Viktor Muller

29 Titles

Is this you? Add a Profile

Barbie | ShotOnWhat?

Visual Effects

Barbie (2023)

Directed by: Greta Gerwig

Cinematography by: Rodrigo Prieto

Edited by: Nick Houy

Cameras: ARRI ALEXA 65 Camera

Lenses: Panavision Lenses, Panavision System 65 Lenses

All Quiet on the Western Front | ShotOnWhat?

Visual Effects Supervisor: UPP

All Quiet on the Western Front (2022)

Directed by: Edward Berger

Cinematography by: James Friend

Edited by: Sven Budelmann

Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini LF Camera, Red Monstro 8K Camera, Sony CineAlta VENICE Camera

Lenses: ARRI Rental Prime 65 S Lenses, ARRI Rental Prime DNA Lenses, Tribe7 Blackwing7 Lenses, Zeiss Compact Prime CP.3 Lenses

Terminator: Dark Fate | ShotOnWhat?

Visual Effects Supervisor: UPP

Terminator: Dark Fate (2019)

Directed by: Tim Miller

Cinematography by: Ken Seng

Edited by: Julian Clarke

Cameras: ARRI ALEXA LF Camera, ARRI ALEXA Mini Camera

Lenses: ARRI Rental Prime DNA Lenses, Cineovision Lenses

Editing System: Adobe Premiere Editing System

Skyscraper | ShotOnWhat?

Visual Effects Supervisor: UPP

Skyscraper (2018)

Directed by: Rawson Marshall Thurber

Cinematography by: Robert Elswit

Edited by: Julian Clarke, Michael L. Sale

Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera

Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision T Series Anamorphic Lenses

Wonder Woman | ShotOnWhat?

Visual Effects Supervisor

Wonder Woman (2017)

Directed by: Patty Jenkins

Cinematography by: Matthew Jensen

Edited by: Martin Walsh

Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA Mini Camera, ARRI ALEXA SXT Series Cameras, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom Flex4K Camera

Lenses: ARRI Rental Prime 65 Lenses

Blade Runner 2049 | ShotOnWhat?

Visual Effects Supervisor

Blade Runner 2049 (2017)

Directed by: Denis Villeneuve

Cinematography by: Roger Deakins

Edited by: Joe Walker

Cameras: ARRI ALEXA Mini Camera, ARRI ALEXA Plus Camera, ARRI ALEXA XT Series Cameras, ARRI ALEXA XT Studio Camera

Lenses: ARRI / Zeiss Zoom Lenses, Zeiss Master Prime Distagon 12 mm T1.3 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 150 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens

Star Trek Beyond | ShotOnWhat?

Visual Effects Supervisor

Star Trek Beyond (2016)

Directed by: Justin Lin

Cinematography by: Stephen F. Windon

Edited by: Greg D'Auria, Dylan Highsmith, Kelly Matsumoto, Steven Sprung

Cameras: ARRI ALEXA XT Camera, Red Epic Dragon Camera

Lenses: ARRI / Zeiss Master Anamorphic Lenses, Zeiss Compact Prime Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses

London Has Fallen | ShotOnWhat?

Visual Effects Supervisor

London Has Fallen (2016)

Directed by: Babak Najafi

Cinematography by: Ed Wild

Edited by: Michael J. Duthie, Paul Martin Smith

Cameras: Red Epic Dragon Camera

Lenses: Angenieux Optimo Zoom Lenses, Leitz Summilux-C Series Lenses

Gods of Egypt | ShotOnWhat?

Visual Effects Supervisor

Gods of Egypt (2016)

Directed by: Alex Proyas

Cinematography by: Peter Menzies Jr.

Edited by: Richard Learoyd

Cameras: Red Epic Dragon Camera

Lenses: Panavision Primo 70 Lenses

The Walk | ShotOnWhat?

Visual Effects Supervisor

The Walk (2015)

Directed by: Robert Zemeckis

Cinematography by: Dariusz Wolski

Edited by: Jeremiah O'Driscoll

Cameras: Red Epic Dragon Camera

The Giver | ShotOnWhat?

Visual Effects Supervisor

The Giver (2014)

Directed by: Phillip Noyce

Cinematography by: Ross Emery

Edited by: Barry Alexander Brown

Cameras: ARRI ALEXA XT Camera

Lenses: Hawk V-Lite Lenses, Hawk V-Plus Lenses

A Good Day to Die Hard | ShotOnWhat?

Visual Effects Supervisor

A Good Day to Die Hard (2013)

Directed by: John Moore

Cinematography by: Jonathan Sela

Edited by: Dan Zimmerman

Cameras: ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

The Wolverine | ShotOnWhat?

Visual Effects Supervisor

The Wolverine (2013)

Directed by: James Mangold

Cinematography by: Ross Emery

Edited by: Michael McCusker

Cameras: ARRI ALEXA Camera

Snowpiercer | ShotOnWhat?

Visual Effects Producer: UPP / Visual Effects Supervisor: UPP

Snowpiercer (2013)

Directed by: Joon-ho Bong

Cinematography by: Kyung-pyo Hong

Edited by: Steve M. Choe, Changju Kim

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 435 Advanced Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Red Tails | ShotOnWhat?

Visual Effects Supervisor: UPP

Red Tails (2012)

Directed by: Anthony Hemingway

Cinematography by: John B. Aronson

Edited by: Ben Burtt, Michael O'Halloran

Cameras: Canon EOS-1D Mark IV Camera, Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Sony CineAlta F35 Camera

Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses

Editing System: Lightworks Editing System

World Without End | ShotOnWhat?

Visual Effects Supervisor - 8 Episodes, 2012

World Without End (2012)

Directed by: Michael Caton-Jones

Cinematography by: Denis Crossan

Edited by: István Király, Susan Maggi

Cameras: ARRI ALEXA Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses

The Darkest Hour | ShotOnWhat?

Visual Effects Supervisor

The Darkest Hour (2011)

Directed by: Chris Gorak

Cinematography by: Scott Kevan

Edited by: Priscilla Nedd-Friendly, Fernando Villena, Doobie White

Cameras: Sony CineAlta F35 Camera, Sony HDC-P1 Camera

Lenses: Panavision Primo Primes Spherical Lenses

Twixt | ShotOnWhat?

Visual Effects Supervisor

Twixt (2011)

Directed by: Francis Ford Coppola

Cinematography by: Mihai Malaimare Jr.

Edited by: Kevin Bailey, Glen Scantlebury, Robert Schafer

Cameras: Sony HDW-F900 Camera

Editing System: Final Cut Pro Editing System

Season of the Witch | ShotOnWhat?

Visual Effects Supervisor

Season of the Witch (2011)

Directed by: Dominic Sena

Cinematography by: Amir Mokri

Edited by: Bob Ducsay, Mark Helfrich, Dan Zimmerman

Salt | ShotOnWhat?

Visual Effects Supervisor

Salt (2010)

Directed by: Phillip Noyce

Cinematography by: Robert Elswit

Edited by: Stuart Baird, John Gilroy

Cameras: ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera

Lenses: Panavision 70-210 mm T2.8 (Custom by Dan Sasaki) Lens, Panavision Primo Primes Spherical Lenses, Panavision Ultra Speed MKII 24 mm T1.3 Lens, Panavision Ultra Speed MKII Lenses

Tetro | ShotOnWhat?

Visual Effects Supervisor: UPP Prague

Tetro (2009)

Directed by: Francis Ford Coppola

Cinematography by: Mihai Malaimare Jr.

Edited by: Walter Murch

Cameras: Sony HDW-F900 Camera

Lenses: Zeiss DigiPrime Lenses

Editing System: Final Cut Pro Editing System

3 sezóny v pekle | ShotOnWhat?

Visual Effects Supervisor

3 sezóny v pekle (2009)

Directed by: Tomás Masín

Cinematography by: Karl Oskarsson

Edited by: Petr Turyna

Pandorum | ShotOnWhat?

Visual Effects Supervisor

Pandorum (2009)

Directed by: Christian Alvart

Cinematography by: Wedigo von Schultzendorff

Edited by: Philipp Stahl, Yvonne Valdez

Inglourious Basterds | ShotOnWhat?

Visual Effects Supervisor

Inglourious Basterds (2009)

Directed by: Quentin Tarantino

Cinematography by: Robert Richardson

Edited by: Sally Menke

Cameras: ARRIFLEX 435 Camera, Panavision Panaflex Millennium Camera

Lenses: Cooke Lenses, Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses

Breaking and Entering | ShotOnWhat?

Visual Effects Supervisor

Breaking and Entering (2006)

Directed by: Anthony Minghella

Cinematography by: Benoît Delhomme

Edited by: Lisa Gunning

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera

Lenses: Zeiss Ultra Prime Lenses

The Illusionist | ShotOnWhat?

Visual Effects Supervisor

The Illusionist (2006)

Directed by: Neil Burger

Cinematography by: Dick Pope

Edited by: Naomi Geraghty

Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera

Lenses: Angenieux Optimo Zoom Lenses, Cooke S4 Lenses, Zeiss Lightweight Zoom LWZ.2 Vario-Sonnar 15.5–45mm T2.6 Lens

Perfume: The Story of a Murderer | ShotOnWhat?

Digital Compositor: UPP / Miniatures Supervisor: UPP

Perfume: The Story of a Murderer (2006)

Directed by: Tom Tykwer

Cinematography by: Frank Griebe

Edited by: Alexander Berner

Dark Blue World | ShotOnWhat?

Inferno Compositor

Dark Blue World (2001)

Directed by: Jan Sverák

Cinematography by: Vladimír Smutný

Edited by: Alois Fisárek

The Talented Mr. Ripley | ShotOnWhat?

Inferno Operator: UPP

The Talented Mr. Ripley (1999)

Directed by: Anthony Minghella

Cinematography by: John Seale

Edited by: Walter Murch

Cameras: Panavision Panaflex Platinum Camera

Lenses: Panavision Primo Primes Spherical Lenses

©2012 - 2025 ShotOnWhat?

20254.20