Issue 18, pp. 42-68
February 1987: "Humpback to Future", Jody Duncan Shay, Issue 29, pp. 4-31
February 1989: "Special Effects The Next Generation", Glenn Campbell & Donna Trotter, Issue 37, pp. 4-21
February 1992: "Letting Slip the Dogs of Wars", Kevin H. Martin, Issue 49, pp. 38-60
March 1995: "Kirk Out", Kevin H. Martin, Issue 61, pp. 62-77
March 1997: "Phoenix Rising", Kevin H. Martin, Issue 69, pp. 98-119
July 2009: ""A New Enterprise", Joe Fordham, Issue 118, pp. 40-71
July 2013: "Dark Side of the Earth", Joe Fordham, Issue 134, pp. 70-91
Industrial Light & Magic: The Art of Special Effects, 1986
"Creating Special Effects for Star Trek: The Next Generation", David Hutchison, , December 1987
Industrial Light & Magic: Into the Digital Realm, 1996
"Bringing Back The Magic", Star Trek: The Official Starships Collection, Issue SP14, September 2018, pp. 10-17

External links
 ILM.com – official website
 ILM Filmography
 
 

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Matte painting companies
Model and miniature effects companies
Digital visual effects companies