American cinematographer. (1951)

• Harry Jackson, “Anne Of The Indies,” (Technicolor) with Louis Jordan, Jean Peters, Deborah Kerr, Herbert Marshall, Thomas Gomez. Jacques Tournear, director. • Joseph LaShelle, “Mr. Belvedere Blows His Whistle,” with Clifton Webb, Joanne Dru, Hugh Mario and Zero Mostel. Henry Koster, director. • Milton Krasner, “The Dr. Praetorius Story,” with Cary Grant and Jeanne Crain. Joseph Mankiewicz, director. UniversalInternational • Russell Metty, “Fiddler’s Green,” with Shelly Winters, Richard Conte, Stephen Mc¬ Nally, Charles Bickford and Alex Nicol. George Sherman, director. • Maury Gertsman, “One Never Knows," with Dick Powell, Peggy Dow, Joyce Holden, Charles Drake, William Vedder. Lou Breslow, director. • Irving Glassberg, “The Cave,” (Techni¬ color) with McDonald Carey, Alexis Smith, Victor Jory, and Hugh O'Brian. William Castle, director. • Charles Boyle, “Fine Day,” (Techni¬ color) with Howard Duff, Mona Freeman, Josephine Hull, Craig Stevens. Joseph Pevney, director. Warner Brothers • Robert Burks, “Tomorrow Is Another Day,” with Ruth Roman, Steve Cochran, Lurene Tuttle and Wallace Ford. Felix Feist, director. • Ernest Haller, “Moonlight Bay,” (Tech¬ nicolor) with Doris Day, Gordon MacRae, Jack Smith, Mary Wickies, Rosemary de Camp, Leon Ames. • Ed Dupar, “I Was A Communist For The F.B.I.,” with Frank Lovejoy, Dorothy Hart, James Millican and Konstantin Shayne. Gordon Douglas, director. • Wilfred Cline, “Painting The Clouds With Sunshine,” with Dennis Morgan, Vir¬ ginia Mayo, Lucille Norman and Gene Nelson. David Butler, director. • Ted McCord, “Force Of Arms,” with William Holden, Nancy Olson, Frank Lovejoy, Gene Evans, Dick Wesson. Michael Curtiz, director. • Sid Hickox, “Distant Drums,” with Gary Cooper and Mari Aldon. Roaul Walsh, director. WINNERS IN AMERICAN CINEMATOGRAPHERS 1951 AMATEUR FILM COMPETITION Will Be Announced In the MAY ISSUE TELEVISION FILM (Continued from Page 139) Paul Ivano, A.S.C., Green Film Corp. Allan Seigler, Jerry Fairbanks Prodns. Kenneth Peach, A.S.C., Jerry Fair¬ banks Prodns. Benjamin Kline, Bing Crosby Enter¬ prises. Joseph Biroc, A.S.C., Snader Telescriptions. Fred Jackman, Jr., A.S.C., Ralph Ed¬ wards’ “Truth or Consequences” show. James Van Trees, A.S.C., “Groucho Marx Show.” Karl Struss, A.S.C., has been invited to serve on the committee of judges which will evaluate entries for the annual Sylvania TV Awards. AKELEY CAMERA AND INSTRUMENT CORP. 175 Varlck Street New York 14, New York — Established 1914 — Designers and manufacturers of silent and sound motion picture cameras with 225° shutter opening, (288° shutter opening for television use), gyro tripods and precision instruments. Complete engineering and machine shop facilities for experimental work, model and production runs. INQUIRIES INVITED USE OF REFLECTED LIGHT (Continued from Page 159) will project much smoother if the shots all have the same contrast ratio in com¬ mon, although individual takes may not always be as effective as desired. A meter will also help secure more flattering skin tones when filming in color. A balance of 2:1 or 3:1 is usually a good standard for lighting with color film. A flatter lighting tends to add weight to your subjects, while a contrastier one often emphasizes unattractive features. Controlled fill light, with the aid of reflectors, is perhaps most important in color photography where a darkened area appears even more separated from the highlight portions because of its deep color concentration. Shade or under¬ exposure seems to transform colors to a new set of hues of much brighter satura¬ tion. In black-and-white photography, a dark area in a scene may be only a dark area on the screen, but with color film it becomes a deep concentration of some very particular color. Too, scenes filmed in color in shaded areas tend to show a blue overcast and a decided blue in the highlights. Reflectors, properly used can easily brighten these dark areas and eliminate or subdue the bluish effect. Daylight actually is a mixture of sunlight (yellowred) and the skylight (blue). Thus, the use of reflectors project the warmer sunlight into the shadow areas of subjects and scenes not directly illuminated by the sun, furnishing needed balance in the lighting and, where color film is used, a measure of color correction, too. AUTOMATIC DAYLIGHT DEVELOPING TANK • Processes up to 200 Ft. •8mm, 16mm, 35mm • Movie-X-Ray-Microfilm • Motor Driven Portable • Unbreakable Plastic • Uniform Density Assurec •70mm tank also available Write for free literature. Dept. A MICRO RECORD CORP. 20 East 181st Street New York 53, N. Y. T rends Directors of photography, camera department heads, industrial and television film producers, film laboratory heads — these men and their assistants naturally are coverto-cover readers of A merican Cinematographer because they must keep informed on motion picture production trends, new cinematographic equipment, new techniques — which today, more than ever, is “must” news. When appearing next to this important “must” news, advertising in this magazine gains prestige and importance. AMERICAN CINEMATOGRAPHER Advertising Department 1782 No. Orange Drive, Hollywood 28, Calif. April, 1951, American Cinematographer 161