American cinematographer (Jan-Dec 1949)

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VITACO LOR The Three Color Process that is destined to play a leading role in the motion picture Color Field VITACOLOR gives the producer . . . Release Prints with more BRILLIANT AND SATURATED COLOR, SHARPER DEFINITION, FINER GRAIN, SILVER SOUND TRACK— AND AT LOW COST!! \/ 35mm. VITACOLOR Theatre Release Prints from all 35mm. and 16mm. Color Originals. V 35mm. VITACOLOR Theatre Release Prints from 35mm. 3-Color Successive Frame Separation Negatives. V 35mm. 3-Color Separation Negatives from all 35mm. and 16mm. Color Originals. V Complete Printing and Processing Service for the new DU PONT Color Positive. V Complete Ansco Color Printing and Processing Service for Motion Pictures, Slide Films, and Slides. \/ All the highly specialized Contact and Optical Printing equipment used in the VITACOLOR Process is available for use' on work from our Ansco Color and Du Pont Color Customers. V VITACOLOR is the largest and best equipped 35mm. Color Film Processing Lab¬ oratory in the United States devoted to Color Motion Pictures, Color Slidefilms, and Color Slides. DAILY CAPACITY, 216,000 feet. V FREE Testing and Filter Pack Data for Ansco Color Film. V FREE Pick-up and Delivery Service in the Los Angeles area. Please write for quotation. VITACOLOR 230 West Olive Ave., Burbank, Calif., Phone CHarleston 0-8136 "Brings the Rainbow to the Screen" Shelle, “and while at Pathe I began my long and happy association with Arthur Miller, A.S.C., now one of Fox’s top directors of photography.” Soon afterward, both Miller and LaShelle moved to Twentieth Century-Fox studios. There LaShelle was operative cameraman for Miller on a long and noteworthy list of films. In due time, LaShelle was made a full-fledged direc¬ tor of photography. His first assignment was Fox’s “Happy Land.” Working as assistant to a cinematog¬ rapher has, in most cases, constituted the major step toward becoming a cinema¬ tographer — or director of photography, as first cameramen are termed today. William Mellor, A. S. C., probably the youngest of the industry’s directors of photography, achieved his goal that way. Virtually the whole of his cinematic career has been spanned in the relatively few years since the advent of sound. “I received about the best cinema¬ tographic schooling anyone could ever want,” he says. “For six years I worked as operative cameraman with Victor Milner, A.S.C. and with Charles Lang, A.S.C., both top flight cinematographers at Paramount. T hose fellows taught me things I could never have learned in any ‘school’ of photography.” Since Mellor was made a full fledged director of photography at Paramount, he has climbed steadily to the forefront, shooting everything from westerns and comedies, to Bing Crosby and Bob Hope musicals. Later he became Dorothy Lamour’s favorite cameraman and has prob¬ ably photographed more of her pictures than any other cinematographer. We have to go back farther than William Mellor’s time, however, to find some of the more exciting careers in cinematography — those of Edeson, Jackman, Clyde DeVinna, and others. Orig¬ inally photography was only a hobby with DeVinna. When he started a fouryear stretch in the Navy in 1909 as a radio man, DeVinna carried along his still camera to snap pictures. One day his ship received one of the old box-type motion picture cameras and because of his experience in photography, DeVinna was drafted to hand crank this new movie camera to record Navy maneuvers. Following his discharge from the Navy, DeVinna had a brief interlude as a press photographer, both in San Fran¬ cisco and Los Angeles. Later he went to the I nee studios where he planned and executed some of the first motion picture publicity ever attempted in the business. One day Ince’s head motion picture cam¬ eraman was taken ill and DeVinna was sent out to take his place. Back at cine¬ matography again, DeVinna remained at Inceville for several years. Sometime later Metro Goldwyn Mayer engaged De 414 • American Cinematographer • November, 1949