American cinematographer. (1951)

• Lucien Ballard, “Let’s Make It Legal,” with Claudette Colbert, Macdonald Carey, Zachary Scott, Barbara Bates and Robert Wagner. Richard Sale, director. UniversalInternational • William Daniels, “The Lady Pays Off,” with Linda Darnell, Stephen McNally, Gigi Perreau and Virginia Field. Douglas Sirk, director. • Carl Guthrie, “Finders Keepers,” with Tom Ewell, Julie Adams, and Evelyn Varden. Frederick de Cordova, director. • Russell Metty, “Flame Of Araby,” (Technicolor) with Maureen O’Hara, Jeff Chandler, Maxwell Reed, Susan Cabot. Charles Lamont, director. • Maury Gerstman, "Reunion In Reno,” with Mark Stevens, Peggy Dow, Gigi Per¬ reau, Frances Dee and Leif Erickson. Kurt Neumann, director. • Irving Glassberg, “The Door,” with Charles Laughton, Boris Karloff, Sally For¬ rest, Richard Stapely, Michael Pate, Paul Cavanaugh. Joseph Pevney, director. • Charles Boyle, “The Cimarron Kid,” (Technicolor) with Audie Murphy, Beverly Tyler, Leif Erickson, James Best, Yvette Dugay, Noah Berry, Jr., Palmer Lee and Rand Brooks. Budd Boetticher, director. Warner Brothers • 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. • Robert Burks, “As Time Goes By,” with Gene Tierney and Ray Milland. William Keighly, director. • Ted McCord, “Starlift,” with Virginia Mayo, Doris Day, Ruth Roman, Gordon MacRae and Gene Nelson. Roy Del Ruth, director. • Robert Burks, “Come Fill .The Cup,” with James Cagney and Jimmy Gleason. Gordon Douglas, director. “ . . . then he invited me up to see his KINEVOX*” (* Leading Portable synchronous, magnetic recorder.) FILMING ASSEMBLY LINE ( Continued from Page 241) tricks or devices were used, with the exception of spraying chrome parts with condensed milk to reduce halation and glare. Two Maurer 16mm cameras did yeo¬ man’s duty on this assignment. The bulk of the shooting was handled with one Maurer, but on occasion two cameras were used to permit greater selectivity of coverage. A battery of Keg-Lite Seniors, Juniors and Babys were used for most of the lighting requirements, although a number of extreme closeups were lighted by Colortrans. Despite the variance in lighting equipment, color values were uniformly faithful and of high quality throughout the en¬ tire picture. “Through The Years” is now being released by the Pontiac dealer organi¬ zation, which makes it available to the non-theatrical exhibition market. In ad¬ dition, it is regularly being screened in Pontiac showrooms for prospects, cus¬ tomers and friends. Critics rate the production one of the best institutional stories ever filmed in 1 6mm Kodachrome. Said one: “Its fastpaced action and unusually fine color values combine with an excellently pre¬ pared script to picture the Pontiac or¬ ganization and its product in a manner which both the company and its dealers may be justly proud.” U S. Pat. No. 2260368 Goerz American APOGOR F :2.3 the movie lens with microscopic definition successful cameramen have been waiting for — • A new six element high quality lens for the 16 and 35mm. film camera. Corrected for all aberra¬ tion at full opening, giving highest definition in black-&-white and color. Made by skilled techni¬ cians with many years of optical training. • Fitted to precision focusing mount which moves the lens smoothly without rotating elements or shifting image. • This lens comes in C mount for 16mm. cameras. Fitting to other cameras upon special order. • Sizes available now: 35 and 50mm. uncoated and 75mm. coated. Write for prices, giving your dealer's name. c p GOERZ AMERICAN OPTICAL COMPANY Office and Factory 317 EAST 34 ST., NEW YORK 16, N. Y. AC-6 COLLEGIATE MOVIE MAKERS (Continued from Page 221) first teach. The result has been a sort of vicious circle which has slowed down both the teaching and the production. “When, in the Spring of 1950, we began to approach the coming summer session, we tried to arrive at some sort of a workable plan which would obviate the difficulties of the preceding year. “Our first move was to isolate, as far as possible, the mistakes we had made and then plan from there. We were agreed that we had made six mistakes: 1. We undertook productions which demanded a certain degree of pro¬ fessional finish, thereby depriving the students of a chance to learn by mistakes. 2. We had too many students and too few productions. 3. The productions were too large in scope. 4. 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