American cinematographer. (1951)

• Leon Shamroy, “With A Song In My Heart,” (Technicolor) with Susan Hayward, Rory Calhoun, Thelma Ritter, David Wayne and Max Showalter. Walter Lang, director. • Charles G. Clarke, “Red Skies Of Mon¬ tana,” (Technicolor) with Richard Widmark, Constance Smith, Richard Boone and Jeff Hunter. Joseph Newman, director. • Joseph LaShelle, “Elopment,” with Clif¬ ton Webb, Anne Francis, Charles Bickford, Reginald Gardiner and Evelyn Varden. Henry Koster, director. • Karl Struss, “Rose of Cimarron,” (Alperson Prod.) (Technicolor) with Jack Buetel, Mala Powers, Bill Williams, and Lillian Bronson. Harry Keller, director. • Lucien Ballard, “Fixed Bayonet," with Richard Basehart, Michael O’Shea, and Gene Evans. Samuel Fuller, director. • Leo Tover, “Pride of St. Louis,” with Dan Dailey and Joanne Dm. Harmon Jones, director. UniversalInternational • Cliff Stine, “Week-end With Father," with Van Heflin, Patricia Neal, Richard Denning, Gigi Perreau, Virginia Field, Jimmy Hunt, Janine Perreau, and Tommy Rettig. Douglas Sirk, director. • Russell Metty, “The Treasure of Franchard,” (Technicolor) with William Powell, Julia Adams, Charles Drake, Rosemary deCamp, Tommy Ivo and Chubby Johnson. Ted Tetzlaff, pirector. • Charles Boyle, “Battle of Apache Pass,” (Technicolor) with John Lund, Jeff Chand¬ ler, Beverly Tyler, Susan Cabot, John Hud¬ son, Bruce Cowling. George Sherman, director. • Maury Gertsman, “Meet Danny Wilson,” with Frank Sinatra, Shelly Winters and Al?x Nicol. Joseph Pevney, director. • Irving Glassberg, “Here Comes The Nelsons,” with Ozzie Nelson, Harriet Nelson, David Nelson and Ricky Nelson. Frederick de Cordova, director. • Irving Glassberg, “Bend Of The Snake,” (Technicolor) with James Stewart, Arthur Kennedy, Julia Adams, Rock Hudson, and Lori Nelson. Anthony Mann, director. Warner Brothers • Wilfred Kline, “Bugles In The After¬ noon,” (Cagney Prod.) with Ray Milland, Helena Carter, Hugh Marlowe, Barton MacLane and James Millican. Roy Rowland, director. • Edward B. DuPar, “The Tanks Are Com¬ ing,” with Steve Cochran, Eve Miller, Philip Carey, Paul Picerni and Eugene Baxter. Lewis Seiler, director. • Ted McCord, “Starlift,” with Virginia Mayo, Doris Day, James Cagney, Ruth Roman, Gordon MacRae, Gene Nelson, Pa¬ tricia Wymore, Janice Rule, and Dick Wes¬ son. Roy del Ruth, director. • Robert Burks, “Come Fill The Cup,” with James Cagney, Phyllis Thaxter, Ray¬ mond Massey, James Gleason, Gig Young, Charlita, and Larry Keating. Gordon Douglas, director. • John Boyle, “Carson City,” (In color) with Randolph Scott, Raymond Massey and Richard Webb. Andre de Toth, director. • Ted McCord, “I’ll See You In My Dreams,” with Doris Day, Danny Thomas, Frank Lovejoy and Mary Wickes. Michael Curtiz, director. SHOOTING NEWS FILMS (Continued grom Page 329) radio gear at the base of a tree, a micro¬ phone dangling from a nearby branch, a broken doll and a charred storybook — these shots and others told graphically something of the horror of those last moments following the crash. I came upon the engine that was ripped loose from its moorings — it had a cylinder missing. Where was the missing cylinder? Closer inspection showed in¬ side of the engine badly damaged. Could this have been the cause of the crash ? These details were photographed care¬ fully and notes made for guidance of the script editor. This proved of immense value later, for ultimately official in¬ vestigators concluded that the engine did fail in the air and that the cylinder was blown off before the crash. Here, on film, was evidence of the cause of the ill-fated crash. It was after seven o’clock when, our shooting ended by darkness, we returned to the car and started back to the station — honking the horn and jamming on the brakes incessantly as we weaved in and out of traffic, which seemed unusually slow at the time. By nine p.m. we rolled up to the station door — just an hour before air time. We had put in a call on the road, alerting the station we were on the way in with film. The processing tanks were ready to go and the darkroom was a beehive of activity for the next half hour. Twenty-five minutes ’til air time. The news editor has secured some additional information from the wire services. He already has our notes, which proved more accurate and embracing in data. With this material he goes to work on the narration. Ten minutes before air time, the film comes off the drier and is ready for projection. The editor screens the stuff as we watch excitedly and give additional facts about the disaster. The editor checks his copy as the film un¬ folds. Five minutes ’til air time. The film is projected again. No time for cut¬ ting, except to switch the last shot to the opening. Meanwhile the station’s super¬ vising director is getting worried. With just two minutes to go, the film and narration is handed him and made ready for airing. Meanwhile, we have made a check of the competitive stations and find that up to the moment they have not come on the air with pictures of the crash. Later, we learned that they did finally get on the air with pictures at midnight. We had gotten under the wire again ! It might be well to describe the equip¬ ment used on these assignments. 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Citrus Ave. Hollywood 38, Calif. 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 TV GROUND CLASS for Mitchell Standard, N. C., and Bell & Howell 35mm. cameras. Showing TV alignment — outlining active re¬ ceiver area, TV projection area and Academy (sound) aperture. Write For Details CAMERA EQUIPMENT COMPANY 1600 Broadway New York, N. Y. August, 1951 American Cinematographer 33i