hɪz mˈeɪn kəlˈæboːɹˌeɪɾɚz wɜː ðə dᵻɹˈɛktɚz ˈɜːbən ɡˈæd, lˈuːpuː pˈɪk, dʒˈɔːɹɡ wˈɪlhɛlm pˈæbst ˈʌnd pˈɔːl vˈeɪɡənɚ ænd ɐmˌʌŋ hɪz mˈoʊst ɪmpˈoːɹtənt ɐkˈɑːmplɪʃmənts ɑːɹ ðə ʃˈɑːts ʌvðə dˈɑːpəlɡˌɛŋɚɹ ɪn vˈeɪɡənɚz dˈɛɹ stˈuːdənt vˈɑːn pɹˈæɡ ðə stˈuːdənt ʌv pɹˈɑːɡ ʌv nˈaɪntiːnhˈʌndɹɪd θˈɜːtiːn ænd ðə mˈuːvɪŋ kˈæmɹə ʃˈɑːts ɪnðə fˈɪlmz ʌv lˈuːpuː pˈɪk, pɚtˈɪkjʊlɚli sˈɪlvɛstɚ nˈaɪntiːnhˈʌndɹɪd twˈɛnti θɹˈiː, wˌɪtʃ kæn biː sˈiːn æz æntˈɪsᵻpˌeɪɾɪŋ ðə sˌoʊkˈɔːld "ʌntʃˈeɪnd kˈæmɹə" ʌv fɹˈiːdɹɪtʃ wˈɪlhɛlm mˈɜːnaʊz ðə lˈæst lˈæf nˈaɪntiːnhˈʌndɹɪd twˈɛnti fˈoːɹ.
His main collaborators were the directors Urban Gad, Lupu Pick, Georg Wilhelm Pabst und Paul Wegener and among his most important accomplishments are the shots of the Doppelgänger in Wegener's Der Student von Prag (The Student of Prague) of 1913 and the moving camera shots in the films of Lupu Pick, particularly Sylvester (1923), which can be seen as anticipating the so-called "unchained camera" of Friedrich Wilhelm Murnau's The Last Laugh (1924).