Julius Lechner is a visual effects supervisor at Scanline. A native of Salzburg, Austria, he nurtured a passion for CGI and animation from an early age. He completed his undergraduate studies at the University of Applied Sciences Upper Austria before embarking on his VFX career in both film and television. Later, he earned a Master’s degree in Arts and Design, with a thesis titled GPU-Based Visual Effects. Lechner began his professional journey with notable roles at leading visual effects studios, including Industrial Light & Magic and Pixomondo. There, he honed his skills working on major intellectual properties such as Power Rangers, Teenage Mutant Ninja Turtles, and Star Trek Into Darkness. In 2012, he joined Scanline VFX, where, over more than eight years, he advanced through the ranks from effects artist to CG and effects supervisor, before establishing himself as a seasoned visual effects supervisor. Throughout his tenure at Scanline, Lechner has overseen visual effects on a string of high-profile films, including Spider-Man: Far From Home (2019), Zack Snyder’s Justice League (2021), The Batman (2022), and Aquaman and the Lost Kingdom (2023). In Spider-Man: Far From Home (2019), he provided valuable insights into the creation of the spectacular “Hydroman” sequence set in Venice, explaining how fluid simulations and cleverly integrated CG environments brought the water creature to life. On Zack Snyder’s Justice League (2021), Lechner played a central leadership role, supervising a team of approximately 400 artists. Under his guidance, Scanline VFX crafted complex facial performances for characters such as Martian Manhunter and Steppenwolf, utilising advanced motion-capture and retargeting workflows largely powered by Faceware Technologies—even amidst the challenges posed by the global pandemic. Lechner’s work on The Batman (2022) demonstrated both his technical mastery and creative vision. He led the team responsible for more than 200 VFX shots, predominantly the climactic flood scene in which downtown Gotham is submerged after the Riddler breaches the city’s flood defences. He and his team skillfully blended practical set pieces with virtual environments—constructing digital doubles for key characters and designing arena interiors inspired by London’s O₂ Arena and Chicago’s Thompson Center. Rendering these heavy sequences with V-Ray, his team achieved strikingly cohesive visuals that seamlessly integrated into the film’s live-action footage.
