American cinematographer. (1951)

• Norbert Brodine, “Five Fingers,” with James Mason and Michael Rennie. Joseph L. Mankiewicz, director. • Leon Shamroy, “Wait Till The Sun Shines Nellie,” (Technicolor) with Jean Peters, David Wayne, Hugh Marlow, Helene Stanley, Joyce Mackenzie and Albert Dekker. Henry King, director. • Milton Krasner, “Phone Call From A Stranger,” with Gary Merrill, Helen Westcott, Shelley Winters, Keenan Wynn and Warren Stevens. Jean Negulesco, director. • Arthur E. Arling, “Belles On Their Toes,” (Technicolor) with Jeanne Crain, Myrna Loy, Debra Paget, Hoagy Carmichael, Jeffry Hunter, and Barbara Bates. Henry Levin, director. • Lucien Ballard, “Return Of The Texan,” with Dale Robertson, Richard Boone and Tom Tully. Delmer Daves, director. UniversalInternational • Irving Glassberg, “Bend Of The River,” with James Stewart, Arthur Kennedy, Julia Adams, Rock Hudson, Lori Nelson, Jay C. Flippen, Henry Morgan and Stepin Fetchit. Anthony Mann, director. • Maury Gertsman, “Son Of Ali Baba,” with Tony Curtis, Piper Laurie and Susan Cabot. Kurt Neumann, director. • Cliff Stine, “Bronco Buster,” (Techni¬ color) with John Lund, Joyce Holden, Scott Brady and Chill Wills. Budd Boetticher, director. • Carl Guthrie, “Francis Covers The Big Town,” with Donald O’Connor, Nancy Guild, Yvette Dugay and Francis. Arthur Lubin, director. Warner Brothers • 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. • Robert Burks, “Room For One More,” with Cary Grant and Betsy Drake. Norman Taurog, director. • Edwin DuPar, “The Lion And The Horse,” (Technicolor) with Steve Cochran and Ray Teal. Louis King, director. UNIVERSITY TEACHING FILM (Continued from Page 377) work ; translates a lot of things that have to be seen to be understood. 3. They cut down on the amount of teaching time. “Elbow teaching” has al¬ ways been the rule at Duke, and it takes a lot of men to do it right. The Duke movie program in anatomy is the most complete in the United States today. A Duke doctor is now at the Mayo Clinic setting up a similar pro¬ gram ; another will launch one at the University of California’s new medical school this Fall. A special Duke movie on the structure on the hand is now being distributed to all American medical schools. The program is supported by a grant from the National Foundation for Infantile Paralysis, which group is distributing copies of the films. Medical motion pictures aren’t as noisy as westerns or musicals, Dr. Markee says. “We leave out the dramatic details and sound effects,” he explains. “We assume that the students are going to be interested. That’s why they are in medical school.” But Duke’s movie makers have become experts at certain special effects. They’ve worked out shading techniques to show an individual muscle as it gradually becomes paralyzed. Again, they wanted to show how the structures of the arm fit together. It’s easier to show when you start at the surface and work down into the bone. But the wooden model they wanted to photograph was easier to put together than to take apart. So they filmed it being put back together with the camera turned upside down, and then simply reversed the film, end for end, when editing it. But they have become most skilled at the make-or-break task of editing. “Just like all movies, ours are really made in the cutting room,” Dr. Markee says. “The secret is in the editing — in knowing what we want to leave in or leave out and where we want to show it.” Dr. Markee has for several years been one of the leaders in all visual aids in medicine: colored slides, movies, models and drawings. He is a member of the motion picture committee of the Associa¬ tion of American Medical Colleges; ad¬ viser to the American Film Institute; and a member of the Motion Pictures of the American Academy of Anatomists. Whether it’s slides or movies, there is always only one goal : to save time. “The only reason for ever teaching any¬ one anything is to save time,” he says. "INTEGRATION" PIONEER ( Continued from Page 363) producer and his associates, with NBC’s splendid production personnel and with the product’s agency representatives, then I strongly recommend that we continue to “convert” and let the audi¬ ence dictate which programs they prefer. Certainly, when we went to work to meet the challenge of converting “The Big Story” from radio to television, the personnel of the Prockter organization found no difficulty in working with and understanding the methods of the film people we brought in to do the pilot picture. Jerome Robinson of the Prock¬ ter associates busied himself with cast¬ ing, and Everett Rosenthal supervised production, handling costs and general preparation. The writer gave me a treat¬ ment he had written and I prepared a visual adaptation suitable to Mr. Prock¬ ter. We decided to use 35mm film instead of 1 6mm, and we selected a major studio CHECK WITH S.O.S. BEFORE YOU BUY EQUIPMENT Serving the Industry for over o Quarter of a Century • A 3c Stamp May Save You Many Dollars. There's an S.O.S. catalog or bulletin on everything from studio cameras and recorders to printers and processors — all at worthwhile savings. Here under one roof — all your needs — a stock more varied and more complete than any in the industry. S. 0. S. TRADING POST Your idle or surplus equipment may fill the bill for someone else. Tell us what you have and we'll offer it to a receptive customer or buy it for cash. NO CHARGE FOR THIS CONFIDENTIAL SERVICE. See our ads in Classified Section S.O.S. CINEMA SUPPLY CORP. Dept. F, 602 West 52nd St., New York 19 Cable: "SOSOUND" j 16 mm & 8 mm 1 'Picture Serudce I 1 6 mm Reduced to 8 mm 8 mm Enlarged to 1 6 mm 16 mm Duplicates 8 mm Duplicates Color and Black and White 35 mm slide duplicates and film strip service GEO. W. COLBURN LABORATORY, INC. 164 North Wacker Drive, Chicago 6, Illinois TV GROUND GLASS for Mitchell Standard, N. C., and Bell & Howell 35mm. cameras. Showing TV alignment — outlining active re¬ ceiver area, and Academy (sound) apcrlure. Write For Details CAMERA EQUIPMENT COMPANY 1600 Broadway New York, N. Y. In World -U)irk Usx Produce moonlight and night effects in daytime* fog scenes “diffused focus and many other effects. Information mailed on request. SCHEIBE FILTERS COMPANY ORIGINATORS OF EFFECT FILTERS P.O. Box 16834, Hollywood 46, Calif. September, 1951 American Cinematographer 379