| Post production coordinator | Michaela Berner | |
| Director of photography | Carl-Friedrich Koschnick | |
| Steadicam operator | Erwin Lanzensberger | |
| 1st assistant camera | Martin Schmachtel | |
| Clapper/loader | Christian Stiendl | |
| Still photographer | Petro Domenigg | |
| Costume designer | Gudrun Schretzmeier | |
| Costumer / wardrobe | Christine Ludwig | |
| Additional costumers | Josipa Teklic | |
| Director | Pepe Danquart | |
| Script continuity | Alice Stengl | |
| Editor | Britta Nahler | |
| Key grip | Reto Loitzl | |
| Gaffer | Ferdinand Stoiber | |
| Best boy electric | Franz Hollaus | |
| Lighting technician / electrician | Wolfgang Fraissl | |
| Lighting technician / electrician | Manuel Nevosad | |
| Lighting technician / electrician | Roland Streitwieser | |
| Makeup artist / hair stylist | Daniela Skala
Key makeup/Hair/SFX | Key makeup/Hair/SFX |
| Production designer | Isidor Wimmer | |
| Prop master | Johannes Slapa | |
| Production manager | Stephanie Wagner [1] | |
| Unit manager (local system) | Peter Altendorfer | |
| Unit manager (local system) | Andreas Kispert
2. Hälfte des Filmes | 2. Hälfte des Filmes |
| Screenwriter | Martin Daniel | |
| Screenwriter | Pepe Danquart | |
| Screenwriter | Chris Kraus | |
| Screenwriter | Mike Majzen | |
| Production sound mixer | Heinz K. Ebner | |
| Boom operator | Dietmar Zuson | |
| Second boom operator | Hubert Grissemann | |
| Foley editor | Jan Cziharz | |
| Puppets maker | Susanne Eppensteiner | |
