American cinematographer (Feb-Dec 1922)

February 1, 1922 THE AMERICAN CINEMATOGRAPHER 17 ROBERT S. NEWHARD GEORGES RIZARD ROBERT S. NEWHARD, A. S. C, during his dozen years as a cinematographer has divided his time about as follows: Five years with Ince, three with Paralta, one with Frank Keenan, one with Fox, one with Goldwyn and one free lancing among the independents. He started with Fred Balshofer at the old 101 Bison Ranch before joining Ince, but it was at the latter studio Mr. Newhard began his real career. At Ince's he was assigned to experimental and research work and is responsible for originating many new effects in those days. He filmed the first Billie Burke picture without lights, using only mirrors and reflectors for light. D. W. Griffith watched this experiment and it was a success. While with Ince Mr. Newhard filmed fourteen straight productions among which were: Dustin Farnum in "The Iron Strain;" "The Coward" with Frank Keenan and Charles Ray; "Civilization," the first big war picture; special features starring William Desmond, Bessie Barriscale, Enid Bennett, Dorothy Dalton, Louise Glaum, Clara Williams, Alma Rubens, Hayakawa, and others. He filmed "Smouldering Embers" and "Dollar for Dollar" with Keenan; "Big Happiness" with Dustin Farnum; "Everybody's Sweetheart," a Selznick feature, and then went to Goldwyn to film "Hungry Hearts" and later joined David Butler for "Making the Grade" and "Bing, Bang, Bing." Mr. Newhard is one of the greatest aerial photographers in the world. He is expert in every phase of this work, having for years operated with Aviator Frank Clark one of the cleverest and surest in the country, during which he did all of R. Macdonald's aerial work and filmed thrills for many of the special productions calling for aerial sensations. Mr. Newhard's most recent affiliation has been with Director Mason Hopper at Goldwyn. QEORGES RIZARD, A. S. C, is so reticent that he refuses to tell what happened in France before he decided to become a nephew of Uncle Sam, but by grape onic radio we learn that M. R i z a r d knew a lot of photography before he bade bonjour to La Belle France. He was therefore ready for the job that Pathe Freres had ready for him when he landed in New York and he has seldom been at liberty since. That was eleven years ago that M. Rizard carried his kit into the Jersey studio of Pathe and he remained there eighteen months at work, for the most part on serials in the production of which Pathe weer the pioneers and have filmed more of them than all other producers combined. M. Rizard then came to the Pathe West Coast studios where he remained two years photographing westerns under direction of James Youngdeer. He went with Max Figman's Masterpiece Film Company for six months during which time he filmed "The Hoosier Schoolmaster" and other features. When he finished with Figman he signed with Balboa where he spent four busy years in association with Directors Henry King, Sherwood Macdonald, Bertram Bracken, Henry Otto and others. He photographed Baby Marie Osborne in some of her classics and filmed also features starring Lillian Lorraine, Ruth Roland, Jackie Saunders, Gloria Joy and many others. After Balboa passed M. Rizard went to Astra for a season and then to the American at Santa Barbara where he helped to make William Russell, Margarita Fisher, Gail Kane, Mary Miles Minter and other American stars famous. Following his American sojourn he joined Charles Ray which affiliation he still maintains. With Ray he has photographed "The Old Swimmin' Hole," "Scrap Iron," "Two Minutes to Go" and all of this star's more recent releases.