American cinematographer (Jan-Dec 1952)

*7 ete(At&i&&t Film Production By LEIGH ALLEN or retribution from higher political sources. In explaining this, Wishar said, “Our technicians were all hired because they are top men in their respective fields. They know their business, and their suggestions are valuable. We re¬ spect their intelligence and their right to express themselves. They must have that right, without fear and without censure — because only in that way can each man consider Fireside his program — and cease to think of himself an em¬ ployee. As a result, we have evolved a true co-operative, based on open-dis¬ cussion, friendship, and mutual respect. From the very beginning of Fireside Theatre, Benjamin Kline has been the technical key man of the organization. He is more than director of photography for the series. Actually, he is in complete charge of every visual phase of produc¬ tion — and this includes art direction, costuming, set decoration and make-up. Kline started his cinema career at the old Fox studios in 1914, was top cam¬ eraman for Tom Mix during that sage brush hero’s hey-day, spent 16 years as director of photography at Columbia Studios, and was affiliated with Sol Wurtzel for several years befone joining Fireside. A pioneer in shooting films for tele¬ vision, Kline went through several logical stages of progress before arriv¬ ing at the highly successful photographic style which he now uses. He has adapted his lighting technique to the limited gray scale of the television tube, but has got¬ ten completely away from the flat-light¬ ing which once was regarded as standard technique. His lighting is now wellrounded, without hitting extremes in contrast. As a result, players are photo¬ graphed with a third-dimensional quality which was very effective, and yet their features are not lost in deep shadow.. Asked to describe his technique, Kline said, “We have no magic formulas, no gimmicks, no top secret tricks. In de¬ parting from straight theatre-screen photographic technique we’ve had to make certain adjustments in lighting, in composition and in camera movement; but these adaptations are the result of a very thorougfi study of the technical re¬ quirements of the television tube. I work very closely with our film laboratories and with NBC engineers to make sure we are meeting those requirements.” There still exists a great deal of con¬ troversy as to how films should be printed for the best rendition on TV. Some cinematographers demand prints exposed two printing lights higher than normal. Kline is of the opinion that this tends to wash out flesh tones and other intermediate greys, resulting in an un¬ pleasant contrast. Generally speaking, he (Continued on Page 11) JANUARY PRODUCTION: The following cinematographers were actively engaged during the past month directing the pho¬ tography of television films in Holly¬ wood : LUCIEN ANDRIOT, A.S.C., The “Re¬ bound" series for Bing Crosby Enter¬ prises. william Bradford, a.s.c., “Range Ri¬ der" series for Flying A Productions. ELLIS W. CARTER, A.S.C., series of y2' hour dramas for Revue Productions. ROBERT DE GRASSE, A.S.C,, “Amos ’n Andy” series for C.B.S. at Hal Roach Studio. curt fetters, “Unexpected” series of l/fi-hour dramas for Ziv TV Productions. karl freund, a.s.c., “I Love Lucy” series for Desilu Productions. fred gately, “Dragnet” series of 1/2' hour dramas for Mark 7 Productions. benjamin kline, A.s.c., “Fireside Theatre” series for Frank Wisbar Prod. JOHN martin, “Consultation Room,” y2hr. series for Wm. F. Broidy Prodns. joe novak, series of l/£>-hour western telefilms for Roy Rogers Productions. KENNETH peach, A.s.c., “Hollywood Theatre” series and “Front Page Detec¬ tive” series for Jerry Fairbanks. GEORGE ROBINSON, A.S.C., “Abbott & Costello" comedy series for Exclusive Productions. william sickner, A.s.c., Lindsley Parsons Productions. mack stengler, A.s.c., “Racket Squad.” 1/2-hour drama series for Show¬ case Productions. HAROLD STINE, “Dick Tracy” series for Snader Productions. WALTER STRENGE, A.S.C., “Trouble With Father” series for Roland Reed Productions. PHIL TANNURA, A.s.c., series of y>hr. adult dramas for Revue Productions. STUART THOMPSON, A.S.C., “Electric Theatre” series l/£>-hr. dramas for Screen Televideo Productions. JAMES VAN TREES, A.S.C., “GlOUcho Marx Show” for Filmcraft Productions. LESTER WHITE, A.s.c., “Dangerous As¬ signment" l/fj'lmur nivstery series for Donlevy Development Corp. Presentation ceremonies of the 1952 Television Academy Awards will be held at the Los Angeles Ambassador Hotel the evening of February 18th. • Dan Shields is film director at WTMYTV in Greensboro, North Carolina, where he is in charge of all film opera February, 1952 • tions for the studio, from the produc¬ tion of TV films to projection. • D. Lisle Conway, who used to win most of the national contest awards with his 16mm home movies, is producer and photographer of TV films for station WHEN-TV in Syracuse, New York. • Benjamin Berg, A.S.C., Hollywood rep¬ resentative of Eclair of Paris motion picture equipment, has formed Tele¬ vision Recording Service for making film records of live TV shows. New firm is located at station KTTV in Holly¬ wood. Hal Roach, according to columnist Erskine Johnson, has said that there’s not going to be enough space in Hollywood to film the shows that television re¬ quires. “Film is a better buy than a live show. It’s better dollar for dollar,” he says. “A year ago films for television weren’t considered very savory in Holly¬ wood. Now I get more phone calls from actors, cameramen and writers wanting to get into TV films than I can handle.” ® Fred Jackman, Jr., A.S.C., who directed and photographed the “Ralph Edwards Show" last year, is now a television film producer with Revue Productions, at Eagle Lion Studios in Hollywood. • Gus Peterson, former cinematographer in the major studios, is now director of lighting for all live television shows originating at CBS in Hollywood. • J. Burgi Contner, A.S.C., is currently directing the photography on a series of half-hour TV shows at the Parsonett Studios, Long Island City, N. Y. Series title is “Hollywood Offbeat,” starring Melvyn Douglas. Marion Parsonett is producer. Lee Garmes, A.S.C., is scheduled to di¬ rect the photography on the “One Thou¬ sand And One Nights” series of 39 halfhour TV films which Ben Hecht will write and direct for release by Snader Telescription Sales, Inc. • Number of TV film producing companies currently active in Hollywood is 40, ac¬ cording to latest survey. This figure does not include new outfits making pilot films on speculation or currently organ¬ izing for future production. American Cinematographer • 69